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Bad Resume Examples for College Students and Type a paper for me letterhead, How To Fix Them. These bad resume mistakes can hold any college student back. It’s a common feeling; you’ve graduate from Can you wikipedia, college with your great degree and you’re ready to fly into the job market. You’re excited to apply everywhere and really start living. You’re ready to for me letterhead take on theology, the world. Sure, you’re not even thinking about the a paper for me letterhead nearly 2 million other graduates out there, because you have a pretty good feeling that you’re going to get a job. No problem! Wait, 2 million other graduates? Yes there are a lot of Can you write wikipedia bad college student resumes floating around! You should always have enthusiasm and optimism when you enter the job market, but the Type a paper for me competition is Can you write my essay wikipedia definitely something to consider.

You’re going to want to separate yourself from the competition. Type A Paper For Me. Employment BOOST helps job seekers stand out every day, so we want to Admission writing how to start make sure that you do, too. One of the best ways to separate yourself from the competition is to Type look at write my essay an example of what a bad college resume consists of. Bad Resume Examples for Type a paper for me letterhead College Students To Avoid. Master Thesis. 12345 Madison Avenue. Type A Paper For Me Letterhead. Detroit, Michigan 12345. Cell: 111-111-1111 Email: JohnSmith@Acme.edu. Acme University (2015) Smith Family Pizza (2011-2015) Handled all cashiering duties Cooked pizza Cleaned tabletops, chars, counters Took orders. Lambda Lambda Lambda Fraternity. I attended social events, fundraising, parties, and sporting events. Debated on weekends, helped fundraise, won many tournaments.

References available upon request. Master Thesis. There are quite a few things wrong with this resume. We’ll go through John Smith’s resume step-by-step and show you where he made mistakes. The Good: John Smith’s contact information is for the most part, pretty good. Type A Paper For Me Letterhead. He has his address, name, and contact information listed at the top of Phd dissertation theology his resume. Letterhead. He’s easily reachable and hiring managers will be able to contact him at any time by phone or e-mail. The Not-So-Good: We recommend that John Smith includes an email that is personal and not directly linked to his university. A lot of times, university emails have a tendency to theology expire or change formatting. Also, when someone is a paper letterhead entering the workforce and Writing scientific essays help, adulthood, he or she is going to want to Type a paper letterhead get rid of ties that make you seem like they’re fresh out of college. Essay. Even though John just graduated, the Type .edu email gives off the impression that he’s still a student. If he gets a normal email address with his name in it, he’ll be much better served.

The Good: It was a good idea for John to include the name of his university. Theology. Believe it or not, there are applications out there that do not have a university listed when they have an education section. The Not-So-Good: John should have included the for me letterhead degree and major that he earned. Phd Dissertation. For example, a Bachelor of Science (B.S.) in Type, Political Science would have been the right thing to write. Additionally, listing one’s GPA is not necessarily a good idea. Master Thesis Sram. If John had earned a 4.0, then it might be alright; for the most part, it’s best to just leave it off. The Good: John listed his job title, place of work, and tenure on his resume.

It’s important to a paper letterhead have job tenure on a college, the resume because hiring screeners won’t even consider you if you don’t have it. It’s the only way to gauge how much experience you actually have. The Not-So-Good: Well, to point out the obvious, John has some typos on his resume. A Paper. That’s always a one-way ticket to Master the “no” pile of resumes. Type A Paper. Having typos or grammatical mistakes on a college, your resume shows the hiring screeners that you’re careless and not quite ready for Type for me letterhead the professional world. A resume is a document that illustrates your professional branding; it’s not some paper in Admission writing how to start, college that you can turn in for a grade. Additionally, John forgot to list his internships on his resume.

Even though they are unpaid, they show that he has experience outside of part-time jobs that don’t really play a role in his career. A Paper. You can still include them on Can you my essay wikipedia, your resume when first starting out your job search, but internships that are relevant to your career are what’s going to be most important. Including those internships will also give the resume a sense of direction and focus. A Paper Letterhead. From this resume, it’s tough to figure out what John’s interests are or what he has experience in. Can You My Essay. If John includes that he had a summer internship at a state senator’s office, it will help him when he applies to various staffer positions. Also, when it comes to the experience that he did list, he basically just reiterated his job duties. This doesn’t really tell the Type hiring screener anything.

While we mention that a part-time job at his family’s pizzeria may not be in essay start, his long-term plans, it’s still considered experience that he can utilize when applying to positions – if he features it correctly. Instead of Type a paper writing that he “handled all cashiering duties” and “took orders,” he should write something like, “Interfaced with customers over the phone and in person, utilizing well-trained customer service skills.” Statements like this help show the hiring screener that you gained something applicable to with my personal statement graduate other jobs from the experience. This applies to jobs at all levels. You should never just list the duties of your job. Letterhead. The Good: It was a good idea for John Smith to include that he was a part of the debate club on Phd dissertation, his resume. Extracurricular activities show that you were active in college.

If you excelled in them, they can really help out your application, even for your first professional job after college. After that first job, though, extracurricular activities that you had in college won’t really have a place on your resume. A Paper. The Not-So-Good: John didn’t really show his significance when he listed these positions. If he was the president of his fraternity or the captain of the debate team, he should include that. If he didn’t hold a leadership position there, he should still try to show how he really made an impact within those organizations. Instead of Can you write wikipedia saying, “I attended social events, fundraising, parties, and sporting events,” John could state, “Served as fraternity treasurer and social chair, organizing massive fundraisers and a paper for me, brought in the most money to scientific essays help the fraternity’s charity in Lambda Lambda Lambda history.” In terms of the debate club, John could state, “was ranked in the top ten debaters in the college circuit for for me letterhead the state of Michigan for Phd dissertation theology all four years.” While this is an example of a bad college resume, we understand that resume mistakes should be considered on a case-by-case basis.

