Understand the Principles and Requirements of Assessment

LEVEL 3 certification IN ASSESSING vocational COMPETENCE LED BY CAROL SMOUT LESSON 1 26TH family social unit 2011 THE exercise OF AN ASSESSOR ASSESSING military operationGIVING FEEDBACK CONTRIBUTE TO A composing TRAIL ROLE OF AN ASSESSOR ROLE OF AN ASSESSOR WRITE impelling legal opinion PLANS 1. ASSESSING PERFORMANCE = A digress of perspicacitys, I am making a judiciousness on 2. GIVING FEEDBACK = Verbal feedback, Written Feedback. Try to be constructive, foolt be negative loaferdidates r either told(a)y this demoralising 3. CONTRIBUTE TO a PAPER TRAIL = I puzzle to write on a least 3 morsels of root all in all of which be auditable Assessment excogitations.I expect to contribute to a paper trail. As an Assessor I assess a ground massagedidate/Student then whatsoever(prenominal) peerless IV OR EV then checks my perspicacity decision. This is called THE QUALITY ASSURANCE SYSTEM. When I am audited as an experienced Assessor I inquire to be able to demonstrat e that I downstairsstand eccentric Assurance. I break to be able to write effective sound judgment plans. 4. WRITE EFFECTIVE judicial decision PLANS= Example I waste met with rant blah blah and she/he has said she/he wants to do a shampoo & vagabond dry & a semi-permanent next week. We plan to do this in this duration on this date with this campaigner & I am going to orally question her/him to check her/his underpinning pick outledge. THIS EQUALS A PLAN LEVEL 3 CERTIFICATION IN ASSESSING VOCATIONAL COMPETENCE LED BY CAROL SMOUT LESSON 2 3RD OCTOBER 2011 STAGES OF THE ASSESSMENT summons PLANNING. STAGES OF THE ASSESSMENT PROCESS STAGES OF THE ASSESSMENT PROCESS REVIEWING judgement save QUALITY ASSURANCE 1. PLANNING = Assessment supply sheets & Consultation Sheets. 2. REVIEWING. Straight from SCHOOL TO COLLEGE no diddle base knowledge. graduation meeting with my elicitdidate check if the nominee has any(prenominal)(prenominal) prior(prenominal) schooling (APL= ACCREDITATION FOR PRIOR LEARNING) What qualifications do you currently train Do they relate to what they ar currently doing now. I whitethorn find that some elements of the mind may digest already been through. When a piece of taildidate joins the college straight from school they dormant may rush some prior haveing. Some schools s shoe reconcilers live on their students to college to attain ab come forth hair grease as part of their learning at school, some of this learning can be issuingn into consideration as prior learning. REVIEWING WORK BASE.If the candidate is joining college and is turn based and is now feeler to college for apprentership they may have been shampooing for 3 yrs so will not desire to do their level one because of their prior learning they can go straight on to level 2. It would be unfair to murder them do it all over again they dont need to be taught again. Its all ab issue taking the candidate forward. 3. JUDGING STAGE. This stage is th e most difficult. Assessors find it most difficult as to Am I Judging this secure? Am I world in truth harsh or am I being a flabby? So I have to follow 6 steps to reas confident(predicate) that I am doing this correctly.I have to check the Assessment by IS THE ASSESSMENT 1. VALID Can be make using the Methods of Assessment. OBSERVATION, I can Observe its effectual I can mark it being done by that candidate. ORAL/VERBAL, I can lease questions and check their underpinning knowledge and check its validity EXAMS. Exams ar obviously valid as on that point done under strict creators, examiners atomic modus operandi 18 point their not allowed to talk etc. PROFESSIONAL DISCUSSION I Can talk to them in a professional diademacity to check validity PROJECTS & ASSIGNEMENTS Are valid make sure compressed dated rock-steady way at checking their knowledge.Although could have been done by someone else again ask oral questions and ask them to reference and nonplus in a bibliog raphy for me to refer and check if I feel not valid get hold STATEMENTS. An employer can provide a witness statement that a candidate has competently passed an assessment. It Valid if signed by their employer but still need to check validity could discuss how they achieved this pass what did they do how did they do it. photographic EVIDENCE Valid I can see the photographic tell apart try to get the candidates to get a picture that introduces them doing the pee-pee.Still a little grey though as someone else could have done the execute but just shamn a photograph of the candidate with the client doesnt mean necessarily that they have done the work. IS THE ASSESSMENT 2 RELIABLE. How sure am I that the above atomic number 18 re liable(p), how do I know for sure that the work I am assessing is that candidates knowledge work, some ar obviously reliable e. g. observation because I can see it being done. IS THE ASSESSMENT 3 SUFFICIENT. Has the candidate done copious to pass all el ements of the unit being assessed. For example the candidate is being assessed to shampoo and condition a clients hair and to grapple a product.She/he may well have utilize all the correct products and massage get goingments but during the assessment She/he may not have been given the opportunity to sell a product in which case the candidate will have passed some elements of the unit chosen but because she couldnt sell a product that part of the unit will have to be referred to an other assessment but the candidate will have passed the other two elements of the unit. ALWAYS MAKE authorized THE CANDIDATE READS THROUGH THEIR PCs (Performance Criterias) WHICH IS IN THEIR LOG BOOKS FOR separately UNIT THERE ARE ELEMENTS OF THAT UNIT THAT THEY HAVE TO PASS TO bring home the bacon A FULL PASS IN THAT UNIT IS THE ASSESSMENT 4. accredited I have to know that e truly assessment they be doing is that candidates. How do know that that assessment is that authentic and reliable ? The be st way to find pop out if not observed by me is to orally question them. IS THE ASSESSMENT 5. CURRENT Is the candidate demonstrating up to date skills? Is the candidate using up to date equipment? Example if the candidate is doing a colour & we havent got a roller ball or a climazon & they have to endow the client under a hood dryer with a cap on the clients head. The service with that equipment is NOT CURRENT to industry.IS THE ASSESSMENT 6. SAFE Is the assessment taking place condom for all Are they operative safely. I can stop an assessment at any time if thither is a danger to the client, to anybody else in the room or to the candidate themselves. RECORDING STAGE Recording takes place in the log books for hairdressing. I destroy assessment decisions on consultation sheets. Also recording takes place for an assessment if its on a scripted paper on a marking front sheet. The awarding body gives us these marking sheets and it is my project to make sure that the candidate sign s it & that I sign it & I put their marks on it.It is the evidence as to whether the candidate is competent on that written paper. There will be a written paper from C. H. E. A. T. When I mark appellatives at that place will excessively be an assignment front sheet that I would record their feedback on. Whether it is passed or referred the candidate would sign it and date it, I would sign and date it to validate that assessment THESE PAPER FORMS ARE VITAL FOR ME TO BE ABLE TO DO MY ROLE AS AN ASSESSOR FORMS ARE AVAILABLE FROM CAROLE AND VIA KERRY I NEED THESE FORMS AS concisely AS I START TO SHADOWQUALITY ASSURANCE When I assess a candidate and I have already enter it all on the previous documents. I as well have to impression a student candidate throughout their qualification, so if they have immaculate one whole unit I would need to sign absent the tracking document, this document forms part of the tracking paper trail for Quality Assurance I also need to attend Standard isation Meetings. unremarkably done twice a year at the beginning and the end of a course.At these standardisation meetings I have to interact and fate my views and contribute to these meetings. When we attend the meeting we all should bring along one or two units that we have marked, we can then shuffle them round in the midst of each other and ask at them to make sure that the students are all being marked equally and that we havent been samewise harsh on them with a marking or too lenient on them. We all need to be marking to the identical standard. This is what standardisation is all or so & that forms part of this Quality Assurance Process. foreign verification officers come in they check and look at our tracking, they look at all our minutes and meetings, they come and look at the candidates log books, they look at their consultation sheets, they look at all their written papers & their assignments. They are checking that there was some sort of assessment in place & then they are making sure that I as an assessor planned the assessment. wellness & golosh Legislation Sourced from HSE The wellness and caoutchouc at construct, etc be active 1974 The Management of Health and forecloseive at employ Regulations 1999 The Education (School Premises) Regulations 1999The Workplace (Health, Safety and Wel uttermoste) Regulations 1992 The Manual Handling Operations Regulations 1992 The command of Asbestos at Work Regulations 2006 The Health and Safety (Display Screen Equipment) Regulations 1992 The Electricity at Work Regulations 1989 The Reporting of Injuries, Diseases and Dangerous Occurrences Regulations 1995 The underwrite of Substances Hazardous to Health Regulations 2002 The planning and using up of Work Equipment Regulations 1998 The Construction (Design and Management) Regulations 2007 stultification dissimilitude Act 1995 The Health and Safety (First Aid) Regulations 1981The Health and Safety at Work, etc Act 1974 The main piece of legislation come toing the fool of health and galosh in educational establishments across all sectors is the Health and Safety at Work, etc Act 1974 (HSWA). This Act provides a framework for ensuring the health and pencil eraser of all employees in any work activity. It also provides for the health and arctic of anyone who may be touch on by work activities in eg pupils/students and visitors to educational spots, including parents and contractors. In Northern Ireland, corresponding provisions are made by the Health and Safety at Work (NI) Order 1978.Employers and employees (as well as manufacturers, suppliers and the self-employed) essential comply with the duties square off out in the Act, which are summarised as follows. * Section 2 places a vocation on employers to assure the health, safety and welfare of employees as far as is reasonably practicable. It also leads employers to consult with trade union safety representatives on matters affecting health and safety in the employment. Moreover, employers of more than than pentad populate must prepare a written health and safety policy and bring it to the attention of employees. Section 3 aims employers to get a line that non-employees (eg pupils/students) who may be affected by work activities are not unfastened to jeopardy of scenes to their health and safety. Where young or vulnerable psyches may be affected, the duty of care is greater. * Section 4 places a duty on anyone answerable for the workplace to ensure that the premise, plant and machinery do not endanger the great deal using them. * Section 5 pick ups employers to foreclose and control harmful, noxious or offensive emissions into the atmosphere. Section 6 places duties on designers, manufacturers and suppliers to ensure that articles and substances are safe for use. * Section 7 states that it is the duty of every employee while at work to take presumable care of him or herself and of any other soul who may be affected by his or her actions. This section also claims employees to cooperate with their employer in comparison to health and safety troubles. * Section 8 requires employees not to interfere with or misuse anything provided in the inte dwell of health and safety.The Management of Health and Safety at Work Regulations 1999 The main prerequisite of the Management of Health and Safety at Work Regulations is that employers must bear out endangerment assessments to eliminate or reduce essays. Employers with quintet or more employees need to record the significant findings of a lay on the line assessment it is not necessary to record risk assessments for trivial or insignificant risks. In addition, employers also need to * make arrangements for implementing the health and safety measures place as necessary by risk assessments * monitor and redirect examination those arrangements charge people with sufficient knowledge, skills, experience and reading to help them to implement these arrangements * come in up emergency procedures and provide information about them to employees * provide weak information, supervision and training for employees and ensure that suitably competent people are appointed who are capable of carrying out the tasks entrusted to them * work together with any other employer(s) operating from the same workplace, sharing information on the risks that other staff may be exposed to, eg cleaning, catering or sustentation contractors * take particular vizor of risks to rising and expectant mothers.A risk assessment is a careful examination of the work activities that could, whether on or off site, cause harm to people so that your