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Home > News > Nanotech nightmare?
September 20th, 2006
No safety threats have emerged yet. But one knows for sure because the broad health effects of nanoparticles have yet to be investigated. Most consumers have little knowledge of nanotech, and the products and their labeling aren't regulated.
Andrew Maynard, a physicist and science adviser to the Wilson Center project, said nanotechnology holds great promise for pharmaceuticas that will combat illnesses beyond conventional drugs. But he added the government hasn't acted quickly enough to protect the consumer.
Neal Woodbury, director of the Center for Bio-Optical Nanotechnology at Arizona State University, said he hopes concern about potential risks won't curtail scientific advancements in nano.
Project on Emerging Nanotechnologies
RBC Life Sciences Inc.
Center for Bio-Optical Nanotechnology
Preparing for Nano
Durnham University's DEEPEN project comes to a close September 26th, 2012
Technical Seminar at ANFoS 2012 August 22nd, 2012
Nanotechnology shows we can innovate without economic growth April 12th, 2012
Thailand to host NanoThailand 2012 December 18th, 2011
QuantuMDx announce prototype handheld lab for 15 minute malaria diagnosis and drug resistance testing April 23rd, 2014
Nanovations Sets new Benchmark in Automotive Windscreen Coating Durability: Nanovations new automotive glass coating Vision Protect, sets new benchmark in glass coating durability March 23rd, 2014
Tawada CleanTech to show fabric duct and eco cool coating in MegaBuild March 21st, 2014
NEI Introduces Self-healing Anti-corrosion Coating for Zinc-Plated and Galvanized Steel March 14th, 2014
From Narrow to Broad July 30th, 2014
Nature inspires a greener way to make colorful plastics July 30th, 2014
Tough foam from tiny sheets: Rice University lab uses atom-thick materials to make ultralight foam July 29th, 2014
A new way to make microstructured surfaces: Method can produce strong, lightweight materials with specific surface properties July 29th, 2014
Iranian Scientists Produce Reusable Nanoadsorbent to Detect Sulfamide in Chicken July 27th, 2014
Key Announcements made at TAPPI International Nanotechnology Conference July 7th, 2014
Squid sucker ring teeth material could aid reconstructive surgery, serve as eco-packaging July 2nd, 2014
FDA issues guidance on use of nanotechnology in foods July 1st, 2014
Nanotechnology used in sunscreens: a Mexican achievement May 14th, 2014
Production of Nanocapsule from Sea-Buckthorn Extract in Iran May 3rd, 2014
Good vibrations: Using light-heated water to deliver drugs - Researchers use near-infrared light to warm water-infused polymeric particles April 1st, 2014
Iranian Food Industry Utilizes Lipid Nanocarriers for Beta-Carotene Enrichment January 23rd, 2014 |
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An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection. Paintings are the most commonly displayed art objects; however, sculptures, decorative arts, furniture, textiles, costumes, drawings, pastels, watercolors, collages, prints, artist's books, photographs, and installation art are also regularly shown. Although primarily concerned with providing a space to show works of visual art, art galleries are sometimes used to host other artistic activities, such as performance arts, music concerts, or poetry readings.
- 1 Types of galleries
- 2 History
- 3 Visual art not shown in a gallery
- 4 Architecture
- 5 Cultural aspects
- 6 Online museums
- 7 Museum lists
- 8 Organizations
- 9 See also
- 10 References
- 11 Further reading
Types of galleries
The term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art. However, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere.
In broad terms, in North American usage, the word gallery alone often implies a private gallery, while a public gallery is more likely to be described as an art museum. In British and Commonwealth usage, the word gallery alone implies a public gallery, while a private or commercial gallery will be distinguished using those terms, and the word museum alone is generally understood to refer to institutions holding collections of historic, archaeological or scientific artefacts, rather than of fine art.
Galleries in museums
The rooms in museums where art is displayed for the public are often referred to as galleries as well, with a room dedicated to Ancient Egyptian art often being called the Egyptian Gallery, for example.
The term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are often found clustered together in large urban centers. Smaller cities are usually home to at least one gallery, but they may also be found in towns or villages, and remote areas where artists congregate, e.g. the Taos art colony and St Ives, Cornwall.