That being said, it’s never a bad idea to read and revise your resume to make sure that you can keep up with the competition. Thank you for Type a paper letterhead taking the time to read Employment BOOST’s Bad Resume Examples for College Students. We do encourage you to share this article with your colleagues, friends and business associates, they will thank you one day! Vice President Resume Mistakes Keeping You Out Of The C-Suite. 05/07/2016 10/20/2016 by Employment Boost. Pharmaceutical Resume Mistakes That Our Prescription Will Fix. 04/13/2016 10/20/2016 by Employment Boost. Resume Cover Letter Mistakes You Will Hate To Make.

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Internet Encyclopedia of Philosophy. Formalism in aesthetics has traditionally been taken to refer to the view in Type a paper, the philosophy of art that the properties in virtue of which an artwork is an artwork—and in virtue of Can you my essay, which its value is determined—are formal in the sense of being accessible by direct sensation (typically sight or hearing) alone. While such Formalist intuitions have a long history, prominent anti-Formalist arguments towards the end of the Type for me letterhead, twentieth century (for example, from Arthur Danto and Kendall Walton according to which none of the aesthetic properties of a work of Can you wikipedia, art are purely formal) have been taken by many to be decisive. A Paper? Yet in the early twenty-first century there has been a renewed interest in and defense of Writing scientific help, Formalism. Contemporary discussion has revealed both “extreme” and more “moderate” positions, but the letterhead, most notable departure from traditional accounts is the move from Artistic to Aesthetic Formalism. One might more accurately summarize contemporary Formalist thinking by Help with statement graduate school, noting the a paper letterhead, complaint that prominent anti-Formalist arguments fail to accommodate an writing important aspect of our aesthetic lives, namely those judgements and experiences (in relation to art, but also beyond the art-world) which should legitimately be referred to a paper as “aesthetic” but which are accessible by Admission writing how to, direct sensation, and proceed independently of one’s knowledge or appreciation of a thing’s function, history, or context. The presentation below is divided into five parts. Part 1 outlines an historical overview. It considers some prominent antecedents to Formalist thinking in the nineteenth century, reviews twentieth century reception (including the anti-Formalist arguments that emerged in the latter part of Type a paper letterhead, this period), before closing with a brief outline of the main components of the twenty-first century Formalist revival. Part 2 returns to Help with my personal statement graduate school the early part of the twentieth century for a more in-depth exploration of a paper, one influential characterisation and defense of Artistic Formalism developed by art-critic Clive Bell in his book Art (1913). Critical reception of Bell’s Formalism has been largely unsympathetic, and some of the more prominent concerns with this view will be discussed here before turning—in Part 3—to the Moderate Aesthetic Formalism developed in the early part of the twenty-first century by Nick Zangwill in his The Metaphysics of Beauty (2001).

Part 4 considers the application of Formalist thinking beyond the art world by considering Zangwill’s responses to anti-Formalist arguments regarding the aesthetic appreciation of Help graduate school, nature. A Paper Letterhead? The presentation closes with a brief conclusion (Part 5) together with references and suggested further reading. When A. G. Baumgarten introduced the term “aesthetic” into essay, the philosophy of art it seemed to be taken up with the aim of recognising, as well as unifying, certain practices, and perhaps even the for me, concept of beauty itself. It is of note that the phrase l’art pour l’art seemed to gain significance at help roughly the same time that the term aesthetic came into wider use. Much has been done in recognition of the emergence and letterhead consolidation of the l’art pour l’art movement which, as well as denoting a self-conscious rebellion against Victorian moralism, has been variously associated with bohemianism and Master sram Romanticism and characterises a contention that, for some, encapsulates a central position on art for the main part of the nineteenth century. First appearing in Benjamin Constant’s Journal intime as early as 1804 under a description of Schiller’s aesthetics, the initial statement: “ L’art pour l’art without purpose, for Type, all purpose perverts art” has been taken not only Can you wikipedia as a synonym for the disinterestedness reminiscent of Immanuel Kant’s aesthetic but as a modus operandi in its own right for a paper for me letterhead, a particular evaluative framework and corresponding practice of those wishing to produce and insomuch define the boundaries of artistic procedure. These two interpretations are related insofar as it is suggested that the emergence of this consolidated school of writing how to start, thought takes its initial airings from a superficial misreading of Kant’s Critique of Judgement (a connection we will return to in Part 3).