employer can look at up whether they have taken adequate precautions or should do more to hold open harm. The Management of Health and Safety at Work Regulations 1999 require employers to assess the risks arising from work activities to both employees and non-employees (eg students, visiting parents). Employees have a right to see the issuings of risk assessments. Who can do risk assessments? Employers are trusty for ensuring that risk assessments are carried out by competent people (ie those who have sufficient knowledge, skills, experience and aptitude).These people may be current employees, provided they have been suitably develop, or external health and safety professionals. Safety reps have a legal right to be consulted and can assist on risk assessments. However, the risk assessment remains the legal obligation of the employer and therefrom should be signed by the employer once complete. Activities that should be assessed All work activities that could present a potential hazard should be risk assessed. Hazard mover something with the potential to cause harm, including ill health as well as injury. bump is the likelihood of that hazard actually causing harm during the course of work activities.In an education setting, there are particular situations that typically require risk assessments * the work activities of all new and expectant mothers require a specific risk assessment under the Management of Health and Safety at Work Regulations, with any necessary marchesings made to their on the job(p) conditions a risk assessment should be conducted before taking students off site * workplace stress and stressors should also be admitd within risk assessments The Education (School Premises) Regulations 1999 These regulations set out minimum health and safety standards for all maintained schools in England and Wales, covering issues such as temperature, toilet facilities for pupils, ventilation system and lighting.Some of the standards also have to be met by non-maintained special schools and free-lance schools. The regulations operate in conjunction with the Workplace (Health, Safety and Welfare) Regulations, as nominate below. The Workplace (Health, Safety and Welfare) Regulations 1992 These regulations deal with material conditions in the workplace a nd require employers to meet minimum standards in relation to a wide range of matters, which include * maintenance of constructs and equipment * lighting * provision of drinking pee * temperature * rest facilities * ventilation * toilet facilities * first aid. The Manual Handling Operations Regulations 1992These regulations require employers to minimise the health risks associated with manual handling, a term used to describe activities which involve lifting, carrying, moving, holding, pushing, lowering, pulling or restraining an object, mortal or animal. Employers should * avoid the need to lift, carry, push, pull, lower or support loads wherever possible * equip tasks where they cannot be avoided by the use of trolleys, barrows, lifts or hoists * carry out risk assessments, which take into account the work task, the activity involved, individual capacity, working surroundings and other factors. The Control of Asbestos at Work Regulations 2006The Control of Asbestos at Work R egulations place specific duties on employers, owners and those in control of buildings to manage the risks from asbestos fibres that may be released when building or maintenance work takes place. The regulations require the following(a) steps to be taken to manage the risk * find out if there is asbestos on the premises, its amount and what condition it is in * presume materials birth asbestos, unless there is evidence that they do not * make and bind up to date a record of the location and condition of the materials containing asbestos or which are presumed to contain asbestos * carry out a risk assessment on materials containing asbestos * prepare and implement a plan that sets out in full point how the risk from this material is going to be managed * review and monitor the plan and the arrangements provide information on the location and condition of the material to anyone who is liable to work on or disturb it (including staff). Specialist help is slackly required to deter mine the presence of materials containing asbestos and to remove asbestos. The HSE advises that if asbestos is in good condition and is not liable(predicate) to be disturbed or damaged, it is usually safer to will it in place and manage it. The Health and Safety (Display Screen Equipment) Regulations 1992 These regulations throw employers to assess the workstations of staff who use display screen equipment (DSE). The workstation is the equipment itself, its accessories and the surrounding work environment.The minimum requirements of employers are to * identify users of display screen equipment, ie those who habitually use DSE as a significant part of their normal work * assess workstations to ensure that they meet minimum standards * provide information, instruction and training on the potential hazards of using DSE equipment * stand free eyesight tests to users of DSE equipment at regular intervals and to pay for spectacles that are required for the work * review assessments. T he Electricity at Work Regulations 1989 These place a duty on employers to assess all foreseeable risks associated with work activities involving electricity. Employers are required to rear safe systems of working, with well-maintained equipment, covering everything from power lines to kettles. All installation and repairs should be undertaken by a qualified electrician or those who have appropriate technological knowledge, though some minor repairs, inspections, fitting of plugs, etc may be undertaken by suitably trained staff.The Reporting of Injuries, Diseases and Dangerous Occurrences Regulations R. I. D. D. O. R 1995 Under these regulations (often referred to as RIDDOR), certain work-related hazards are reportable by law to the Health and Safety Executive or the local self-assurance. The following must be report * death of any individual * a major injury to any person at work * hospital treatment of any person who is not at work (eg pupil/student) * an accident which resul ts in a person at work being incapacitated for more than third square days (excluding the day of the accident) * undertake dangerous occurrences, eg building collapse * specified work-related diseases, eg mesothelioma and hepatitis.Educational establishments should have clear guidelines on incident reporting and this should be conveyed to staff on the first day of their employment. Accident reporting An accident is an unplanned event that results in injury, damage to property or some other loss. The law requires that certain work-related accidents are reported to the local authority or the Health and Safety Executive. All accidents to employees, however minor, should be recorded. This is a requirement under social security legislation. As a result of a workplace injury an employee may need to claim for benefits in the future, and the germane(predicate) checks will be made to confirm that the accident occurred at work. Reporting and recording procedures vary.Employers need to be sure that they satisfy all legal reporting requirements for employees and non-employees, and take measures to monitor accidents. As part of the thermolabile monitoring process, accident records are needed to assess whether the existing controls are adequate or to identify if trends are developing and to implement new procedures. Records may also have to be produced for the Health and Safety Executive, to parents/guardians, or in the course of civil transactions if a claim is brought following an incident. How to report an accident All accidents can be reported to the happening Contact Centre (ICC), Caerphilly Business Park, Caerphilly CF83 3GG. Alternatively, call on tel 0845 300 9923 on Mondays to Fridays between 8. 30am and 5. 30pm, emailemailprotected omor report via the internet atwww. riddor. gov. uk. The Control of Substances Hazardous to Health Regulations 2002 These regulations (often known as the COSHH regulations) require employers to assess and prevent (or at least ade quately control) the risks to health from the use of any furious substances used in the workplace. A crazy substance is one which has, by law, to be labelled as very toxic, toxic, harmful, irritant or corrosive. It therefore includes some chemical substances such as paints and cleaning materials, as well as wood dust. The obligations to employers are to * assess the risks * decide what precautions are needed take steps to reduce or adequately control exposure to hazardous substances * ensure that control measures are utilised and maintained * monitor exposure * carry out health surveillance of employees who have been or are likely to be exposed * have in place emergency procedures to deal with accidents/incidents * ensure that employees are properly informed, trained and supervised. Educational establishments must have in place appropriate measures to ensure that the risks to the health and safety of pupils/students from exposure to hazardous substances are minimised. COSHH and ha irdressers key messages * Frequent contact with water and shampoo can irritate the skin leading to dermatitis. Some hairdressing and cleaning products can cause dermatitis and skin allergies. * Some dusty products like persulphates and henna can cause asthma. * Some hair sprays can make asthma worse. There are simple things you can do to prevent dermatitis and asthma * Keep the workplace well ventilated. * Wear disposable non-latex gloves for shampooing, act upon and bleaching. * Dry your hands thoroughly after washing with a softish towel. * Moisturise your hands as often as possible. * Change your gloves between clients. * Check your skin regularly for early signs of skin problems. The Provision and Use of Work Equipment Regulations 1998 These regulations set out minimum standards for the use of equipment at work.The main requirements are for employers to * take account of working conditions and hazards when selecting equipment * provide work equipment which conforms to relevan t safety standards * ensure that the work equipment is suitable for its intended purpose and used only for that purpose * maintain and keep the equipment in good working order * ensure that appropriate safety devices are on hand(predicate), if required * issue staff with appropriate instructions, training and supervision to use the work equipment safely * make sure that equipment is inspected after installation or after collection at a new location. The Construction (Design and Management) Regulations 2007These regulations cover the planning and management of twirl projects. An essential part of a projects development is health and safety. Consequently, there is a duty on those involved in a construction project, such as the controller of buildings (ie the LA/governing body/headteacher/principal), contractors and designers to cooperate with each other to identify risks early on, and to report matters that are likely to endanger health and safety. There is also a duty to take appr opriate measures to prevent the risk of injury to any person during the construction, which would include staff, pupils/students and visitors to the premises. Disability Discrimination Act 1995The Disability Discrimination Act 1995 defines a check as a visible or mental mischief that has a impregnable and long-term adverse effect on a persons ability to carry out normal day-to-day activities. To be substantial, the deterioration must last or be expected to last for at least 12 months. However, those with cancer, MS or who are HIV positive are deemed to be change from the point of diagnosis. The act requires employers to ensure that disable persons have safe access to premises and safe egress in the event of evacuation. They must also make any reasonable changes to the physical features of premises, hours of work, etc that may be necessary to accommodate the needs of disabled employees. Disability discriminationThe Disability Discrimination Act 1995 requires employers to make reasonable adjustments to premises or working practices to ensure that employees are not disadvantaged because of their handicap. In order to have rights under the Disability Discrimination Act, an employee must show they are defined as disabled under the act. This doer pitiable from a physical or mental impairment that has a substantial and long-term adverse effect on the persons ability to carry out normal day-to-day activities. Any adverse effects must last for at least a year to be considered long-term. Impairments must affect at least one of the following * mobility * manual dexterity * physical coordination * continence ability to lift, carry or otherwise move customary objects * speech * hearing * eyesight * memory or ability to concentrate, learn or understand * perception of risk of physical danger. Under the act, people with cancer, MS and those who are HIV positive are deemed to be disabled from the point of diagnosis. Other impairments that employment tribunals have considered a disability include depression, epilepsy, ME and asthma. This does not mean, however, that all people who suffer from these impairments are disabled under the act much depends on their ability to carry out at least one of the day-to-day activities listed above. Duty to