Contemporary art galleries are usually open to the general public without charge; however, some are semi-private. They usually profit by taking a portion of art sales; from 25% to 50% is typical. There are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, though this is considered distasteful in some international art markets. Galleries often hang solo shows. Curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly.
A gallery's definition can also include the artist cooperative or artist-run space, which often (in North America and Western Europe) operates as a space with a more democratic mission and selection process. Such galleries typically have a board of directors and a volunteer or paid support staff that select and curate shows by committee, or some kind of similar process to choose art that typically lacks commercial ends.
A vanity gallery is an art gallery that charges fees from artists in order to show their work, much like a vanity press does for authors. The shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artist's resume.
University museums and galleries
University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice. Although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, makes university art museums perhaps the largest category of art museums in the country. While the first of these collections can be traced back to learning collections developed in art academies in Western Europe, they are now most often associated with and housed in centers of higher education of all types.
Throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were often made available for viewing for a portion of the public. In classical times, religious institutions began to function as an early form of art gallery. Wealthy Roman collectors of engraved gems (including Julius Caesar) and other precious objects often donated their collections to temples. It is unclear how easy it was in practice for the public to view these items.
In Europe, from the Late Medieval period onwards, areas in royal palaces, castles, and large country houses of the social elite were often made partially accessible to sections of the public, where art collections could be viewed. At the Palace of Versailles, entrance was restricted to people wearing the proper apparel â the appropriate accessories (silver shoe buckles and a sword) could be hired from shops outside. The treasuries of cathedrals and large churches, or parts of them, were often set out for public display. Many of the grander English country houses could be toured by the respectable for a tip to the housekeeper, during the long periods when the family were not in residence.
Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with most of the paintings of the Orleans Collection, which were housed in a wing of the Palais-Royal in Paris and could be visited for most of the 18th century. In Italy, the art tourism of the Grand Tour became a major industry from the 18th century onwards, and cities made efforts to make their key works accessible. The Capitoline Museums began in 1471 with a donation of classical sculpture to the city of Rome by the Papacy, while the Vatican Museums, whose collections are still owned by the Pope, trace their foundation to 1506, when the recently discovered Laocoön and His Sons was put on public display. A series of museums on different subjects were opened over subsequent centuries, and many of the buildings of the Vatican were purpose-built as galleries. An early royal treasury opened to the public was the GrÌnes Gewölbe of the Kingdom of Saxony in the 1720s.
Privately established museums open to the public began to be established from the 17th century onwards, often based around a collection of the cabinet of curiosities type. The first such museum was the Ashmolean Museum in Oxford, opened in 1683 to house and display the artefacts of Elias Ashmole that were given to Oxford University in a bequest.
In the second half of the eighteenth century, many private collections of art were nationalised and opened to the public.
In 1753, the British Museum was established and the Old Royal Library collection of manuscripts and artwork was donated to it for public viewing. In 1777, a proposal to the British government was put forward by MP John Wilkes to buy the art collection of the then late Sir Robert Walpole who had amassed one of the greatest such collections in Europe, and house it in a specially built wing of the British Museum for public viewing. After much debate, the idea was eventually abandoned due to the great expense, and twenty years later, the collection was bought by Tsarina Catherine the Great of Russia and housed in the State Hermitage Museum in Saint Petersburg.
The Bavarian royal collection (now in the Alte Pinakothek, Munich) was opened to the public in 1779 and the Medici collection in Florence around 1789 (as the Uffizi Gallery). The opening of the Musée du Louvre during the French Revolution in 1793 as a public museum for much of the former French royal collection marked an important stage in the development of public access to art by transferring the ownership to a republican state; but it was a continuation of trends already well established. The building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, and similar royal galleries were opened to the public in Vienna, Munich and other capitals. In Great Britain, however, the corresponding Royal Collection remained in the private hands of the monarch and the first purpose-built national art galleries were the Dulwich Picture Gallery, founded in 1814 and the National Gallery opened to the public a decade later in 1824.
Visual art not shown in a gallery
Works on paper, such as drawings, pastels, watercolors, prints, and photographs are typically not permanently displayed for conservation reasons. Instead, public access to these materials is provided by a dedicated print study room located within the museum. Murals generally remain where they have been painted, although many have been removed to galleries. Various forms of 20th-century art, such as land art and performance art, also usually exist outside a gallery. Photographic records of these kinds of art are often shown in galleries, however. Most museum and large art galleries own more works than they have room to display. The rest are held in reserve collections, on or off-site.