Kant’s Critique was not translated into French until 1846, long after a number of allusions that implicate an understanding and certainly a derivation from Kant’s work. Type For Me Letterhead? John Wilcox (1953) describes how early proponents, such as Victor Cousin, spoke and wrote vicariously of Kant’s work or espoused positions whose Kantian credentials can be—somewhat undeservedly it turns out—implicated. My Essay Wikipedia? The result was that anyone interested in the arts in a paper for me letterhead, the early part of the Admission writing, nineteenth century would be exposed to a new aesthetic doctrine whose currency involved variations on terms including aesthetic, disinterest, free, beauty, form and sublime. By the 1830s, a new school of aesthetics thus accessed the diluted Kantian notions of artistic genius giving form to the formless, presented in Scheller’s aesthetics, via the Type a paper, notion of beauty as disinterested sensual pleasure, found in Cousin and his followers, towards an understanding of a disinterested emotion which constitutes the apprehension of beauty. All or any of with statement graduate school, which could be referred to by the expression L’art pour l’art ; all of which became increasingly associated with the term aesthetic. Notable adoption, and thus identification with what may legitimately be referred to for me letterhead as this “school of thought” included Victor Hugo, whose preface to Cromwell, in 1827, went on to constitute a manifesto for the French Romantic movement and certainly gave support to the intuitions at issue. Theophile Gautier, recognising a theme in Hugo, promoted a pure art-form less constrained by religious, social or political authority. In the preface to his Premieres poesies (1832) he writes: What [end] does this [book] serve? - it serves by Admission writing, being beautiful… In general as soon as something becomes useful it ceases to be beautiful. This conflict between social usefulness versus pure art also gained, on the side of the latter, an association with Walter Pater whose influence on the English Aesthetic movement blossomed during the 1880s where the adoption of Type letterhead, sentimental archaism as the ideal of beauty was carried to writing start extravagant lengths. Here associations were forged with the likes of letterhead, Oscar Wilde and Arthur Symons, further securing (though not necessarily promoting) a connection with aestheticism in general. Such recognition would see the influence of l’art pour l’art stretch well beyond the second half of the nineteenth century.

As should be clear from this brief outline it is not at all easy, nor would it be appropriate, to suggest the emergence of a strictly unified school of thought. There are at least two strands that can be separated in what has been stated so far. At one extreme we can identify claims like the following from the preface of Wilde’s The Picture of Dorian Gray : “There is no such thing as a moral or an immoral book. Books are well written or badly written.” Here the emphasis is initially on Help with statement graduate school, the separation of the value of art from social or moral aims and values. The sentiment is clearly reminiscent of Gautier’s claim: “Only those things that are altogether useless can be truly beautiful; anything that is for me letterhead useful is ugly; for it is the expression of some need…”. Yet for Wilde, and many others, the claim was taken more specifically to legitimise the production and value of amoral, or at least morally controversial, works. In a slightly different direction (although recognisably local to the above), one might cite James Whistler: Art should be independent of all claptrap—should stand alone […] and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, in devotion, pity, love, patriotism and the like. While the second half of this statement seems merely to echo the sentiments expressed by Wilde in the same year, there is, in the first half, recognition of the contention Whistler was later to voice with regard to his painting; one that expressed a focus, foremost, on the arrangement of line, form and colour in How to a college essay, the work. Here we see an Type for me element of l’art pour l’art that anticipated the importance of Phd dissertation theology, formal features in the twentieth century, holding that artworks contain all the a paper letterhead, requisite value inherently—they do not need to borrow significance from biographical, historical, psychological or sociological sources.

This line of How to a college essay, thought was pursued, and a paper for me can be identified, in Eduard Hanslick’s The Beautiful in Music (1891); Clive Bell’s Art (1913); and Roger Fry’s Vision and Design (1920). The ruminations of which are taken to have given justification to various art movements from abstract, non-representational art, through Dada, Surrealism, Cubism. While marked here as two separable strands, a common contention can be seen to run through the above intuitions; one which embarks from, but preserves, something of the aesthetic concept of disinterestedness, which Kant expressed as purposiveness without purpose. L’art pour l’art can be seen to encapsulate a movement that swept through Paris and England in the form of the new Aesthetic (merging along the way with the Romantic Movement and bohemianism), but also the central doctrine that formed not only the movement itself, but a well-established tradition in the history of aesthetics. L’art pour l’art captures not just a movement but an aesthetic theory; one that was adopted and defended by both critics and artists as they shaped art history itself. Towards the end of the twentieth century Leonard Meyer (in Dutton, 1983) characterised the intuition that we should judge works of art on the basis of their intrinsic formal qualities alone as a “common contention” according to which the work of art is said to have its complete meaning “within itself”. On this view, cultural and stylistic history, and the genesis of the artwork itself do not enhance true understanding. Writing Scientific Help? Meyer even suggests that the separation of the aesthetic from religion, politics, science and so forth, was anticipated (although not clearly distinguished) in Greek thought. It has long been recognised that aesthetic behaviour is different from Type a paper ordinary behaviour; however, Meyer goes on theology, to argue that this distinction has been taken too far. Citing the Artistic Formalism associated with Clive Bell (see Part 2), he concludes that in actual practice we do not judge works of art in terms of for me letterhead, their intrinsic formal qualities alone.

However, Artistic Formalism, or its close relatives, have met with serious (or potentially disabling) opposition of the kind found in Meyer. Gregory Currie (1989) and David Davies (2004) both illustrate a similar disparity between our actual critical and thesis appreciative practices and what is (in the end) suggested to be merely some pre-theoretical intuition. Letterhead? Making such a point in his An Ontology of Help my personal statement graduate school, Art, Currie draws together a number of a paper letterhead, familiar and statement graduate school related aesthetic stances under the term “Aesthetic Empiricism”, according to which. [T]he boundaries of the aesthetic are set by the boundaries of vision, hearing or verbal understanding, depending on which art form is in question. (Currie, 1989, p.18) Currie asserts that empiricism finds its natural expression in aesthetics in the view that a work—a painting, for Type a paper, instance—is a “sensory surface”.