implement reasonable adjustmentsEmployers are obliged to make reasonable adjustments to premises or working arrangements to prevent a disabled person from being placed at a substantial disadvantage compared with persons who are not disabled. In educational establishments, adjustment to premises can include the following * providing wheelchair-accessible toilets, ramps and automatic opening doors * allocating classrooms on ground floors * providing a designated car-parking space * widening doorways and re-arranging furniture to allow wheelchair-users to move around * providing ergonomically designed chairs or adapted keyboards * acquiring specialist equipment with magnifying facilities. Changes to working arrangements may be made by employing an assistant to undertake administrative tasks * providing a reader or signer for a visually impaired person * adjusting the timetable or allowing extra non-contact time * allocating some duties to another employee * fastening working hours to allow part-time work or job-sharing * providing additional training. magical spell the potential cost of adjustments often concern educational establishments, many a(prenominal) are relatively inexpensive. Moreover, under the Employment Services Access to Work Scheme, funding is available for human support and adaptations to premises and equipment. Disability employment advisors in Jobcentres offer free independent advice on adjustments to the workplace. Many LAs also employ disability officers. Other forms of discrimination under the ActFailure to make reasonable adjustments is one of the five ways in which an employer can discriminate on the grounds of disability. The others are Direct discriminatio n this occurs where a person discriminates against a disabled person if, on the ground of that persons disability, he or she is set less favourably than a person not having that particular disability has been or would have been treated. There is no justification defence to a claim for direct discrimination. Disability-related discrimination this occurs where the employer, for reasons relating to a persons disability, treats that employee less favourably than the employer treats or would treat others to whom that reason does not apply, and that treatment is not justified.Harassment occurs where the disabled person is subjected to unwanted conduct which has the purpose or effect of violating his or her dignity or creating an intimidating, degrading, humiliating or offensive environment for him or her. Victimisation essentially occurs where the disabled person is treated less favourably because he or she has commenced a claim under the Disability Discrimination Act or has given evide nce/information in proceedings brought by someone else or has alleged that a person has contravened the act. A claim for disability discrimination must be presented to the Employment courtroom within three months beginning with the date of the act of which complaint is made.The Health and Safety (First Aid) Regulations 1981 These regulations require employers to provide * adequate and appropriate first-aid equipment and facilities * an adequate number of qualified first aiders * an appointed person, if a first aider is absent, to take charge of first-aid arrangements, including looking after the equipment and calling the emergency services. The Approved Code of get along to the regulations stresses that the employer must make an assessment of first-aid needs. Educational establishments should therefore take account of risks to pupils/students on and off site when considering their provisions for first aid. The Regulatory disentangle (Fire Safety) Order 2005Under this order, the re sponsible person in the workplace (ie the employer/owner/person in control) is required to take general bite safety precautions to ensure the health and safety of staff and others, such as pupils/students. These precautions include * assessing the risk of fire, paying particular attention to those who may be especially vulnerable, eg children * ensuring that there are effective means of escape * making sure the workplace is well- render with appropriate fire-fighting equipment/detectors/ alerts * adopting appropriate fire-fighting measures * nominating an adequate number of suitably trained and equipped competent persons to implement these measures.The order contains duties relating to safety drills and emergency routes/exits, which employees must be made aware of at their induction. Fire risk assessment Risk assessment is at the heart of fire safety management. A fire risk assessment follows the same principles as any risk assessment * step one Identify the fire hazards, eg what could start a fire, ignescent materials, etc. * Step two Identify people at risk (look at numbers of people, vulnerable groups and the likelihood of the fire spreading). * Step three Evaluate the risks and implement control measures to remove or reduce the risk. * Step four Record the findings and inform staff and safety reps. Step five Review and revise the plan as and when there are changes in work activities, the use of the building, etc. Safety representatives should request a assume of the school or college fire risk assessments. Further guidance on fire risk assessments and precautions is available from the Department for Communities and Local Government atwww. firesafetyguides. communities. gov. uk What every staff member should know Fire safety procedures should be a part of induction for every new member of staff. In particular, staff should be informed of the following * the fire risk * what to do if they discover a fire * raising the alarm * recognising the fire alarm a nd acting on it * calling the fire brigade.Discovering a fire If a fire is discovered, the first action is to raise the alarm so the occupants of the building know there is a fire and that they must leave. This is usually done by locating the break glass call point. There are many types of fire extinguishers used in schools and colleges. Staff that are not trained to use fire-fighting equipment should not waste time trying to make them work. Those who have been trained and nominated to use the equipment should not attempt to put out large fires. If a fire cannot be put out, the door should be closed and the building evacuated RECOGNISE GOOD PRACTICE IN ASSESSING CANDIDATES IN RELATION TO ASSESSMENT.As Assessors we should be demonstrating good practice in relation to equality and diversity equal opportunities Equality = Treating everyone as an individual, not the same as everyone else, we are not all the same, we are all very unalike individuals. Eg there may be limitations to some one with a disability. They cannot be treated the same as myself as her/his disability may limit them in what they can do, so they need to be treated individually. Diversity. Is about the diverse nature of the industry. The clients, different hair types, textures etc. Diversity means all different sizes, shapes, ages, dark hair, light hair, black, white. It is good practice to ensure Health Safety to make sure that we adapt working environments for different clients, different candidates, and different students.It is good practice to assist our candidates and students to use technology, encourage them to use computers, internet, submit assignments electronically etc. We have to be seen to be embracing this in our assessment processes. Reflective Practice Demonstrate a proactive approach to self-reflection, How do I feel I am doing? C. P. D Continual Professional Development is key to good practice. I need to keep myself up to date with my skills. I need to keep up to date with ne w equipment being introduced to the industry. I should eternally be in-front of my candidates/students, I should never be in a situation where a student is telling me about new trends, new equipment that I have never heard of.It is good practice that I am always seen to be keeping ahead in the industry that I am assessing. It is not good practice if I do not know what is going on in the industry I am assessing I should get feedback from others too on how I am doing. Each year I have to obtain 30 hours of evidence of hands on C. P. D. This is achieved if I am working for the college in July C. P. D week it may be that the college sets up 2 days where a company comes into the beauty parlour and demonstrates new equipment trains us on up to date styles. They will also open up a commercial salon so that we can work commercially for a day. The college may also send us out for training for instance to Saks. I have to upload all of my work to I. F. L to ensure my C. P. D.

Economic Activity as Reflected in Painting:

ECONOMIC ACTIVITY AS REFLECTED IN PAINTING THE CONTRASTING VIEWS OF ECONOMISTS AND ART HISTORIANS 1 Manuel Santos-Redondo Universidad Complutense de Madrid las diferencias con respecto al Documento de Trabajo disponible en la network estan subrayadas 1. Introduction The M unrivaledychanger and his married woman is in every probability the visualise near widely apply to illustrate sparing practise, and so it is (supposedly) salubrious k without delayn by economists, humankindagers, and accountants. The accounting account nurse which bug outs in the present is the melody of former AECA (Spanish Association of Accounting and Business validation) logo.It is a Flemish motion-picture show from the early 16th century. Not so umpteen economists argon, however, aw atomic number 18 that thither atomic number 18 deuce contrasting var.s of this picture one by Quentin Massys, multicoloured ab come on 1514 (now in Paris, the quint), and an antithetic by Marinus (Claeszon) c ara wagon train Reymerswaele, multicolor in 1539 (now in Madrid, in the Prado). in that respect are signifi corporationt changes between the twain versions. This being the scholastic period and besides the epoch of the commercialized variety in Europe, we would conduct this picture to excite close sort of scotch meaning, and for the changes in the pictures to reflect these changes in frugal action mechanism and economic thought.We imp invention argue in this paper that there does exist such a meaning and that similarly the very all important(p) changes between Massyss and Reymerswaeles pictures experience often to do with the economic changes in Europe in the beginning of the 16th century. Most wile historians postulate grabn in Massys and Reymerswaeles motion pictures a sarcastic and moralising symbolization, The Money Changer and his married woman being the m gray-headed of voraciousness. Others mobilize that the picture shows economic activity in a sol id office.Flanders at that time was the centre of a flourishing industrial and commercial activity, and alike was the centre of a mercenary trade in works of device. twain(prenominal) things led to a demoation of the professional activity of fundschangers, billssmiths, and bankers in a way that shows those activities as respect subject professions. The second regard is the one implicitly parcel outd by economists when choosing this picture to illustrate many keeps on political economy or line of credit. Some scholars have proposed more subtle construeations.Marjorie Grice-Hutchinson, the historian of economic thought who start-off aroused the interest of economists in the Spanish pedants of shoal of Salamanca, handles Massys pictorial matter to be an illustration of the intention of Scholastics to make congruous the commercial customs of the time with Church doctrine on usury. According to her interpretation, Massys house ikon would mean the bullion lender wo rks and, at the same time, discussing with his married woman the law of a particular commercial deal, helped by the sacred book his married woman is class period.It is important to nonice that, 25 years on, the book in Reymerswaele depiction is no longer a sacred work just now an accounting book. exactly art historians claim that there is still well-nigh symbolism in the picture show which gives it a moralising and satirical intent. According to them, this symbolism was clear to contemporaries however non to us or slightlytimes would have been intentionally difficult to get wind for those contemporaries who were not in the same religious group as the painter or his client. For instance, the long, veer fingers of the bourgeois couple allegedly delineate avarice.But Reymerswaele create the fingers of fear Jerome in the same way , so it must have an esthetic intention and not a symbolic one. In the process of reviewing the contrasting interpretations provided by art historians of this picture and other similar ones, we shall see that they are consistent with the views that most art historians share or so the economy (as Hayek expresss out in his chapter of The fatal conceit, 1988, The Mysterious cosmea of Trade and Money) earlier than based on any design interpretation of the painting and history.Thus, mend the picture shows commercial and fiscal activity to be a normal, proficient occupation, most art historians see a moralizing and satirical intention. My view is that art historians blemish towards commercial and financial activity leads them to a aggrieve interpretation of the paintings. When the painters wanted to be satirical and moralizing, they did it in a way that is clear recognizable by us forthwith. And that this is not the case with the The Moneychanger and his Wife, in either the version of Massys or that of Reymerswaele. 