Similar to an art gallery is the sculpture garden (or "sculpture park"), which presents sculpture in an outdoor space. Sculpture installation has grown in popularity, whereby temporary sculptures are installed in open spaces during events like festivals.
The architectural form of the art gallery was established by Sir John Soane with his design for the Dulwich Picture Gallery in 1817. This established the gallery as a series of interconnected rooms with largely uninterrupted wall spaces for hanging pictures and indirect lighting from skylights or roof lanterns.
The late 19th century saw a boom in the building of public art galleries in Europe and America, becoming an essential cultural feature of larger cities. More art galleries rose up alongside museums and public libraries as part of the municipal drive for literacy and public education.
In the middle and late 20th century, earlier architectural styles employed for art museums (such as the Beaux-Arts style of the Metropolitan Museum of Art in New York City or the Gothic and Renaissance Revival architecture of Amsterdam's Rijksmuseum) were increasingly replaced with more modern styles, such as Deconstructivism. Examples of this trend include the Guggenheim Museum in New York City by Frank Lloyd Wright, the Guggenheim Museum Bilbao by Frank Gehry, Centre Pompidou-Metz by Shigeru Ban, and the redesign of the San Francisco Museum of Modern Art by Mario Botta. Some critics[which?] argue that these galleries are self-defeating, in that their dramatic interior spaces distract the eye from the paintings they are supposed to exhibit.
Many art museums throughout history have been designed with a cultural purpose or been subject to political intervention. In particular, national art galleries have been thought to incite feelings of nationalism. This has occurred in both democratic and non-democratic countries, although authoritarian regimes have historically exercised more control over administration of art museums. Ludwig Justi was for example dismissed as director of the Alte Nationalgalerie (Old National Gallery) in Berlin in 1933 by the new Nazi authorities for not being politically suitable.
The question of the place of the art museum in its community has long been under debate. Some see art museums is fundamentally elitist institutions, while others see them as institutions with the potential for societal education and uplift. John Cotton Dana, an American librarian and museum director, as well as the founder of the Newark Museum, saw the traditional art museum as a useless public institution, one that focused more on fashion and conformity rather than education and uplift. Indeed, Dana's ideal museum would be one best suited for active and vigorous use by the average citizen, located near the center of their daily movement. In addition, Dana's conception of the perfect museum included a wider variety of objects than the traditional art museum, including industrial tools and handicrafts that encourage imagination in areas traditionally considered mundane. This view of the art museum envisions it as one well-suited to an industrial world, indeed enhancing it. Dana viewed paintings and sculptures as much less useful than industrial products, comparing the museum to a department store. In addition, he encouraged the active lending-out of a museum's collected objects in order to enhance education at schools and to aid in the cultural development of individual members of the community. Finally, Dana saw branch museums throughout a city as a good method of making sure that every citizen has access to its benefits. Dana's view of the ideal museum sought to invest a wider variety of people in it, and was self-consciously not elitist.
Since the 1970s, a number of political theorists and social commentators have pointed to the political implications of art museums and social relations. Pierre Bourdieu, for instance, argued that in spite the apparent freedom of choice in the arts, people's artistic preferences (such as classical music, rock, traditional music) strongly tie in with their social position. So called cultural capital is a major factor in social mobility (for example, getting a higher-paid, higher-status job). The argument states that certain art museums are aimed at perpetuating aristocratic and upper class ideals of taste and excludes segments of society without the social opportunities to develop such interest. The fine arts thus perpetuate social inequality by creating divisions between different social groups. This argument also ties in with the Marxist theory of mystification and elite culture.
Furthermore, certain art galleries, such as the National Gallery in London and the Louvre in Paris are situated in buildings of considerable emotional impact. The Louvre in Paris is for instance located in the former Royal Castle of the ancient regime, and is thus clearly designed with a political agenda. It has been argued that such buildings create feelings of subjugation and adds to the mystification of fine arts.
Museums with major web presences
Most art museums have only limited online collections, but a few museums, as well as some libraries and government agencies, have developed substantial online catalogues. Museums, libraries, and government agencies with substantial online collections of prints, photographs, and other works on paper include:
- Library of Congress, prints (C19 on) and photographs collection (several million entries).
- The British Museum has 2,045,291 objects available online, of which 715,184 have one or more images (as of August 2011).