Such a view was, according to Currie, supposed by David Prall when he said that “Cotton will suffice aesthetically for Phd dissertation theology, snow, provided that at our distance from it it appears snowy”. It is the assumption we recover from Monroe Beardsley (1958) in the view that the limits of musical appreciation are the for me letterhead, limits of what can be heard in a work. Currie also recognises a comparable commitment concerning literature in Wimsatt and Beardsley’s The Intentional Fallacy (1946). Write My Essay? We can add to Currie’s list Clive Bell’s claim that. To appreciate a work of art we need bring with us nothing from Type a paper for me letterhead life, no knowledge of its ideas and affairs, no familiarity with its emotions… we need bring with us nothing but a sense of form and colour and a knowledge of three-dimensional space.

Alfred Lessing, in his “What is Wrong with Forgery?” (in Dutton, 1983), argues that on the assumption that an artwork is a “sensory surface” it does seem a natural extension to claim that what is aesthetically valuable in a painting is a function solely of how it looks. This “surface” terminology, again, relates back to Prall who characterised the aesthetic in terms of an exclusive interest in the “surface” of things, or the scientific essays help, thing as seen, heard, felt, immediately experienced. It echoes Fry’s claim that aesthetic interest is constituted only by an awareness of “order and variety in the sensuous plane”. A Paper For Me? However, like Kendall Walton (1970) and Arthur Danto (1981) before him, Currie’s conclusion is that this common and influential view is nonetheless false. Walton’s anti-formalism is presented in his essay “Categories of Art” in which he first argues that the aesthetic properties one perceives an artwork as having will depend on How to write a college, which category one perceives the work as belonging to (for example, objects protruding from a canvas seen under the category of “painting”—rather than under the category of Type a paper for me letterhead, “collage”—may appear contrary to expectation and thus surprising, disturbing, or incongruous).

Secondly, Walton argues that the aesthetic properties an artwork actually has are those it is perceived as having when seen under the category to which it actually belongs. Determination of “correct” categories requires appeal to Writing scientific such things as artistic intentions, and as knowledge concerning these requires more than a sense of form, color, and knowledge of three-dimensional space, it follows that Artistic Formalism must be false (see Part 3 for a more in-depth discussion of for me letterhead, Walton’s anti-formalist arguments). Similarly, Danto’s examples—these include artworks such as Marcel Duchamp’s “Readymades”, Andy Warhol’s Brillo Boxes , and Danto’s hypothetical set of indiscernible red squares that constitute distinct artworks with distinct aesthetic properties (indeed, two of which are not artworks at with my personal statement school all but “mere things”) — are generally taken to provide insurmountable difficulties for traditional Artistic Formalism. Danto argues that, regarding most artworks, it is Type for me letterhead possible to scientific imagine two objects that are formally or perceptually indistinguishable but differ in artistic value, or perhaps are not artworks at all. Despite the prominence of these anti-formalist arguments, there has been some notable resistance from the Formalist camp. In 1983 Denis Dutton published a collection of articles on forgery and the philosophy of art under the title The Forger’s Art . Here, in a paper for me letterhead, an article written for the collection, Jack Meiland argues that the value of originality in art is not an aesthetic value. In criticism of the write a college essay, (above) position held by Leonard Meyer, who defends the Type letterhead, value of originality in artworks, Meiland asks whether the original Rembrandt has greater aesthetic value than the copy? He refers to “the appearance theory of essay writing how to, aesthetic value” according to which aesthetic value is independent of the non-visual properties of the work of a paper letterhead, art, such as its historical properties.

On this view, Meiland argues, the copy, being visually indistinguishable from the original, is equal in aesthetic value. Indeed, he points to an arguable equivocation in the sense of the word “original” or “originality”. The originality of the Can you wikipedia, work will be preserved in the copy—it is rather the level of creativity that may be surrendered. We might indeed take the latter to Type devalue the thesis, copied work, but Meiland argues that while originality is a feature of a work, creativity is a feature applicable to the artist or in Type a paper, this case a feature lacking in How to, the copyist, it therefore cannot affect the aesthetic quality of the work. Thus we cannot infer from the lack of creativity on the part of the artist that the work itself lacks originality. This distinction between “artistic” and “aesthetic” value marks the a paper for me, transition from Artistic to sram Aesthetic Formalism. Danto, for Type, example, actually endorsed a version of the latter in maintaining that (while indistinguishable objects may differ in terms of their artistic value or art-status) in being perceptually indiscernible, two objects would be aesthetically indiscernible also. Hence, at its strongest formulation Aesthetic Formalism distinguishes aesthetic from non-aesthetic value whilst maintaining that the essay writing start, former is restricted to those values that can be detected merely by attending to what can be seen, heard, or immediately experienced. Values not discerned in this way may be important, but should not be thought of a paper for me, as (purely) “aesthetic” values. Nick Zangwill (2001) has developed a more moderate Aesthetic Formalism, drawing on the Kantian distinction between free (formal) and dependent (non-formal) beauty.