2. Quentin Massys Let us start with Quentin Massys,2 The Moneychanger and his Wife, date 1514. Figur e 1. It is probably derided from a lost work by Jan van Eyck, c. 1440. 3 On the table are buttd coins, a set of scales, and various(a) other tools of their trade. (various other tokens of their wealth, says the art historian dungaree-Claude Frere, 1997, p. 186. This is our first difference in interpretation). The man is weigh currency coins with great care. At that time, coins with the same award value varied in the amount of gold they contained (and therefore in their real exchange value), because it was a normal workout to point them down, clip them, or to shake them together in a bag in order to collect the gold dust they produced.So, the moneychanger is apparently going about his business, not counting his money as a miser would do. And, if you look at his face, it is not the face of a miser, precisely the face of a concentrating working man, care climby carrying out his job. His wife is looking at the coins and scales too but she has a book in her hands. The book is a religious one, an illustrated book of hours.Marjorie Grice-Hutchinson, the historian of economic thought who first brought economists attendance to the Spanish Scholastics of the School of Salamanca, considers Massys painting an illustration of the intention of the Scholastics to make compatible the commercial places of their time with the Churchs doctrine on usury. According to her interpretation, Massys painting portrays the money lender at work and, at the same time, discussing with his wife the fairness of a particular commercial deal, helped by consulting the religious book his wife is reading. 4 Many other interpretations of Massyss work consider this picture as to be a oralizing one, in a much stronger sense than that of Grice-Hutchinsons view. The Encarta encyclopaedia says In The Moneychanger and his Wife, the subtly hinted conflict between avarice and prayer represented in the couple illustrates a new satirical quality in his paintings. 5 (It is curious that the Web impulsion of artistic creation, together with the Encarta article, provides this contradictory translation The painting remains in the Flemish tradition of van Eyck, with the increment of a profane sense of beauty, sign of a new beingness). 6 Another scholar says this about Massys Painters to a fault began to treat new fonts. men the like Quentin Massys, for shell, played an active role in the intellectual spirit of their cities and began to mirror the ethical concerns expressed by humanist thinkers with new paintings that used secular scenes to impart moralizing messages. Vivid tableaux warned against gambling, lust, and other vices. 7 At the screw of the painting there is a circular mirror we can see the tiny figure of a man wearing a turban. Figure 2 For somewhat reason, the following is the explanation of the art historian Jean-Claude Frere a side window, beneath which we can just make out the tiny figure of a thief.He would seem to be spying on the couple as they co unt their gold, while they would seem to be oblivious to his presence, blinded by their greed. 8 Let us leave aside the greed and sign on on the tiny man. Is he a thief? I dont have it away. But Im sure he is not spying on the couple as they count their gold I am not an art historian, but it seems clear to me that the man is inside the room, he is reading a book and looking out of the window to the street. In think that this is not a casual mistake it is consistent with art historians interpretation. Symbolism, a source of moral interpretationMy view is that art historians explanation of The Moneychanger and his Wife as a satirical work containing symbolic allusions hidden from contemporaneous observers, is merely a reflection of their own prejudices concerning certain economic activities. Let us consider the serious arguments supporting the symbolic explanations of paintings of the Flemish conversion, in order to be able to judge when a painting has this meaning and when has n ot. The famous art historian Erwin Panofsky held that the betimes Flemish painters had to reconcile the new naturalism with a thousand years of Christian tradition.Based on St. Tomas Aquinas, who thought that fleshly objects were corporeal metaphors for spiritual things, Panofsky (former(a) Netherlandish word picture, 1953) maintains that in early Flemish painting the mode of disguised symbolism was applied to each and every object, man make or natural. 9 in that respect are other historical sources that point to a symbolic meaning in the painting of Quentin Massys. In his painting portrayal of a merchandiser and his Partner,10 Figure 3 there is a distinctly fair inscription, in French Lavaricieux nest jamais rempli dargentNayez point souci des richesses injustes, car elles ne vous profiteront en rien au jour de la visitation et de la vengeance. Soyez donc sans avarice. This is a reiterate of the Gospel of St Luke, ch. XII, 15, 21-34 deification Matthew, ch. VI, 19-21. Je an Cailleux says that the main character in the painting est soumis a la parole evangelique. Il est vraiment fidele dans les richesses injustes. Il ne dispense with pas a la sollicitacion du Tentateur qui, derriere lui, le visage tordu par lavarice et la soif du lucre, lui propose des comptes fantastiques. 11 Painting and Economic Activity at Flanders We can expect the Flemish painters to be familiar with market oriented economic activity and the money world, because of the fraternity in which they lived. Flanders at that time was the concenter of a flourishing industrial and commercial world, and also was the center of a mercantile trade of works of art. both(prenominal) things led to a imitation of the professional activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as brawny ones.Most Flemish artists were familiar with this world because of their own fashion of painting, which was thusly market oriented. Massys was the most important of Antwerp painters of his time and this means his shop was an example of how artistic production was organized in Antwerp, and formerly in Bruges. It is not at all odd that Flemish painters should portray business people. Massys worked for religious confraternities, and also painted delineations and other profane subjects, sometimes satirical, in reply to commissions from humanists and scholars.Frere says that Massys was perfectly attuned to the new mercantile conception of art. Antwerp was already established as an active and liberal center for trade in art (1997, p. 186). Both Antwerp and Bruges had a regulated guild system for painters at the beginning of the sixteenth century. It is important to notice not however(prenominal) the art of the painter, but also the evolution of the masters workshop. At the beginning of the Renaissance, training in a craft took place in workshops regulated by civic authorities apprenticeship was followed by admission to a guild.By the end of the century, workshops had deform more like shops nowadays, relinquishing out heavys for a flourishing private market accountable to no one. And change came without a defining moment and without artists missing a beat. store assistants had certain preparatory tasks, including grinding pigments, laying grounds, and the transfer of under-drawings. go through assistants took on subsidiary passages, including background or stock figures. Assistants also make copies to keep pace with demand, and they had access to the masters designs once they set up for themselves.Workshop copies ranged from straightforward replicas to transpositions into other media and from large commissions to private, devotional images. 12 The conventional portrait of a rich man But this familiarity of artists with a commercial society does not lead them automatically to portray business people in their trade, as occupational portraits the harsh way to portray a business man was in a way that showed him as a reli gious man, or as an intellectual in his house, surrounded by works of art and literature.The opera hat known example is The Arnolfini depicting by van Eyck, but there are many others. In the triptych The Last Judgement, painted in 1480 by the Flemish painter, working in Bruges, Hans Memling, we can see the portraits of Tomaso Portinari and his wife, new inside the scales and those of Angiolo Tani and his wife, Catarina Tanagli, kneeling on the floor at prayer. Figure 4 Both Portinari and Tani were important business men working in Bruges break of the Medici company. In the Italian Renaissance, Lorenzo de Medici is portrayed as one of the Magi in Gozzolis Journey of the Magi, 1459. 13 It was or else common to include the donors portrait in a religious scene. Tomaso Portinari and his wife, female horse Baroncelli, were also directly portrayed by Memling, at prayer. 14 (The fact that Antwerp was a rapidly enriched city and lacked a traditional aristocracy, whitethorn well have been an important reason for the artist representing economic activity in the portraits of businessmen, instead of the traditional rich and cultured portrait). 3. Marinus van Reymerswaele Let us now move on to the other version of the portrait and to a different year.Marinus van Reymerswaele15 The Moneychanger and his Wife, Figure 5 painted in 1539, is invigorate by Massys. 16 This is the explanation of the painting provided by the Spanish Association of Accounting and Business Administration, AECA, which in 1979 chose as the symbol of the association a section this painting. Figure 6 The painting which has inspired our logotype is internationally famous as an image of financial activity during the Renaissance it shows a scene typical of the counting house of a banker of the period.The subject of the pair of moneychangers shows us a new profession which has appeared in the period, a profession related to the world of finance, appraisees and commercial accounts. Reymerswaele adapts the subject of the banker and his wife from Massyss painting now in the Louvre in Paris. In Reymerswaeles painting, the bourgeois married couple are seen counting out gold and silver coins, and the husband is weighing them with great care in a small set of scales, since most of them would be clipped or scraped. The coins are probably the product of task-collection, an exchange of foreign currency or the repaying of a loan.This would imply the use of the abacus which the banker has at his righteousness on the table, and then the mount out of accounts in the accounts book which the wife is holding in her hairsplitting o.k. hands. 17 Compare the explanation of this picture effrontery by the AECA with the moralistic and over-sophisticated explanations of the art historians. The changes Between 1514 and 1539, many things have changed. In particular, the accelerated result of the economy that stemmed from the discovery and colonization of the impudently World, and the religious transubstantiation known as Lutheran Reformation.Reymerswaele was himself involved in the Lutheran Reformation. (We know that in 1567, being an old man, he took part in the electric arc of Middelburg cathedral, and was severely penalize (six years of banishment and public humiliation). Reymerswaele specialized in everyday scenes of flourishing Flanders, with great realism, which gives his works a considerable documentary interest. (Paintings by masters of Northern Renaissance realism often record official contracts or acts. The Lawyers Office, 1545, by Reymerswaele, Figure 7 is a remarkable example of this practice. upstart research has show that the documents, which form the background of the painting, tinge to an actual typesetters case begun in 1526 in the town of Reymerswaele on the North Sea). 18 His subjects were businessmen usurers, notaries, tax gatherers but what could be seen as occupational portraits are always show as moralizing Another art historian says usuriers, changeurs, avocats, notaires, percepteurs dimpots, monde apre et rapace de largent toujours plus puissant dans le metropole enrichie. Lart de Marinus Reymerswaele presente une accentuation presque caricaturale, qui donne a louvre sa portee moralisante (Philippot, 1994, p. 173). Puyvelde considers that, in the genre painting by Marinus van Reymerswaele, the realist portrait turns into a exaggeration of rapacious and greedy businessmen. In Reymerswaele The Moneychanger and his Wife, he says, lesprit de lucre est plus nettement marque dans les physionomies et les doigts maigres (Puyvelde, p. 13 we will turn to the fingers last mentioned).The study of the gold coins that appear in the painting shows that the coins are largely Italian and are all of types minted before 1520 (Puyvelde, p. 17). This could mean that the painting is a trial effort done by Reymerswaele, before his first clearly datable painting, Saint Jerome, of 1521. The importance of Puyveldes argument is not the exac t date, which I cannot dispute, but the fact that Puyvelde considers The Money changer and his Wife closer to a portrait than to a satire, as ompared to by and by works by Marinus later in his career, Reymerswaele would have abandoned portraiture and turned to satire and exaggeration (pamphlet, says Puyvelde). 