Museums, libraries, and government agencies with substantial online collections with more focus on paintings and sculpture include:
- Rijksmuseum has 399,189 objects available online, of which 153,309 have one or more images.
- National Portrait Gallery, with over 185,000 works, including both painted and photographic portraits.
- Metropolitan Museum of Art, with over 400 separate galleries, each containing several hundred works.
- MOMA (Museum of Modern Art), with nearly 50,000 works from collections of painting, drawing, print, sculpture, film, photography, and performance art.
- Boston Museum of Fine Arts, with over 330,000 works, most with images. Good for prints.
- Fine Art Museums of San Francisco, with over 85,000 works.
- Harvard Art Museums, with over 81,000 works, about half of which have very low resolution images.
- Louvre, with over 80,000 works in various databases, with a large number of images, as well as another 140,000 drawings.
- National Gallery of Art, with over 108,000 works catalogued, though with only 6,000 images.
- (in French) The Mona Lisa Database of French Museums â Joconde *(from the French Ministry of Culture)
- Gallery Photoclass South Korea Art Gallery â since 2002
Online art collections
There are a number of online art catalogues and galleries that have been developed independently of the support of any individual museum. Many of these, like American Art Gallery, are attempts to develop galleries of artwork that are encyclopedic or historical in focus, while others are commercial efforts to sell the work of contemporary artists.
A limited number of such sites have independent importance in the art world. The large auction houses, such as Sotheby's, Bonhams, and Christie's, maintain large online databases of art which they have auctioned or are auctioning. Bridgeman Art Library serves as a central source of reproductions of artwork, with access limited to museums, art dealers, and other professionals or professional organizations.
There are also online galleries that have been developed by a collaboration of museums and galleries that are more interested with the categorization of art. They are interested in the potential use of folksonomy within museums and the requirements for post-processing of terms that have been gathered, both to test their utility and to deploy them in useful ways.
The steve.museum is one example of a site that is experimenting with this collaborative philosophy. The participating institutions include the Guggenheim Museum, the Cleveland Museum of Art, the Metropolitan Museum of Art, and the San Francisco Museum of Modern Art.
- List of museums (major Wikipedia page, listing links to articles on many specific museums, worldwide, sorted by country)
- List of most visited art museums in the world
- List of largest art museums in the world
International and national lists
- World: World Heritage Site (s) (per UNESCO)
- World (modern art): Museums of modern art
- Latin America: Museums in Latin America, on the website of the Latin American Network Information Center (LANIC) of the University of Texas at Austin
- USA: Category:Institutions accredited by the American Alliance of Museums, alphabetical list with links.
- USA: ART MUSEUMS, ART CENTERS, and NON-PROFIT ART ORGANIZATIONS web page, sorted by state, on the website Art Collecting.com.
- USA: Museums page, listing (with links) the national museums of the United States, in the "History, Arts, and Culture" subsection of the "Citizens" section of the U.S. federal government's general information website USA.gov
Local area lists
European local areas
- List of museums in London, England, UK
- List of museums in Paris, France
- List of museums in Rome, Italy
North American local areas
- List of museums in San Francisco, California, USA
- List of museums in Los Angeles, California, USA
- List of museums in Massachusetts, USA
- List of museums in New York City, New York, USA
- List of museums in Toronto, Canada
NOTE: There are relatively few local/regional/national organizations specifically for ART MUSEUMS. Most art museums are associated with local/regional/national organizations for ARTS or HUMANITIES or MUSEUMS. Many of these organizations, in the USA, are listed on these websites, with web links:
International and topical organizations
- UNESCO â the United Nations Educational, Scientific and Cultural Organizationâthe leading global organization for the preservation and presentation of world cultures and arts.
- International Council of Museums
- Association of Art Historians
- Association of Art Museum Curators
- Association of Art Museum Directors
- Independent Curators International
- International Association of Curators of Contemporary Art (IKT)
- College Art Association (CAA)
- Small Museum Association, an all-volunteer organization serving small museums in the mid-Atlantic region and beyond.
- North American Reciprocal Museum Association (NARM)
- The Artists' Materials Center: An applied research organization at Carnegie Mellon University dedicated to helping museums, libraries, and archives improve the ways of caring for their collections.
- International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM): an intergovernmental organization dedicated to the conservation of cultural heritage.