In relation to the value of art, Zangwill accepts that “ extreme formalism ” (according to which all the aesthetic properties of a work of art are formal) is false. But so too are strongly anti-Formalist positions such as those attributable to Walton, Danto, and Writing scientific help Currie (according to which none of the aesthetic properties of a work of art are purely formal). Whilst conceding that the restrictions imposed by Formalism on those features of an artwork available for consideration are insufficient to deliver some aesthetic judgements that are taken to be central to the discourse, Zangwill maintains that there is nonetheless an “important truth” in formalism. Many artworks have a mix of formal and Type a paper non-formal aesthetic properties, and at least some artworks have only formal aesthetic properties. Moreover, this insight from the How to write essay, Aesthetic Formalisist is for me not restricted to Help statement school the art world. Many non-art objects also have important formal aesthetic properties. A Paper For Me Letterhead? Zangwill even goes so far as to endorse extreme Aesthetic Formalism about inorganic natural items (such as rocks and sunsets). In Part 1 we noted the translation of the essay writing how to start, L’art pour l’art stance onto pictorial art with reference to Whistler’s appeal to “the artistic sense of eye and ear” . Many of the accounts referred to above focus on pictorial artworks and the specific response that can be elicited by these. Here in particular it might be thought that Bell’s Artistic Formalism offers a position that theoretically consolidates the attitudes described. Formalism of this kind has received largely unsympathetic treatment for its estimation that perceptual experience of Type a paper for me, line and colour is uniquely and properly the domain of the aesthetic. Master Sram? Yet there is some intuitive plausibility to elements of the a paper for me letterhead, view Bell describes which have been preserved in Master, subsequent attempts to re-invigorate an interest in the application of formalism to aesthetics (see Part 3).

In this section we consider Bell’s initial formulation, identifying (along the way) those themes that re-emerge in contemporary discussion. a. Clive Bell and a paper for me letterhead ‘Significant Form’ The claim under consideration is that in pictorial art (if we may narrow the scope for the purposes of this discussion) a work’s value is write a function of Type for me, its beauty and beauty is to Admission be found in the formal qualities and arrangement of paint on canvas. Type A Paper For Me? Nothing more is required to judge the value of a work. Here is Bell: What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto’s frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Help with school Cezanne?

Only one answer seems possible - significant form. A Paper Letterhead? In each, lines and colours combined in a particular way, certain forms and relations of thesis sram, forms, stir our aesthetic emotions. These relations and combinations of lines and colours, these aesthetically moving forms, I call Significant Form; and Significant Form is the one quality common to all works of Type a paper, visual art. (1913, p.5) These lines have been taken to Master thesis summarise Bell’s account, yet alone they explain very little. One requires a clear articulation of what “aesthetic emotions” are, and what it is to have them stirred. Also it seems crucial to note that for Bell we have no other means of recognising a work of art than our feeling for it. The subjectivity of such a claim is, for Bell, to be maintained in any system of aesthetics. Furthermore it is the exercise of bringing the viewer to feel the aesthetic emotion (combined with an attempt to account for the degree of aesthetic emotion experienced) that constitutes the function of criticism . “…[I]t is useless for a critic to tell me that something is a work of for me, art; he must make me feel it for essay how to start, myself. This he can do only by making me see; he must get at my emotions through my eyes.” Without such an emotional attachment the subject will be in no position to Type a paper letterhead legitimately attribute to the object the status of artwork. Unlike the proponents of the previous century Bell is not so much claiming an Phd dissertation ought (initially) but an is . Significant form must be the measure of artistic value as it is the letterhead, only thing that all those works we have valued through the ages have in Phd dissertation, common.

For Bell we have no other means of recognising a work of art than our feeling for it. If a work is unable to engage our feelings it fails, it is not art. If it engages our feelings, but feelings that are sociologically contingent (for example, certain moral sensibilities that might be diminished or lost over time), it is not engaging aesthetic sensibilities and, inasmuch, is not art. Thus if a work is Type letterhead unable to stir the viewer in this precise and uncontaminated way (in virtue of its formal qualities alone), it will be impossible to ascribe to the object the Admission writing, status of Type for me, artwork. We are, then, to understand that certain forms—lines, colours, in particular combinations—are de facto producers of some kind of aesthetic emotion. They are in this sense “significant” in a manner that other forms are not. Without exciting aesthetic rapture, although certain forms may interest us; amuse us; capture our attention, the Help with my personal statement graduate, object under scrutiny will not be a work of art.

Bell tells us that art can transport us. [F]rom the world of man’s activity to a world of aesthetic exaltation. For a moment we are shut off from human interests; our anticipations and memories are arrested; we are lifted above the stream of life. The pure mathematician rapt in letterhead, his studies knows a state of mind which I take to be similar if not identical. Thus the significance in question is a significance unrelated to the significance of life. “In this [the aesthetic] world the emotions of life find no place. It is a world with emotions of its own.” Bell writes that before feeling an aesthetic emotion one perceives the rightness and necessity of the combination of form at issue, he even considers whether it is this, rather than the form itself, that provokes the emotion in question. Bell’s position appears to echo G. E. Moore’s intuitionism in Writing scientific, the sense that one merely contemplates the object and Type a paper recognises the significant form that constitutes its goodness.

But the spectator is Master sram not required to a paper letterhead know anything more than that significant form is theology exhibited. Bell mentions the question: “Why are we so profoundly moved by forms related in a particular way?” yet dismisses the matter as extremely interesting but irrelevant to aesthetics. Bell’s view is that for “pure aesthetics” we need only consider our emotion and its object—we do not need to “pry behind the a paper, object into the state of essay, mind of him who made it.” For pure aesthetics, then, it need only be agreed that certain forms do move us in Type a paper for me, certain ways, it being the business of an artist to arrange forms such that they so move us. Central to Bell’s account was a contention that the Can you write, response elicited in the apprehension of significant form is one incomparable with the emotional responses of the for me letterhead, rest of essay, experience. The world of human interests and emotions do, of course, temper a great deal of our interactions with valuable objects, these can be enjoyable and beneficial, but constitute impure appreciation. The viewer with such interests will miss the full significance available. He or she will not get the best that art can give. Bell is scathing of the mistaken significance that can be attributed to representational content, this too signifies impure appreciation. He suggests that those artists “too feeble to create forms that provoke more than a little aesthetic emotion will try to eke that little out by suggesting the emotions of life”.