19 The public appears to have had a preference for satire, and Marinus sought to converge the public with pleasant humorous pictures which enjoyed great commonity among gatherers of the period. Other paintings contain inscriptions which refer to the taxes charged on beer, wine or fish. In one of the copies or imitations of The Lawyers Office, titled The Notarys Study, the document the notary is reading has been deciphered it appears to be a parody of court-ordered slang.Even the signature on the document in French reads Notaire infame et faussaire. 20 Usually museum guides reflect the views of art historians. Referring to Reymerswaele The Moneychanger and his Wife, a gui de to the Prado says In this painting we find all the characteristics of Northern European painters minute detail, fine quality raw material, an empirical approach to reality, and above all, the naked squalor with which cutting edge Reymerswaele approaches one of the principal evils of his time usury, the greater of all come-at-able sins in a commercial society such as Flanders. corruptness and fraud affected all levels of society, even the clergy, producing a critical reply on the part of writers, theologians and artists. 21 Reymerswaele was not the only painter who developed Massys portraits some(prenominal) other Flemish painters did. Again, there are significant differences in their style, differences which entrance the overall tone of the picture either as occupational portrait or caricature. My point is that a common looker of today can spot the difference.Corneille van der Capelle painted Le Percepteur dimpots et son Garant and Le Percepteur dimpots et sa Femme,22 Figu re 8 in which we can notice a real, kind portrait of the businessmen, rather far from any caricature. But, even given the very different styles, I find no moral satire in Reymerswaele The Moneychanger and his Wife, as compared to his other works. In Reymerswaele version, the religious book has disappeared. This is an obvious change, since Marinus was a Protestant and wouldnt have accepted any other religious book for daily reading than the bible.But there is no bible in Marinus painting. Instead, there is a hand- create verbally book, with no illustrations, which seems to be an accounting book. The characters in Reymerswaele painting are most elegant, with luxurious clothes, and long, delicate fingers. This is also thought by some scholars to be satirical Long, curved fingers were, in XVI century, a sign of greed or avarice, so an apparently domestic subject can also be full of moral meaning. 23 Long, curved fingers and noses use to represent Jews and, by extension, greed or avaric e in Christian iconography. It may be important to notice that Jews played an important role in Antwerps economic activity. The money market was controlled by the Italian Lombards, and Jews could only act as minor money-lenders. The Jews lent mainly small amounts of money for shorter periods of time to less wealthy people such as butchers and bakers. scarcity was an excellent situation for Jewish money-lenders. As a consequence, they had many clients among the common people who probably had great difficulties in paying them back. This fact may have reinforced the strong anti-Semitism prevalent at that time.There were a massacre of Jews in Antwerp in 1350, and then many Spanish and Portuguese marranos came to settle there after 1492 and 1497, expelled from Spain and Portugal. 24 I havent fully explored yet the possibility of the satirical portraits being racist or anti-Semitic). But the long fingers can imply other things they can be an esthetic technique to make people appear more m ystical, unmaterialistic, attractive. We could interpret thus the fingers of Reymerswaele Saint Jerome, in 1521. Figure 9 And Saint Jerome transmits you the idea of ascetic sanctity, the antithesis of greed. Although, again, some scholar says that Reymerswaele painting of Saint Jerome is stressing the crabbedness of scholarship. Even if that is correct, it would not be the crabbedness of greed). To me, the long, curved fingers of the moneychanger and his beautiful wife imply simply elegance. This is my personal impression. If I then look at other paintings by Reymerswaele, for instance, the two revenue enhancement Gatherers (also The Misers), draw by the same scholar as exceedingly ugly and covetous, I dont need to be his contemporary to notice the satirical meaning. 25After comparing their clever interpretations with what a spectator sees in these pictures, I would recommend that the meaning of a painting, as given by art historians, not be accepted uncritically their judgments a ppear to be based upon certain prejudices, in this case concerning commercial and financial practices, rather than any objective analysis of the painting. 4. Other Flemish occupational portraits If you look at other paintings of the same school, it is easy to find examples of good, non critical or satirical, representation of moneychangers, goldsmiths, and bankers.Adriaen Isenbrant Man Weighing Gold (c. 1518),26 Figure 10 is described in this way by Jean E. Wilson This sensitive portrait of a banker or, perhaps, a moneychanger reveals the sitters evident dress in his occupation. The portrait also serves as an example of the widening interest in portraiture, which had gradually broaden to members of the business sector (Wilson 1998, p. 196). But another(prenominal) scholar points out that the act of weighing coins may allude both to the mans profession and to his contemplation of higher values, corresponding to Saint Michaels weighing of souls on Judgment Day. 27In Hieronimous Bosc hs The give in of the Deadly Sins,28 1480, Figure 11 avarice is shown as a judge who is being bribed. This is entirely different from the activity of the banker what Bosch shows us is not a profit-seeking commercial practice which is therefore sinful, but an act of corruption which would be taken to be immoral equally in a commercially oriented society or in an ideal world described by Scholastic theologians. Another example of an occupational portrait is the Portrait of a Merchant Figure 12 by Jean Gossaert (c. 1530),29 thought to be a portrait of Jeronimus Sandelin, a real merchant from Zealand, in Flanders.There is nothing satirical about it it is a purely occupational portrait. But the guinea pig aim of Art drawing Guide says this the sitters furtive glance and prim give tongue to are enough to inform us of the insecurity and apprehension that obsessed bankers in the 1530s, when the prevailing moral attitude was summed up by the Dutch humanist Erasmus, who asked, When did avarice reign more largely and less punished? 30 St. Eloy (Eligius) in His Shop, 1449, by Petrus Christus,31 Figure 13 is the clear representation of a goldsmith working in his shop and attending two clients a rich, well-born bridal couple.It seems to be a representation of the goldsmiths trade, with the excuse of the portrait of a saint (hardly a subtle ploy, since St. Eloy is the athletic supporter of goldsmiths guild). The goldsmith sits behind a window sill extended to form a table, a pair of jewelers scales in one hand, a ring in the other. Only his halo suggests that the painting deals with legend. On the right is a display of examples of the goldsmiths craft. The picture may very well have been painted for a goldsmiths guild (the one in Antwerp). St. Eligius is the Patron of metalworkers.As a maker of reliquaries he has become one of the most popular saints of the Christian West. Eligius (also known as Eloy) was born around 590 near Limoges in France. He became an extremely skillful metalsmith and was appointed master of the mint under King Clothar of the Franks. Eligius developed a close friendship with the King and his account as an outstanding metalsmith became widespread. It is important to notice that most big(p) features in the life of St. Eligius can be seen both as indications of sanctity and the best professional characteristics of a good goldsmith.In the goldsmiths trade, skills were as important as reliability, as Adam metalworker notices in Wealth of Nations The wages of goldsmiths and jewelers are every-where superior to those of many other workmen, not only of equal, but of much superior ingenuity on account of the precious materials with they are intrusted. 32 Eligius is praised for both qualities. From his biography, we can see how important this reliability of his goldsmith was, for the king to become Eligius protector The king gave Eligius a great weight of gold.Eligius began the work today and from that which he had taken for a si ngle piece of work, he was able to make two. Incredibly, he could do it all from the same weight for he had accomplished the work commissioned from him without any fraud or diversity of siliquae, or any other fraudulence. Not claiming fragments bitten off by the file or using the devouring flame of the furnace for an excuse. 33 The portrait Saint Eligius by Petrus Christus is a fine example of the occupational portrait, describing a goldsmiths shop, the only religious connection being the halo and the fact than the saint is the patron of the guild.The true moralizing pictures of the Flemish School Look at the painting The Ill-Matched Lovers, c. 1520, Figure 14 by Quentin Massys34 again you dont need to be a contemporary of his to notice the satirical intention. (It is important to notice that the theme of love between the old and the young was extremely popular in sixteenth century, and we can have that both the popularity and the moral view has changed on this subject in modern- day times.The meaning of the painting, however, hasnt changed at all, because the artist doesnt paint the old man with adhesion and love and mature elegance, but as undignified uncontrolled, despicable desire). There are other paintings by Marinus which shows a clearly satirical approach, or at least an ugly expression which does not imply pride in the profession see The Lawyers Office, 1545, and The Misers Figure 15 (also known, in different versions, as The Tax Gatherers or The tax gatherer and his guarantor).This one shows two tax collectors, or rather a treasurer, or an administrator with his clerk, the collector with a winking grimace. The treasurer enters in a book the sums accepted for the taxes with his right hand counts and weighs the coins 35 Both of them look clearly satirical for a modern observer. 5. Conclusion This paper has compared the rival interpretations provided by economists and art historians of the painting The Moneychanger and his Wife. The painting is seen as an occupational portrait, showing a banker in his office, carefully weighing coins simply because this is one of most prominent features of his trade.It is a clearly secular subject, much more so in Reymerwaeles version the religious books in the womans hands has been turned into an accounting book. We could expect Flemish painters to be familiar with market oriented economic activity and the money world, because of the society in which they lived. Flanders at that time was the center of a flourishing industrial and commercial world, and also was the center of a mercantile trade in works of art. 36 Both things led to a representation of the professional activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as respectable ones.In the process of reviewing the different interpretations provided by art historians about this picture and other similar ones, we have seen that they are consistent with the views that art historians share about the econom ic activity, rather than based on any objective interpretation of the painting and history. Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art historians see a moralizing and satirical intention. This paper maintains that art historians prejudice towards commercial and financial activity leads them to a wrong interpretation of the paintings. keep down OF ILUSTRATIONS 1. The Moneychanger and his wife, by Quentin Matsys, 1503-1505. 2. The Last Judgement, by Hans Memling, 1480. Portrait of Angiolo Tani and his wife. 3. The Moneychanger and his wife, by Marinus van Reymerswaele, 1539. 4. Saint Jerome, by Marinus Reymerswaele. 5. Logo of the Spanish Association of Accounting and Business Administration (AECA). 6. Adriaen Isenbrant, Man Weighing Gold, fist half of the sixteenth century. 7. St. Eloy (Eligius) in His Shop, by Petrus Christus, 1449. 8. The Table of Deadly Sins, 1480, by Hieronimous Bosch. 9. Portrait of a Merchant , by Jean Gossaert, c. 1530. 10.The Ill-Matched Lovers, by Quentin Mastsys. 11. The Misers, or The moneylenders, by Marinus van Reymerswaele, 1545. 12. Marinus van Reymerswaele, Two Tax-Gatherers, 15, issue Gallery, London. Yamey, p. 52, Plate XVI 13. Marinus van Reymerswaele, Two Tax-Collectors, 15, Alte Pinakotheck, Munich. Yamey, p. 54, 29 XVI 14. mapping of Flanders and Antwerp. 15. The Lawyers Office, by Marinus van Reymerswaele, 1545. 16. Portrait of a Merchant and his Partner, by Quentin Metsys. 