- International Institute for Conservation of Historic and Artistic Works (IIC)
- Australia: Museums Australia
- Canada: Canadian Art Museum Directors Organization (CAMDO)
- Canada: Canadian Museums Association
- Japan: Japan Association of Art Museums (English language page)
- Japan: Japanese Association of Museums (English language page)
- USA: American Alliance of Museums, formerly the American Association of Museums
- USA: American Federation of Arts
- USA: National Art Education Association, and specifically their Museum Education Division
- USA: American Institute for Conservation of Historic and Artistic Works (AIC).
- United Kingdom: The Museums Association (MA) is a professional membership organisation based in London for museum, gallery, and heritage professionals, museums, galleries and heritage organisations, and companies that work in the museum, gallery, and heritage sector of the United Kingdom. It also offers international membership. Started in 1889, it is the oldest museum association in the world, and has over 5,000 individual members, 600 institutional members, and 250 corporate members.
Other organizations (for multiple museums)
Regional, provincial, and state museum organizations
- Canada, Ontario: Ontario Museum Association and Ontario Association of Art Galleries
- USA, western states: Western Museums Association
- USA, western states: Museums West Consortium, an association of 13 museums of the American West.
- USA, western states: Western Association for Art Conservation (WAAC)
- USA, CA (California): California Association of Museums
- USA, FL (Florida): Florida Art Museum Directors Associationâan affiliate of the Florida Association of Museums
District, local and community museum organizations
- USA, DC, Washington: Smithsonian Institution, the official national museum, and controlling organization for most major art and cultural museums in Washington, D.C., national museums with major art collections, as well as other national historic and cultural facilities nationwide. The Smithsonian alsoâdirectly or indirectly, and throrugh traveling exhibitsâcoordinates some federal government support of museums (art and other), nationally. Also partners with many museums tbroughout the United States, each designated as a "Smithsonian Affiliate" institution.
- USA, FL, Miami Miami Art Museums Alliance (MAMA)
- USA, NM, Taos: Taos art colony
- USA, NY, New York City: Art Museum Partnership
- USA, NY, New York City: Museums Council of New York City
- USA, TX, Houston: Houston Museum District Association
- Art exhibition
- Artist cooperative
- Artist-run initiative
- Artist-run space
- Arts centre
- Black cube art museum
- Contemporary art gallery
- Fountain of Time gallery, Chicago
- List of largest art museums in the world
- List of most visited art museums in the world
- National Gallery (disambiguation)
- Vanity gallery
- Virtual museum
- wiktionary:art gallery
- "Investing in Your Career, A Worthwhile Risk?". New York Foundation for the Arts (NYFA). Archived from the original on 22 July 2012. Retrieved 16 June 2012.
- Moore, Andrew (2 October 1996). "Sir Robert Walpole's pictures in Russia". Magazine Antiques. Retrieved 14 October 2007.[dead link]
- "Galleria degli Uffizi, Florence". Retrieved 17 December 2012.
- Taylor 1999, 29â30
- Peter-Klaus Schuster: Die Alte Nationalgalerie. DuMont, Köln 2003, ISBN 3-8321-7370-6.[page needed]
- John Cotton Dana, A plan for a new museum, the kind of museum it will profit a city to maintain (1920)
- P., Bourdieu, Distinction (1979), translated into English by R., Nice (1984), ISBN 0-7100-9609-7. Especially chapter one "Aristochracy of Culture".
- Le Palais-Royal des Orléans (1692â1793): Les travaux entrepris par le Régent at the Wayback Machine (archived 7 July 2007).
- "Prints & Photographs Online Catalog". Library of Congress. Retrieved 16 June 2012.
- "British Museum collection database online". Britishmuseum.org. Retrieved 14 December 2012.
- Search the collection, Rijksmuseum. Retrieved on 11 January 2014.
- National Portrait Gallery collections
- The Metropolitan Museum of Art galleries
- "Archived copy". Archived from the original on 2 May 2006. Retrieved 2006-05-01.
- "Databases | Louvre Museum". Louvre.fr. Archived from the original on 7 October 2011. Retrieved 16 June 2012.