Such interests betray a propensity in artists and Type a paper for me viewers to merely bring to art and take away nothing more than the ideas and Help statement school associations of their own age or experience. Such prima facie significance is the for me, significance of a defective sensibility. As it depends only on thesis, what one can bring to Type a paper for me the object, nothing new is added to one’s life in its apprehension. For Bell, then, significant form is Phd dissertation theology able to carry the viewer out of life and into Type a paper, ecstasy. The true artist is capable of feeling such emotion, which can be expressed only in form; it is this that the subject apprehends in the true artwork. Much visual art is concerned with the Admission writing how to start, physical world—whatever the emotion the artists express may be, it seemingly comes through the contemplation of the familiar. Bell is a paper for me careful to state, therefore, that this concern for the physical world can be (or should be) nothing over and above a concern for the means to the inspired emotional state. Any other concerns, such as practical utility, are to be ignored by art. Write My Essay? With this claim Bell meant to differentiate the use of artworks for documentary, educational, or historical purposes. Such attentions lead to a loss of the feeling of emotions that allow one to Type a paper for me get to Writing essays help the thing in itself.

These are interests that come between things and our emotional reaction to them. In this area Bell is a paper for me letterhead dismissive of the practice of intellectually carving up our environment into practically identified individuations. Essays? Such a practice is superficial in requiring our contemplation only to the extent to which an object is to be utilised. Type Letterhead? It marks a habit of recognising the label and overlooking the thing, and with my personal is indicative of a visual shallowness that prohibits the majority of us from seeing “emotionally” and from grasping the Type a paper for me letterhead, significance of form. Bell holds that the discerning viewer is concerned only with line and colour, their relations and qualities, the essay, apprehension of which (in significant form) can allow the viewer an Type a paper for me emotion more powerful, profound, and genuinely significant than can be afforded by any description of facts or ideas. Help? Thus, for Bell: Great art remains stable and unobscure because the feelings that it awakens are independent of Type a paper letterhead, time and place, because its kingdom is not of this world.

To those who have and hold a sense of the significance of form what does it matter whether the forms that move them were created in Paris the day before yesterday or in Babylon fifty centuries ago. The forms of art are inexhaustible; but all lead by the same road of aesthetic emotion to the same world of Writing help, aesthetic ecstasy. (1913, p.16) What Bell seems to Type a paper for me be pushing for is a significance that will not be contingent on peculiarities of one age or inclination, and it is certainly interesting to see what a pursuit of scientific, this characteristic can yield. However, it is unclear why one may only Type for me letterhead reach this kind of significance by looking to emotions that are (in some sense) out of this world. Write My Essay? Some have criticised Bell on his insistence that aesthetic emotion could be a response wholly separate from the Type for me, rest of a person’s emotional character. Thomas McLaughlin (1977) claims that there could not be a pure aesthetic emotion in Bell’s sense, arguing that the aesthetic responses of a spectator are influenced by her normal emotional patterns. Admission Essay How To? On this view the spectator’s emotions, including moral reactions, are brought directly into play under the control of the artist’s technique. It is difficult to deny that the significance, provocativeness and for me letterhead interest in many works of art do indeed require the spectator to bring with them their worldly experiences and sensibilities.

John Carey (2005) is equally condemning of Bell’s appeal to the peculiar emotion provided by works of art. He is particularly critical of Bell’s contention that the same emotion could be transmitted between discreet historical periods (or between artist and Master thesis latter-day spectator). On the one hand, Bell could not possibly know he is experiencing the same emotion as the Chaldean four thousand years earlier, but more importantly to experience the same emotion one would have to Type for me share the same unconscious, to have undergone the same education, to How to write essay have been shaped by the same emotional experiences. It is important to note that such objections are not entirely decisive. Provocativeness in general and indeed any interests of Type, this kind are presumably ephemeral qualities of a work. These are exactly the kinds of transitory evaluations that Bell was keen to sidestep in characterising true works and Master sram the properties of lasting value. The same can be said for all those qualities that are only found in a work in virtue of the spectator’s peculiar education and emotional experience. Bell does acknowledge such significances but doesn’t give to them the importance that he gives to formal significance. It is when we strip away the interests, educations, and Type for me letterhead the provocations of a particular age that we get to those works that exhibit lasting worth.

Having said that, there is no discernible argument in support of the claim that the lasting worth Bell attempts to isolate should be taken to be more valuable, more (or genuinely) significant than the kinds of ephemeral values he dismisses. Even as a purported phenomenological reflection this appears questionable. In discussion of essay, much of the criticism Bell’s account has received it is important not to run together two distinct questions. For Me Letterhead? On the one hand there is the question of whether or not there exists some emotion that is scientific help peculiar to the aesthetic; that is “otherworldly” in the sense that it is not to be confused with those responses that temper the a paper, rest of our lives. The affirmation of Admission start, this is certainly implicated in Bell’s account and is rightly met with some consternation. But what is Type a paper liable to become obscured is that the suggestion of such an thesis sram inert aesthetic emotion was part of Bell’s solution to Type letterhead the more interesting question with which his earlier writing was concerned.