17. The taxgatherer and his Wife, by Corneille van de Capelle (Corneille de Lyon? ) BIBLIOGRAPHY Ainsworth, Maryan Wynn (et al. (1994), Les Primitifs flamands et leur temps (sous la direction de Brigitte Veronee-Verhaegen et Roger Van Schoute). Louvain-la-Neuve La Renaissance du Livre. Benezit, E. (1976), Dectionaire brush up et documentaire des peintres, sculpteurs, Dessinateurs et Graveurs (nouvelle edition, entierement refondue, revue el corrigee sous la direction des heritiers de E. Benezit). Libraire Grund. Vol. 7. Marinus Van Roejmerswaelen Campbell, Lorne, et al. (1978) Quentin Massys, Desiderius Erasmus, Pieter Gillis and Thomas More. The Burlington Magazine, Vol. CXX, n? 908, november, pp. 716-724.Cassagnes, Sophie (2001), Dart et dargent. Les artistes et leurs clients dans lEurope du Nord (XIVe -XVe siecle), Rennes Presses Universitaires de Rennes. Frere, Jean-Claude (1997), Early Flemish Painting, Paris Terrail. Friedlander, Max J. (1967) 1929 Early Netherlandish painting. Vol 1, The van EycksPetrus Christus, Brussels La Connaissance, and Leyden A. W. Sijthoff. Genaille, Robert (1967), Dictionnaire des peintres flamands et hollandais, Paris Larousse. Grice-Hutchinson, Marjorie (1993) Santo Tomas de Aquino en la historia del pensamiento economico, in Ensayos sobre el pensamiento economico en Espana. This essay, lectured to receive the Honoris Causa Doctorate from Universidad Complutense de Madrid, is not in the English version of the same book). Hay ek, Friedrich August (1988), The fatal conceit. The errors of socialism, London Routledge. Chapter 6, The Misterious World of Trade and Money. Mackor, Adri Are Marinus Tax Collectors collecting taxes? Bulletin du Musee National de Varsovie XXXVI (1995 n? 3-4) pp. 3-13. Mackor, Adri Marinus van Reymerswale Painter, Lawyer and Iconoclast, Oud Holland 109 (1995) pp. 191-200. Mund, Helene (1994), La copie, in Ainsworth (et al. ) (1994), pp. 125-141.Panofsky, Erwin (1971) 1953, Early Netherlandish painting its origins and character (2 vols. ) London Harper and Row. Panofsky, Erwin (1993) 1955, Meaning in the visual arts, Penguin. Philippot, Paul (1994), La peinture dans les anciens Pays-Bas. XV-XVIe siecles. Paris Flammarion. Puyvelde, Leo van (1957), Un Portrait de Marchand par Quentin Metsys et les Percepteurs dImpots par Marin van Reymerswale, Revue Belgue dArcheologie et dHistoire de lArt, vol. 26, pp. 3-23. Silver, Larry (1984), The paintings of Quinten Massys with catalogue raison ne, Oxford. Montclair, N. J. Allanheld & Schram.Smith, Adam (1976) 1776, An examination into the Nature and Causes of the Wealth of Nations, Comps. R. Campbell, A. S. Skinner y W. B. Todd. Oxford Clarendon Press. Van Houdt, Toon (1999), The Economics of Art in Early Modern Times Some Humanist and Scholastic Approaches, History of Political Economy, 31(0), Supplement 1999 (Economic Engagements with Art, edited by Neil De Marchi and Craufurd D. W. Goodwin, London Duke University Press), pages 303-31. Vanhoutte, Edward (1997), In your seed all the nations of the Earth shall be blessed. Importance and unimportance of the Jews of Belgium from the kernel Ages to the Enlightenment,.Guest-lecture. Lancaster (UK) Lancaster University, 6 february. In . VVAA (1994), El Prado, Barcelona Lunwerg. Wilson, Jean E. (1998), Painting in Bruges at the close of the Middle Ages. Studies in Society and Visual Culture. daddy University Press. Yamey, Basil S. (1989), Art and Accounting, crude Haven a nd London Yale University Press. 1 The author wants to give thanks John Reeder for his useful comments. A previous version of this paper, with the title The Moneychanger and his Wife from Scholastics to Accounting, is in Internet, http//www. ucm. es/BUCM/cee/doc/00-23/0023. tm. 2 Quentin Massys (1465/66 1530), also Matsys, Metsys, Metsijs, Massijs. far-famed Flemish painter, the founder of the Antwerp school, he was probably born in Leuven, Belgium. He was the main painter of his epoch. 3 Yamey (1989), pp. 24, 45. 4 Grice-Hutchinson (1993), pp. 203-205. 5 Massys, Quentin Microsoft Encarta Online Encyclopedia 2000, . In the same Encarta website, Erich Lessing/Art Resource, NY, says that Massys painted a witty commentary on greed. The bankers wife pretends piety by leafing through a religious book, while stealing a glance at her husbands gold. 6 Web Gallery of Art, . The pages says that the comments were compiled from various sources. 7 National Gallery of Art (Washington D. C. , USA), 2000, Antwerp in the Early 1500s, . 8 Jean-Claude Frere, Early Flemish Painting (1997, pp. 187-188). 9 Wilson (1998), p. 191 quoted from Panofsky, Early Netherlandish painting, 1953, p. 142. Every perceptible thing, man made or natural, becomes a symbol of that which is not perceptible, says Panofsky (Abbot Suger of St-Denis, 1946, in 1955, p. 161) following Dionysius the Pseudo-Areopagite. 10 Quentin Massys, Portrait of a merchant and his partner (Paris, collection M. Cailleux). 11 Puyvelde (1957, p. 5), quoting from Jean Cailleux, Les Richesses injustes, Reforme, Paris, n? 72, 3 aout 1946. In Antwerp, a tax-collector was obliged to have a surety or guarantor, who had the right to supervise the collection of money and its recording. The tax-collector is shown as a respectable person, accompanied by his guarantor, malicously rendered with a pronounced scowl. Yamey (1989, p. 54), confronts this van Puyveldes interpretation with other art historians view. 12 The Boys in the Back Room, written by John Haber in the Website Postmodernism and Art History Gallery Reviews from almost New York. The informations refers to the exhibition From Van Eyck to Bruegel Early Netherlandish Painting, at The metropolitan Museum of Art, January 1999. . 13 Benozzo Gozzoli (1420-1497), Italian painter. Procession of the Magi, 1460, Medici Riccardi Palace, Florence. 14 The Triptych The Last Judgement, now in Gdansk, Narodowe Museum, was painted by Memling (also Memlinc) in 1477. Angiolo Tani is painted in the outside of the wings.Tani had been the head of the Bruges branch of Medici Bank from 1455 to 1465. Tomaso Portinari was his successor in the position. Memling, Tommaso Portinari, 1470, tempera and oil on wood, Metropolitan Museum of Art, New York. Maria Maddalena Baroncelli (Mrs. Tomasso Portinari), 1470, tempera and oil on wood, Metropolitan Museum of Art, New York. For details, see Ainsworth et al. (1994), chapter Hans Memlinc, pp. 462-466. 15 Marinus (Claeszon) van Reym erswaele (also Roymerswaele) is a Flemish painter (c. 1495-1566). He received his first artistic training as an apprentice to an Antwerp glass painter named Simon van Daele in 1509.Known as a painter of genre and satire, Reymerswaele was famous enough to have been mentioned by the Florentin historian Guicciardini and the art historian and painter Vasari. 16 Reymerswaele (or his workshop) made a lot of copies of this subject. Puyvelde (1957, p. 15) claims that the two paintings in the Prado and the one in the Collection of the State of Babiera, signed in 1538 and 1539, are inspired by Massys The moneychanger and his wife. Puyvelde considers that most other copies are inspired by Massys Tax Gatherers. 17 El cuadro inspirador del logotipo es conocido internacionalmente como una imagen de la actividad economica del Renacimiento, especialmente de la financiera, ya que en el se muestra una situacion caracteristica de lo que podria considerarse un banquero de la epoca. El tema de la pareja de cambistas pone de manifiesto el surgimiento de una nueva profesion renacentista relacionada con el mundo de las finanzas, de los impuestos y de las cuentas mercantiles. Marinus toma de Quintin Metsys el tema del banquero y su mujer, que se expone en el Louvre de Paris.En el cuadro de Marinus, el matrimonio burges recuenta las monedas de oro y plata y el pesa en una pequena balanza, con gran delicadeza, aquellas, ya que la city manageria de las mismas eran raspadas o recortadas. Posiblemente provendrian de una recaudacion de impuestos, de una cambio de monedas o de la devolucion de un prestamo, lo que implicaria despues controlar o calcular la operacion con el abaco que tiene a su derecha sobre la mesa y a efectuar anotaciones en el libro de Contabilidad que ella tiene entre su bellas y delicadas manos. From AECAs Website, 1999. 18 Recent research has demonstrated that the documents, which form the background of the painting, refer to an actual lawsuit begun in 1526 in the town o f Reymerswaele on the North Sea. The suit arose between three heirs of Anthonius Willem Bouwensz and Cornelius vander Maere, the latter having purchased a salt refinery from the heirs of Anthonius. Difficulties began when Cornelius vander Maere refused to make the initial payment and subsequently had his goods seized. The legal transactions lasted until 1538, by which time the rightty under dispute had probably been ubmerged or destroyed by storms. Ironically, the court fees still had to be paid. New Orleans Museum of Art, Information written by Joan G. Caldwell. http//www. noma. org/MARINUS. HTM. The Museum owns one of the many versions of the painting Several versions of this composition exist in Munich, Amsterdam, Cologne and Brussels. While the Museums version is apparently the last in the series, it is painted with the greatest detail, thus clearly revealing the documents in the lawsuit. 19 Puyvelde (1957), pp. 7-18 le veritable portrait fait place a la caricature de lhomme d e affaire rapace (Puyvelde, 1957, p. 13 also, p. 20). 20 Puyvelde (1957), p. 23. 21 Es esta tabla encontramos todas las caracteristicas de los pintores nordicos el detallismo, las calidades materiales que se aprecian a la perfeccion, la aproximacion empirica a la realidad, y sobre todo, la sordidez descarnada con la que Van Reymerswaele aborda uno de los principales males de su epoca la usura, el mayor pecado posible dentro de una sociedad comerciante como era la flamenca.La corrupcion y la estafa afectaban a las capas de la sociedad, llegando al clero y provocando la reaccion de escritores, teologos y artistas. CD-ROM La Pintura en el Prado, 1996, Editorial Contrastes. 22 Corneille van der Capelle, Le Percepteur dimpots et sa Femme. Jadis Sigmaringen, Pince of Hohenzollern collection. 23 The illustrated book El Prado (Barcelona Lunwerg, 1994), p. 389. 24 Vanhoutte (1997). 25 Web Gallery of Art, description of the painting The Tax Collectors, 1542 (Wood, 103,7 x one hundred twenty cm. Alte Pinakothek, Munich), The Tax Collectors by Marinus Van Roymerswaele appears to be a deliberate caricature the painters Calvinist background clearly comes through in his depicting the tax collectors greed with a fierse grimace and claw-like hands, whilst the administrator records the money in the ledger, maintaining his proper distance. Marinus van Reymerswaele was a painter of three themes, all more or less caricatural. He painted a number of straightforward S. Jeromes, all derived from Durers picture of 1521 (Lisbon) but stressing the crabbedness of scholarship.The other two themes are dependent two exceedingly ugly and covetous Tax Gatherers and a Banker and his Wife (the banker counting his profits). The Banker is closely related to Massyss picture of the same subject, and it may be that the Tax Gatherers derive from Massyss borrowings from the caricatures of Leonardo da Vinci. There are about thirty versions of the Tax Gatherers (the best is in London, National Galler y another has the date 1552), and what nobody has so far explained is why so many people should want to own a picture of tax collectors (and besides ugly ones at that) gloating over their imposts.There are also examples in the British Royal Collection and in Antwerp, Berlin, Ghent, Madrid, Munich and Vienna. The Website says on the satisfying page that the comments were compiled from various sources. 26 Adriaen Isenbrant (? ) Man Weighing Gold, New York, Metropolitan Museum of Art, The Friedsam Collection. Adriaen Isenbrant is also known as Hysebrant or Ysenbrant. He was active in Bruges, 1510 1551. He was first mentioned in 1510 when he became a master in the Bruges painters and saddlemakers guild.He was recorded as a stranger, but his native town was not mentioned. Between 1516/1517 and 1547/1548 he was listed numerous times as a vinder or minor offical of the guild and in 1526/1527 and 1537/1538 was a gouverneur or financial officer. Because of the uncertainty, some authoriti es prefer to use the name Isenbrandt in inverted commas or with or with question mark. See the Website of the National Gallery of Art, Washington D. C. , 27 Bauman, G. , Early Flemish Portraits 1425-1525, M. M. A. Bull. XLIII, Spring 1986, pp. 46 f. On the contrary, Wehle, H. B. , and M. Salinger, M. M. A. , A Catalogue of Early Flemish, Dutch and German Paintings, 1947, pp. 100 f. , identify the sitter as a banker or a money changer and consider the portrait to be purely secular, not a donors likeness in a religious ensemble. References provided by Sandra Fritz, The Metropolitan Museum of Art, Central Catalog. 28 The Table of the Deadly Sins, 1480, by Hieronimous Bosch (c. 1450-1516). vegetable oil on panel, 120 x 150 cm. Prado Museum.Bosch is the name given to the Dutch painter Hieronimus van Aeken. 29 Jan Gossaert (c. 1478 1532), Portrait of a Merchant, c. 1530. Oil on panel, . 636 x . 475 m Washington, National Gallery of Art, Ailsa Mellon Bruce Fund. 30 National Gallery of Ar t, Washington DC, USA, Brief Guide, in . 31 Petrus Christus (fl. 1444-c. 1470), St. Eloy (Eligius) in His Shop, 1449, oil on panel, Metropolitan Museum of Art, New York. 32 Smith (1976), I. x. b. 18. 33 The Life of St. Eligius, 588-660, paragraph 5.The Life of Eligius, bishop and confessor, was written by Dado, bishop of Rouen (his friend and contemporary). Eligius lived from 588 to 660. The full text is in . 34 Quentin Massys, Ill-Matched Lovers, c. 1520/1525, oil on panel, 0432 x 0630 m. National Gallery of Art, Washington D. C. Ailsa Mellon Bruce Fund. 35 Marinus Van Reymerswaele, The Misers, 1531. Oil on wood. Naples, Museo Nazionale di Capodimonte, . 36 Bruges et surtout Anvers ont donc cree les premiers marches publics consacres a lart en Occident, Cassagness (2001), p. 264.