- "National Gallery of Art â The Collection". Nga.gov. Retrieved 16 June 2012. |
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10 Most Famous African-American Politicians
While African-American politicians have held office on the local and state level since Alexander Twilight was elected to the Vermont state legislature in 1836, race discrimination and laws prohibiting African-Americans from voting limited the number of Blacks holding office until the 20th century. Numerous African-Americans politicians have made their mark on shaping American history and public policy, but many of the 10 most famous African-American politicians lived in the 20th and 21th centuries.
- Barack Obama: President Barack Obama is obviously the most famous African-American politician. Before taking the top political job in 2009, Mr. Obama served in the Illinois senate starting in 1996 and as a US Senator from Illinois beginning in 2004.
- Carol Moseley Braun: Ms. Braun served as a US Senator from Illinois from 1992 until 1999, after learning the political ropes as a Chicago attorney and serving in the Illinois legislature for ten years. Braun's name was also circulated as a Democratic presidential candidate in the 2004 election.
- Shirley Chisholm: Shirley Chisholm made history in 1968 when she was the first African-American woman elected to the US Congress from New York. She topped that feat by running for president in 1972.
- Barbara Jordan: Ms. Jordan also made history with her election to the US Congress in 1972, becoming the first African-American congresswoman elected from the Deep South. She recorded more firsts when she was re-elected from her home state of Texas, where she had served as the first female Black in the Texas State legislatures. Jordan was the first woman, as well as the first person of color, to give the keynote address at the Democratic National Convention in 1976. Lots of important firsts for Barbara Jordan.
- Jesse Jackson: The Democratic Party primary ticket listed the name of Rev. Jackson in 1984 and again in 1988 but his Rainbow Coalition did not bring in the vote to list Jackson in the November elections. Jackson also organized PUSH in 1971 to promote social welfare issues. Rev. Jackson began working with the Rev. Martin Luther King, Jr. in the Civil Rights Movement during the 1950s and 60s.
- Douglas Wilder: Lawrence Douglas Wilder was the first African-American in the US to be elected as a state governor. Wilder took office in 1990. The distinction of the election is important because the first African-American appointed as a state governor was P.B.S. Pinchback who served in the Reconstruction-era government of Louisiana in 1872 after the Civil War ended.
- Ron Brown: While never holding political office himself, Brown held power over politics as the first African-American politician to lead a major political power. The Democratic National Committee elected Brown in 1989. He also served as US Secretary of Commerce in 1993 and he died in a plane accident while holding the office.
- Julian Bond: Bond was a vice-presidential prospect in 1968 and again in 1972, but failed to capture the spot on the election ticket. Bond also served in the Georgia Assembly in 1965 and as a leader of the National Association for the Advancement of Colored People (NAACP). He was given the National Freedom Award in 2002.
- Edward Brooke: Brooke, who also served as Massachusetts Attorney General, was the first African-American elected to the US Senate. He won election in 1966.
- Frederick Douglass: Douglass first ran for president in 1848 on the Liberty Party ticket and as a vice presidential candidate in 1856 on the Political Abolitionist party. Douglass tried to capture the top political office again with Victoria Woodhull as a running mate with the Equal Rights Party in 1872 and again with the Republican Party in 1888. In addition to being a politician, Douglass was a famous educator, writer and public speaker. |
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We all know of the life and work of Charles Dickens, in fact two of my all time favorite novels Great Expectations and David Copperfield are the works of Dickens, born in 1812 in England.
Through out his very public life Dickens carefully crafted his persona as a gentile man of the Victorian era with a wife, family and a marvelous talent to create fictional characters and stories that would endure.
âDickens is remembered as one of the most important and influential writers of the 19th century. Among his accomplishments, he has been lauded for providing a stark portrait of the Victorian-era underclass, helping to bring about social change.â â Biography.com
Front and center during his entire life as a man of virtue â Dickens was leading a double life for more than a decade, as he had a love affair with Ellen âNellyâ Ternen for the last thirteen years of his life.
With tenacious persistence Dickens and those closest to him managed to efface Nelly Ternen from public record and most all association with Dickens.
But talented biographer Claire Tomalin sleuths the facts like a well-heeled detective and brings convincing evidence to light about Nelly Ternenâs life, Dickensâ deception and how their affair managed to escape the publicâs notice for decades.
A remarkable tale of both Victorian life for men and women as well as a brilliant story of research and persistence.
Four stars for The Invisible Woman by Claire Tomalin. Read last weekâs review of A Place Called Freedom by Ken Follett.