This question concerns whether or not one might isolate a particular reaction to certain (aesthetic) objects that is theology sufficiently independent of time, place and enculturation that one might expect it to be exhibited in subjects irrespective of their historical and Type letterhead social circumstance. One response to this question is indeed to posit an emotional response that is unlike all those responses that are taken to be changeable and contingent on time, culture and so forth. Looking at the changeable interests of the art-world over time, one might well see that an interest in representation or subject matter betrays the spectator’s allegiance to “the gross herd” (as Bell puts it) of some era. But it seems this response is unsatisfactory. Writing Scientific Help? As we have seen, McLaughlin and Carey are sceptical of the kind of inert emotion Bell stipulates. Bell’s response to such criticisms is to claim that those unable to accept the postulation are simply ignorant of the emotion he describes.

While this is philosophically unsatisfactory the issue is potentially moot. A Paper For Me Letterhead? Still, it might be thought that there are other ways in which one might characterise lasting value such as to capture the essay, kind of quality Bell pursued whilst dismissing the more ephemeral significances that affect a particular time. Regarding the second question, it is tempting to see something more worthwhile in Bell’s enterprise. There is at least some prima facie attraction to Type a paper Bell’s response, for, assuming that one is sram trying to Type letterhead distinguish art from non-art, if one hopes to capture something stable and unobscure in drawing together all those things taken to Can you write wikipedia be art, one might indeed look to Type letterhead formal properties of works and one will (presumably) only include those works from any time that do move us in the relevant respect. What is lacking in Bell’s account is some defense of the claim, firstly that those things that move Bell are the Master thesis, domain of true value, and secondly that we should be identifying something stable and unobscure. For Me? Why should we expect to identify objects of theology, antiquity as valuable artworks on the basis of Type a paper, their stirring our modern dispositions (excepting the Master thesis, claim—Bell’s claim—that such dispositions are not modern at Type a paper all but timeless)? Granted, there are some grounds for pursuing the kind of account Bell offers, particularly if one is interested in capturing those values that stand the test of time. However, Bell appears to motivate such a pursuit by making a qualitative claim that such values are in some way more significant, more valuable than those he rejects.

And it is scientific essays difficult to isolate any argument for such a claim. c. Aesthetic versus Non-Aesthetic Appreciation. The central line of Bell’s account that appears difficult to accept is that while one might be able to isolate a specifically perceptual response to artworks, it seems that one could only equate this response with all that is a paper letterhead valuable in art if one were able to qualify the a college, centrality of this response to the exclusion of others. This presentation will not address (as some critics do) the question of whether such a purely aesthetic response can be identified; this must be addressed if anything close to Bell’s account is to Type a paper for me be pursued. But for the time being all one need acknowledge is that the mere existence of this response is not enough to legitimise the work Bell expected it to How to a college do. A further argument is Type for me required to statement justify a thesis that puts formal features (or our responses to Type for me letterhead these) at centre stage. Yet aside from this aim there are some valuable mechanisms at school work in Bell’s theory. As a corollary of his general stance, Bell mentions that to understand art we do not need to know anything about art-history. Letterhead? It may be that from works of art we can draw inferences as to the sort of Master thesis, people who made them; but an intimate understanding of an artist will not tell us whether his pictures are any good. This point again relates to Bell’s contention that pure aesthetics is concerned only with the question of whether or not objects have a specific emotional significance to Type a paper for me us.

Other questions, he believes, are not questions for aesthetics: To appreciate a man’s art I need know nothing whatever about the artist; I can say whether this picture is Phd dissertation better than that without the help of history, but if I am trying to account for the deterioration of his art, I shall be helped by a paper for me, knowing that he has been seriously ill… To mark the deterioration was to make a pure, aesthetic judgement: to account for it was to become an historian. (1913, pp.44-5, emphasis added) The above passage illustrates an How to write a college essay element of Bell’s account some subsequent thinkers have been keen to preserve. Bell holds that attributing value to a work purely on Type a paper for me letterhead, the basis of the position it holds within an art-historical tradition, (because it is by Picasso, or marks the writing start, advent of cubism) is not a pursuit of aesthetics. Although certain features and relations may be interesting historically, aesthetically these can be of no consequence. Indeed valuing an object because it is old, interesting, rare, or precious can over-cloud one’s aesthetic sensibility and puts one at a disadvantage compared to the viewer who knows and cares nothing of the object under consideration. Representation is, also, nothing to do with art’s value according to Type for me letterhead Bell. Thus while representative forms play a part in many works of art we should treat them as if they do not represent anything so far as our aesthetic interest goes. It is thesis sram fairly well acknowledged that Bell had a non-philosophical agenda for these kinds of claims. A Paper Letterhead? It is easy to see in Bell a defense of the value of abstract art over other art forms and this was indeed his intention. The extent to which Renaissance art can be considered great, for essay writing how to start, example, has nothing to do with representational accuracy but must be considered only in light of the formal qualities exhibited.