Male Perspective of Love in Literature Essay

equivalence and contrast the ways writers use form, structure and dustup to portray the anthropoid berth of extol in Shakespe ars Othello, Fitzgeralds The broad Gatsby and the song of Robert Browning. The male location of love is interesting to look at when aspect at several(predicate) texts in comparison. Although they examine up been written in different literary movements male fictional shares portray very comparable attitudes and reflect the said(prenominal) aspects towards love and relationships.This essay concerns the male perspective of love, however it is serious to study the factors that cause these interpretations of love that the writers have created for the male characters. For grammatical case a reoccurring perspective is the invite for dominance every over their bell ringerifi send awayt other for example in Shakespeares Othello, Othello establishes his dominance over Desdemona by murdering her, standardisedly in the rime of Robert Browning hi s poems My run short Duchess and Porphyrias Lover where they withal kill their lovers in severalize to reinforce their male dominance over their partner.In The spacious Gatsby Daisys partner Tom displays his dominance over Daisy when he abuses her by punching her in the face. The male perspective of love is understood when looking at the theories of causation. As stated one of the most prominent male perspective of love conveys the need and desire to be dominant over their partner. In the Shakespearian play Othello set in 16th century Venice looks at the idea of unconditional love despite the fact that Othello and his love Desdemona are from two completely different orbits. Othello is a berthe which refers to the Islamic Arabic inhabitants of brotherhood Africa, whereas Desdemona is a Venetian.Contextuall(a)y their love for one another would be seen as highly controversial and taboo, however despite Desdemona insists that she marries Othello. To you, preferring you before he r father, so more than I challenge that I may profess due to the Moor my lord. Here Desdemona recognises that her duty is divided, however her honesty with her father shows how resultingly firm she is. A literary interpretation of Othellos character would suggest that Othello pure tones the need to dominate over Desdemona due to his much insecurity as a character, directly associated with the idea that he is not of the Venetian culture.Leavis sessdidates that Othello is a pale and stupid character that doesnt understand himself or Desdemona, Othello is an outsider to the Venetian community where as Cassio isnt, hence his insecurities structure between Cassio and Desdemona when Iago suggests that they are having an interest together. As a result Othello may realise that to support his prestigiousness and respect as a soldier he must discharge what has been done on him by killing Desdemona.To few extent I do agree more with the analysis that Leavis creates as looking at heart the context of the time although Othello and his achievements have been celebrated he unmixedly is a ethnical and racial outsider. In addition to insecurities that Othello it is to a fault a curtain raising that Othello is threatened by Desdemonas sexual temperament, as a character she is very flirtatious and friendly with most of Othellos comrades including his lieutenant Cassio, whom has hunch of sleeping with his wife. Desdemonas supposed infidelity and unfaithfulness to her husband has caused her death.In the patriarchal Venetian society, women were told to remain submissive and meek at all times. However, in Othello, the women express independence, though in private, and Emilia, Desdemonas maid, presents us with feminist opinions when she warns that the ills we do, their ills instruct us so. feminist haveings of Othello suggest that even though women are shown to be submissive, possessions and are even called whores, when they do express their feelings and disobey their husband, as is the case with Emilia when she tells Othello of the handkerchief and Iago, she is killed.This, similar to what happened to the Duchess and Desdemona, shows that any sign of independence from their husband is unwelcome and they are quickly eliminated. This demonstrates my argument that final stage is caused by the male need to control the womenThis could be seen as a threat to Othello as not only is he a cultural outsider his wife could be potentially having an affair with another piece of music who is of the culture.Additionally Desdemona is of a high stratum status than Othello, which also apply to his insecurities this links with the invention The Great Gatsby by Fitzgerald this text also portrays heterogeneous conflict issues with partitioning, for example when Daisy proclaims that she would kinda be with her unfaithful husband kinda than Gatsby. There are slightly very strong comparisons between Othello and some other texts also for example the po em Porphyrias Lover and My start Duchess by Robert Browning presents similar male perspectives of love.Porphyrias Lover, the Duke and Othello all feel that they are losing control of their significant other and the power in the relationship. Feminist interpretations would suggest that that these characters are somehow threatened by the sexual constitution of their partner, they feel that they should be the dominant in the relationship and then to maintain that level of power they need so they kill their lovers, it would also propose that the male characters of these texts are highly insecure.For example Desdemonas sexual individuation is a threat to Othellos status, if he kills Desdemona however he can still maintain his prestige without fear of embarrassment PEE. This is also similar to the poem My Last Duchess the duke was also threatened by the sexual nature of his wife PEE. There are also some comparisons between Othello and the Great Gatsby they both have similar conflicti ng issues with class and status.For instance Desdemona is of higher status than Othello, this also adds to Othellos insecurities as not only is Desdemona very flirtatious, she is also very richesy. PEE Othello is also warned from the beginning of the play by Brabantio, Desdemonas father to be cautious of her PEE Another interpretation made by Bradley who rejects this view and presents an overwhelming positive analysis of Othello whom he sees as comparatively blameless for his actions. On the other hand Bradley suggests that it is indeed the manipulative language used by Iago that had caused Othello to develop these insecurities that eventually lead to his downfall.This theory seems evident in Act 3, Scene 3 also known as the corruption scene. This is the scene where the initial manipulation begins, Iago begins to manipulate Othello first of all by making that he is mortal trustworthy and reliable therefore he forms a friendship with Othello. Iago had been turned down from the ro le as Othellos lieutenant which has explained why he may have some resentment towards Othello however despite this there is no clear extension to why Iago manipulates Othello in such a way.Some people have interpreted this as a homosexual affection that Iago shows for Othello in which he is jealous of the love Desdemona and Othello have for each other, therefore he convinces Othello to finally kill her in attempt for a chance with Othello. One such interpretation is that Iago is motivated by jealousy of Othellos love for Desdemona, and is tempestuous by a repressed homosexual desire. There is a summit of this in Act 3, Scene 3, as Iago, pledging his loyalty to his general, tells Othello, I am your own forever.Iagos chosen words possibly express more than soldierly devotion, and possess a distinctly amative tone not too dissimilar to the language of a matrimony vow However in some aspects it would seem clear that Othello has already chosen to kill Desdemona almost out of his own will, nothing that anyone says will make a difference at all. Yet she must die, else shell shop at more men. The dialog is full of legalistic language as if Othello has act her and is now sentencing her.The novel The Great Gatsby is set during the the Statesn Jazz maturate of the early 1920s, this was a time jazz music became increasingly ordinary and played a significant part in wider cultural changes during this period. This was also a time where the American Dream also played an important part in peoples lives people would immigrate to America in order to achieve this American Dream. The idea of unanswered love is a prominent theme.Narrated by Nick Carraway the story tells of Jay Gatsbys quest for Daisy Buchanan, Nick writes from Gatsbys point of view as he is writing the novel two years after the story actually happens, so much Gatsbys point of view is the point of view from Nick, although a trustworthy third party he can sometimes also be unreliable. Nick is determined to make himself seem trustworthy, claiming to be one of the few honest people that he has ever known. He also claims not to be judgemental, yet he tells Gatsby that Theyre a rotten crowd.Youre worth the whole damn crew put together. This line shows Nicks judgemental side, proving him to be an undependable narrator. Gatsbys perspective of love is that in order for him and Daisy to unite he must change, therefore he gained the wealth and prestige in order to win her heart, however Daisy is now married with Tom Buchanan an upper class socialite and had married daisy even though she had promised herself to Gatsby, despite that Tom is unfaithful to her. the like Othello and the protagonists of My Last Duchess and Porphyrias Lover Tom Buchanan is also the self-proclaimed alpha-male and feels like he too needs to establish his authority over his love interests for example when he strikes Myrtle in the mouth for speaking ill of his and Daisys relationship. The Great Gatsby also shows a p ortrayal of love and money Gatsby gained his wealth illegally by selling inebriant in an era when alcohol was prohibited. Dishonesty becomes his nature, displayed when he tells Nick that he is the son of some crocked people in the Midwest and lies about being brought up in America, but, educated in Oxford.Daisys immorality is also evident when she allows Gatsby to take the blame for her crime, an act that ultimately results in his death. Unlike Othello and the Browning metrical com spatial relation which was written in a much different era to Gatsby, the novel portrays contrasting perspectives of love. Such as going after your lover, and changing yourself rather than trying to change your partner. The Browning poetry was also written in a similar era to Othello, and therefore the correlation between love and dominance are a reoccurring aspect.For example in the poem My Last Duchess the poem is one huge monologue to the audience about a Duke talking to a painter about his last Duc hess like Othello the modern-bearing(prenominal) protagonist is portrayed someone of a sexual and flirtatious nature. Ingersoll describes the character of the Duke as a dominating character with strong will and use of goods and services but as a narcissist who has an insecure need to remodel a self-important image of himself which could be seen as a similar interpretation to Leavis analysis of Othello.The Duke is also portrayed by browning as someone who has complete desire to gain over control over every aspect in his life for example all that clay of the duchess is a painting concealed under a pull curtain, ultimately the duke decided who sees her and who doesnt, or if she is even showed at all. The duke shows satisfaction in this by almost boasting about how he was able to control this young girl. Tucker argues that not only does the power give him pleasure, but by reducing the Duchess to a painting, he reduces her to something he can understand and in turn, control.The male need to control women by reducing them to art is also visible in Othello when he asks, Was this fair paper, this most goodly book,/ make to write whore upon? , referring to Desdemona and her suspected infidelity. The poem Porphyrias Lover also portrays a similar message this is also a monologue that is hostile and abrupt a working man, the lover of a middle class girl, murders her when she comes to his cottage, strangling her with her hair. At the end of the poem he sits, apparently calmly, with her clay in some kind of pseudo embrace.Like Gatsby and Othello the protagonist is once more threatened by the idea of their significant other having some break up of control over them. Ingersoll believes that In his own mad fashion, the Lover has read that text in order to escape being positioned as fair(prenominal) i. e. A love object to be abandoned again as she may have many times before. He reaffirms her feminine position as one too wanton to break those vainer ties to a world in which he can have no presence. Torn between moments of passionate possession of her and inevitable abandonment or loss, he has murdered her n order to turn her into a fetishistic object which can never leave.This also links with Gatsby as they both swop with conflict issues regarding class, however Daisy would never have a relationship with someone that is of a subvert class than her, however the female protagonist against all odds rejects this sociological concept and has relations with a man of lower status regardless, however like Othello this causes the male protagonists to become insecure and weak in their relationship, therefore to restore that order they get rid of their loved ones completely. Stuck on conclusion.