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In numerous ways, history has been presented through platforms such as films and books, and for various purposes. For example, A Rumor of War by Philip Caputo also referred to as Philip Caputo's 1977 memoir is writing providing details of Caputo's experience serving as a marine during the Vietnam War. Philip Caputo's 1977 memoir could be described in three major parts whereby part one involves the splendid little war; part two represents the officer in charge of the dead; while the third chapter is in death's grey land-epilogue. On the other hand, the 1987 film Full Metal Jacket directed by Stanley Kubrick is based on a platoon of United States Marines in training for the Vietnam War. Majorly, the story provides a focus on two privates, Pyle and Joker, who seem to struggle to get through the boot camp under the authority of Gunnery Sergeant Hartman, the drill instructor.
A Rumor of War and Full Metal Jacket are a proper presentation of history; however, this paper will compare and contrast the central themes of the two, determine questions raised by the director and the author in their works, and the purposes of both the book and the film. Also, the paper will present an explanation to the achievement of the objectives by determining the flaws in either of the works and lastly define the capacity of the film and the book as mediums of historical discourse.
Comparison and Contrast of the Main Themes
In a comparison of the main themes presented in A Rumor of War and the Full Metal Jacket, there are various themes presented. Within Caputo's memoir of the Vietnam war, the theme of change is evident. For instance, Caputo allows a deeper understanding of the Vietnam war by allowing the readers to understand how changes occur within the soldiers as they encounter harsh truths in the war. Also, the theme is evident whereby it brings a new meaning to combats which assist in explaining why Caputo was having a hard time writing the novel in the first place (Caputo, 12). Correspondingly, Full Metal Jacket presents the theme of transformation. For example, this theme of transformation is evident as Hartman informs the men under training in the boot camp that his primary objective is to turn them into "Killer" and they ought to be transformed into becoming unthinking destroyers and leave their humanity behind. The nicknaming of the men by calling them cowboys only encouraging them to abandon their original lives into the favorite characters as indicated by Joker is a form of transformation.
In contrasts of the themes in A Rumor of War and Full Metal Jacket, there are themes of masculinity and facing reality. The theme of masculinity is at the core of Kubrick's film as he invokes femininity to mock the men by referring to them as "ladies." Moreover, the film also presents the theme of sexuality as Hartman quotes that men need to leave their sexual fantasies before joining the military camp (Avila, 49). On the other hand, Philip Caputo's 1977 memoir presents experiences of the war through the themes of facing reality and influence of culture on war. In the memoir, the reality is as a result of the experiences of the Vietnam war signifying on the loss of boy innocence, loss of will to fight for a "good cause," and the loss of human compassion. In as much as the themes of war and loss are evident in Philip Caputo's 1977 memoir, facing reality is the dominant theme.
Issues Raised by The Author and Director
As events are present in A Rumor of War, there are various issues raised by Caputo particularly on the focus of the Vietnam War whereby occurrences such as war heroism are evident. However, as the three parts of the book are presented, Caputo raised the issue of emotional effects of the war along with impacts on the sense of human compassion. Correspondingly, Kubrick raises the issue as he presents Full Metal Jacket. The principal purpose of the film is to portray the psychological change of the soldier after the training. The effects of transformation of the average soldiers from the humanism to destroyers who are compelled to engage in war are shown. Thus, this sense of transformation marks the primary issue raised by Kubrick (Avila, 36).
The Main Purposes
In consideration of the purpose in Full Metal Jacket, it follows a group of aspiring young men ensuring trials of training on their journey to becoming Marines, and ultimately, soldiers in the Vietnam War. In the first section of Kubrick's film, Private Pyle and Joker are seen struggling physically and mentally to acquire the training while the second section of the film is set in Da Nang, Vietnam depicting an occurrence of first-hand sense of war. Hence, one can derive that transformation is one Kubrick's purpose. Consequently, Caputo's 1977 memoir is based on the experience of the Vietnam war as well as depicted on the effects of war to the soldiers along with the issue of facing reality; thus, can be termed as the major purposes (Caputo, 56).
Flaws or Weakness
There is a collection of flaws or weaknesses evident. In as much as both A Rumor of War and Full Metal Jacket deliver occurrences surrounding the transformation and change of characters. For instance, in Caputo's memoir, he fails to include various aspects such as the society's involvement in the book which is a critical aspect. Moreover, Kubrick's film fails to define the overall practices in the boot camp through Gunnery Sergeant Hartman who is also an essential character in the movie. Generally, there is significant concern placed on transformation and change rather than the actual experiences and outcomes.
Can the Film Serve as An Effective Medium for Historical Discourse?
Depending on the presentation of a particular film, there are various ways they can be used for historical discourse. From the 1987 film Full Metal Jacket, there is proper characterization as well as a presentation of themes which in one way or the other are used to hold a perception of reality. There is a much broader sense of trust delivered through the film; hence, adding to the consideration that the film can serve an effective medium of historical discourse based on objectivity and focus.
Avila, Raul. "Full metal jacket: versiones en espanol y en latino." Revista de Filologia de la Universidad de La Laguna36 (2018): 35-47.
Caputo, Philip. A Rumor of War: The Classic Vietnam Memoir. Picador USA, 2017.
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Vitamin D is an extremely important vitamin, which is also a hormone. Thus, it is the only vitamin that man can produce himself, under certain conditions. However, sun exposure is often insufficient to synthesize sufficient amounts of vitamin D. On the other hand, the presence of this vitamin in food is obscure.
In addition, more about the most important tips on vitamin D supplementation â when it is best to take it and how to maximize its absorption (and consequently activity) in the body.
Many factors can affect the effectiveness of a supplement. In addition to the dosage, important about this supplement are the timing and the way it is taken.
Table of Contents
Vitamin D supplementation is a necessity
Getting enough vitamin D is essential for our health. As more research suggests, its most important functions include adequate immunity, bone health, cancer prevention, and so on.
However, this vitamin is found in a small number of foods, so meeting the needs for it is a challenge. Especially if we do not have sufficient exposure to sunlight.
For obese, older people and people with darker skin tone, the risk of deficiency of this important vitamin is even higher. According to research in the United States, the country with the most meticulous statistics, as many as 42% of the adult population is deficient in vitamin D.
Supplementation is an easy and effective way to make up for a shortfall. Doses up to 1000IU should be safe for everyone (adults). However, it is best to consult your doctor before moving on to any supplementation, especially in the long term. In addition to dosing, problems can occur due to the potential interaction of the supplement with certain medications.
In particular, inadequate amounts of vitamin D can have a really negative effect on calcium metabolism.
How to better absorption?
Vitamin D belongs to the group of fat-soluble vitamins, which means that it does not dissolve in water and is best absorbed into the bloodstream when combined with fat.
For these reasons, it is recommended that you take the supplement immediately after eating, especially if you have solid amounts of healthy fats in your meal.
According to one study, taking vitamin D with the largest meal during the day increases its absorption, ie its levels in the blood by as much as 50%, after only 2-3 months.
In a study of people over the age of 50, taking vitamin D with a high-fat meal increased blood vitamin levels by 32% after 12 hours, compared with a fat-free meal.
Therefore, take your vitamin D immediately after lunch, especially after meals rich in healthy fats. Healthy, ie unsaturated fats are mainly present in nuts, seeds, and their products.
Do not take vitamin D in the evening
Available research links vitamin D to sleep quality.
Vitamin D receptors and enzymes that control their activation and degradation are expressed in several parts of the brain associated with sleep regulation. This vitamin is also involved in the metabolic pathways of melatonin. It is a key hormone associated with the regulation of human sleep and circadian rhythms. In addition, vitamin D can affect sleep indirectly through certain sleep-related disorders, such as restless legs syndrome and sleep apnea.
Several studies have linked low levels of vitamin D in the blood to an increased risk of sleep disorders, poor sleep quality, and reduced duration.
However, higher levels of the vitamin can adversely affect sleep. Thus, one study suggests that high levels of vitamin D in the blood are associated with low levels of melatonin â as we have already said, responsible for regulating the sleep cycle. Additionally, there are more empirical claims to sleep-related problems and vitamin D.
There is also evidence that higher levels of vitamin D in the blood can suppress the synthesis of melatonin, as we have said, an extremely important hormone for good sleep.
This does not mean that there is an interaction between melatonin and vitamin D3 supplements.
Although more research is needed on this topic, it is still best not to take the supplement just before bed, or at all after sunset. As we have seen above, it is most convenient to take with (immediately after) the biggest meal of the day â lunch. |
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Subsets and Splits