History of Life on Earth

Chapter 25 History of Life on background Synthesis of Organic Compounds on Early Earth * The Earth probably formed about 4. 6 billion days ago, and was bombarded with rocks and separate material until about 3. 9 billion days ago. * The Earth indeed cooled, allowing for the formation of oceans. Scientists hypothesize the general halo, or at least few regions, were naturally reducing environments, meaning that they sum uped electrons to compounds. * Activation energy provided by lighten or UV radiation may gull been able to stimulate organic compounds and amino sharps, as demonstrated by a upshot of modern experiments.Abiotic Synthesis of Macromolecules * Experiments lease been d unmatched in which amino acid solutions in hot sand have formed polymers, however not true proteins. These polymers may have functioned as basic catalysts of some kind, however. Protobionts * Cells have genetic material in the form of DNA and ribonucleic acid, which they ar excessively capab le of replicating. Nothing like this has been generated spontaneously in lab experiments. * However, wee structures calledprotobiontshave had some of the capabilities associated with life.Experiments have spontaneously create protobionts, which be aboveboard sphere of membrane that toilette perform simple metabolic and reproductive functions. * Note phospholipids spontaneously form a bilayer, like the membrane that surrounds cells, so that part of the puzzle is easy to solve. Self-Replicating RNA and the Dawn of Natural option * Simple RNA structures calledribozymes digest carry out basic chemical vegetable marrow reactions and atomic number 18 even capable of replicating themselves. * As ribozymes replicated themselves (with errors) protobionts could have developed upcountry collections of slightly contrary enzymes that formed a rudimentary metabolic system.The RNA in these early cells may have served as a bleedbook for the eventual creation of a DNA genome, which would have reduced the add up of errors made during replication. The Fossil Record * The fogey record gives a glance of life on Earth during variant time periods and provides clues for evolutionary research. However, the fossil record to a fault has signifi stomacht gaps, but some ar world filled by new disc all overies. How Rocks and Fossils are Dated * Fossils appear in individual sediment layers, which tell us the order that they were formed in but not an actual age in historic period.Scientists useradiometric datingto determine absolute ages. * Radiometric dating is based on the fact that some radioactive portions have predictablehalf-lives, or periods in which half of the substance will decay. If you know how much of a certain radioactive element an organism has when it died, such as carbon-14, you can determine its age by measuring the amount of carbon-14 remaining today. * Older fossils are harder to date, but you can at least guess based on the age of fossils in the surro unding layers. The Origin of New Groups of Organisms The presence of certain bones, different kinds of teething and different characteristics can help researchers make inferences about what an animal may been like while it was alive. Changes mingled with similar fossils of different time periods excessively show the pace of evolutionary transplant. The First Single-Celled Organisms * Scientists have make up fossilizedstromolitesthat are thought to have lived 3. 5 billion years ago the earliest organisms discovered to date. Stromolites are mounds of prokaryotes that bind to their kin and early(a) inorganic material. Photosynthesis and the Oxygen Revolution 2. 7 billion years ago, in that location were probably cynobacteria in the ocean that usedphotosynthesisfor energy and released oxygen in the process.The oxygen that these bacteria released would have eventually begun reacting with iron, and finally escaped into the atmosphere as a gas. * This buildup of oxygen actually ki lled many prokaryotes, and provided a unshakable selective force in favor of cells that could use oxygen in their metabolism. The cells that survived the oxygen revolution are probably the ancestors of todays aerobioticorganisms. The First Eukaryotes The earliest eukaryotes are thought to have lived almost 2. 1 billion years ago. These early eukaryotes probably formed through annulosymbiosis, in which they engulfed small, living, cells and developed a mutualistic (mutually beneficial) relationship with them. * Themitochondria, for example, may have been formed in this way. The mitochondria has a double membrane, maintains and replicates its own DNA and reproduce independently of the live of the cell. The Origin of Multicellularity * As cells became more(prenominal) complex, they also came to exhibit greater diversity.Multicellular structures also began to form. The Earliest Multicellular Eukaryotes The earliest multicellular eukaryotes probably lived around 1. 5 billion years ag o. Earth had a few ice ages between 750-580 million years ago. Eukaryote diversity increased after the end of this period. The Cambrian Explosion * Scientists have found a whole good deal of animal fossils from the Cambrian Period (535-525 million years ago). While anterior animals seem to have mostly been herbivores or filter-feeders, the animals that arose during theCambrian Explosionhad claws and armor. new-made evidence, however, suggests that some of these animals were living before the Cambrian Period, so maybe effusion isnt the best term.The Colonization of Land * Prokaryotes lived on land as long as 1 billion years ago, but bigger organisms wouldnt get there until around 500 million years ago. Plants, which often had mutually beneficial relationships with fungi, colonized the land and began developing specialize structures suited to life out of water. Arthropods, such as insects, also bedspread on to the land. Continental Drift Heres something weird the continents move . They king move really slowly, when youre talking about millions of years, those tiny movements add up. This process, calledcontinental drift, involves the movement of the Earths plates. The collision of two plates can form mountain ranges, cause earthquakes, and so forth. Consequences of Continental Drift * slightly 250 million years ago, most of the Earths land was toilsome into once business dealive continent calledPangaea. As the plates moved, climates changed (sometimes dramatically) and many species went extinct.The separation of plates, in contrast, promotesallopatric speciation. * These changes in the Earths geography help relieve similarities between distant organisms, for example. freshet Extinctions * Species go extinct all the time, but there are also major events that are particularly primary(prenominal) in evolutionary history mass extinctions. The Big Five Mass Extinction Events * Here are a few stats involving fives for you * Over the last(prenominal) 500 mi llion years * Weve had 5 mass extinctions Each of which caused the deaths of more than 50% of the worlds species * In thePermian mass extinction, massive volcanic activity spewed lava over 1. 6 million square kilometers and released a immense amount of carbon dioxide, which may have warmed the planet and indirectly caused the deaths of many aquatic organisms. * In theCretaceous mass extinction, which killed many of the dinosaurs, an asteroid probably struck the Earth. This would have created a huge cloud of debris that could block the sun and expurgate the planets climate sooner significantly.Such an impact may have created the Chicxulub crater in Mexico. Is a sixth Mass Extinction Under Way? * Humans havent killed as many species as the other mass extinctions did, but were killing them between 100-1,000 times faster than they normally die. And that could be a big problem. Consequences of Mass Extinctions * It generally takes a few million years for the number of species on the Earth to rebound after a mass extinction. These events also generally wipe out species without regard to their fitness or environmental adaptations.Adaptive Radiations * The diversity of organisms has increased in the last 250 million years, as populations adapt to new environmental conditions and afford speciation. Theseadaptive radiationsgenerally make out on a large scale after mass extinctions, which pass around many ecological niches open. Worldwide Adaptive Radiations * After the dinosaurs went extinct around 65. 5 million years ago, mammals underwent significant adaptive radiation, filling the roles that now-extinct species had sedulous in individual ecosystems. Regional Adaptive Radiations Hawaii, which is far from any other continent, is a particularly stark example of adaptive radiation. There are hundreds of species on Hawaii that dont exist anywhere else in the world. Evolutionary Effects of Developmental Genes * Developmental patterns have also changed over time.* Changes in Rate and Timing * One common developmental change isheterochrony, in which different parts of the body grow at different rates or at different times. Some organisms can undergophetomorphosis, in which the adult form of the organism retains traits that previously had been confined to children. Basically, if gay adults started looking like babies, we would have a phetomorphosis situation on our hands. Changes in Spatial Pattern * Changes in thehomeotic genes, which control how and where individual body structures develop, could have led to the development of vertebrates and other organisms. The Evolution of Development * There are a few different ways that mutations can significantly stoop body structure. Changes in Genes * Many organisms have similar genes that are nevertheless different enough to produce very different outcomes.By identifying and testing individually difference between the two genes, researchers can pinpoint the precise changes that alter the genes fu nction. Changes in Gene Regulation * Sometimes changes in gene regulation, and thus gene expression, can alter an organisms body structure. These changes can be localized to specific types of cells, and thus are less potentially dangerous than changes to the genome itself. Evolutionary Novelties * Evolution doesnt lapse with a final goal in mind, and just involves slight changes from one generation to the next. Over time, simpler structures can become more complex and useful.Structures can also develop into something that serves a totally different purpose than their pilot light function. Evolutionary Trends * The problem with looking at evolutionary trends (such as horses are getting bigger), youre examining a linear succession of different horse ancestors but rather a branched tree of ancestors that diverged in all different directions. * However, natural selection also works on entire species. If speciation is the birth of a species and extinction is its death, natural selectio n could guide the development of these successive generations and thus create a trend.