In this manner many of the values formerly identified in Type for me letterhead, artworks, and indeed movements, would have to be dismissed as deviations from the sole interest of the aesthetic: the pursuit of significant form. There is my personal a sense in which we should not underplay the role of the critic or philosopher who should be capable of challenging our accepted practices; capable of refining or cultivating our tastes. To this end Bell’s claims are not out of place. A Paper? However, while there is some tendency to theology reflect upon purely formal qualities of a work of art rather than artistic technique or various associations; while there is a sense in which many artists attempt to depict something beyond the evident (utility driven) perceptual shallowness that can dictate our perceptual dealings, it remains obscure why this should be our only Type for me interest. Help With Statement Graduate School? Unfortunately, the exclusionary nature of Bell’s account seems only to be concerned with the aesthetic narrowly conceived, excluding any possibility of the development of, or importance of, other values and interests, both as things stand and in future artistic development. Given the qualitative claim Bell demands concerning the superior value of significant form this appears more and more troubling with the increasing volume of works (and indeed values) that would have to Type be ignored under Bell’s formulation. As a case in point (perhaps a contentious one but there are any number of related examples), consider Duchamp’s Fountain (1917) . In line with much of the criticism referred to in Part 1, the problem is that because Bell identifies aesthetic value (as he construes it) with “art-hood” itself, Artistic Formalism has nothing to say about a urinal that purports to be anti-aesthetic and yet art. Increasingly, artworks are recognised as such and valued for reasons other than the presence (or precisely because of their lack) of aesthetic properties, or exhibited beauty. The practice continues, the works are criticised and valued, and formalists of this kind can do very little but stamp their feet. Help My Personal Graduate? The death of Artistic Formalism is apparently heralded by the departure of practice from theory.

d. Type A Paper For Me? Conclusions: From Artistic to (Moderate) Aesthetic Formalism. So what are we to take from Bell’s account? His claims that our interactions with certain artworks yield an emotion peculiar to the aesthetic, and not experienced in our everyday emotional lives, is rightly met with consternation. It is unclear why we should recognise such a reaction to be of write a college, a different kind (let alone a more valuable kind) to a paper for me those experienced in other contexts such as to discount many of our reactions to ostensible aesthetic objects as genuine aesthetic responses. Few are prompted by Bell’s account to accept this determination of the aesthetic nor does it seem to satisfactorily capture all that we should want to in this area. However, Bell’s aim in Can you my essay, producing this theory was (ostensibly) to capture something common to aesthetic objects. In appealing to a timeless emotion that will not be subject to the contingencies of any specific era, Bell seemingly hoped to account for the enduring values of works throughout time. It is easy enough to recognise this need and the place Bell’s theory is supposed to hold in satisfying what does appear to be a sensible requirement.

It is Type letterhead less clear that this path, if adequately pursued, should be found to be fruitless. That we should define the realm of the aesthetic in virtue of those works that stand the test of time has been intuitive to some; how else are we to draw together all those objects worthy of theoretical inclusion whilst characterising and discounting failed works, impostors, and anomalies? Yet there is Master sram something disconcerting about this procedure. That we should ascribe the label “ art” or even “ aesthetic” to a conjunction of Type a paper for me letterhead, objects that have, over time, continued to impress on us some valuable property, seems to invite a potentially worrying commitment to Admission relativity. The preceding discussion has given some voice to a familiar enough contention that by indexing value to our current sensibility we stand to Type letterhead dismiss things that might have been legitimately valued in the past.

Bell’s willingness to acknowledge, even rally for, the importance of abstract art leads him to a theory that identifies the Admission, value of works throughout history only on the basis of their displaying qualities (significant form) that he took to be important. The cost (although for letterhead, Bell this is no cost) of such a theory is that things like representational dexterity (a staple of the Renaissance) must be struck from the list of aesthetically valuable properties, just as the pursuit of such a quality by artists must be characterised as misguided. The concern shared by those who criticise Bell seems to stem from an outlook according to which any proposed theory should be able to capture and Admission accommodate the moving trends, interests and evaluations that constitute art history and Type for me drive the very development of artistic creation. This is what one expects an thesis sram art theory to be able to do. This is where Artistic Formalism fails, as art-practice and art theory diverge. A Paper For Me? Formalism, as a theory of art , is ill suited to make ontological distinctions between genuine- and non-art. A theory whose currency is perceptually available value will be ill-equipped to officiate over a practice that is governed by, amongst other things, institutional considerations; in fact a practice that is able to develop precisely by identifying recognised values and then subverting them. For these reasons it seems obvious that Formalism is Phd dissertation not a bad theory of art but is no theory of art at all. This understood, one can begin to see those elements of Type, Bell’s Formalism that may be worth salvaging and those that must be rejected.

For instance, Bell ascribes a particular domain to aesthetic judgements, reactions, and evaluations such as to distinguish a number of other pronouncements that can also be made in scientific essays, reference to the object in question (some, perhaps, deserve to be labelled “aesthetic” but some—arguably—do not). Bell can say of Picasso’s Guernica (1937) that the way it represents and expresses various things about the Spanish Civil War might well be politically and historically interesting (and valuable)—and might lead to the ascription of various properties to the work (being moving, or harsh). Likewise, the fact that it is by Picasso (or is a paper for me a genuine Picasso rather than a forgery) will be of interest to write my essay wikipedia some and might also lead to the ascription of certain properties. But arguably these will not be aesthetic properties; no such property will suggest aesthetic value. Conversely, the fact that a particular object is for me a fake is often thought to essays help devalue the work; for many it may even take away the status of work-hood. But for Bell if the object were genuinely indistinguishable from the original, then it will be capable of displaying the Type a paper for me, same formal relations and will thus exhibit equal aesthetic value. Phd Dissertation? It is this identification of aesthetic value with formal properties of the work that appears—for some—to continue to hold some plausibility. However, there have been few (if any) sympathisers towards Bell’s insistence that only if something displayed value in virtue of its formal features would it count as art, or as valuable in an aesthetic . A Paper For Me? A more moderate position would be to ascribe a particular domain to formal aesthetic judgements, reactions and evaluations, while distinguishing these from both non-formal aesthetic judgements, and non-aesthetic (for example, artistic, political, historical) judgements.

On this kind of approach, Bell’s mistake was two-fold: Bell ran into difficulties when he (1) attempted to tie Formalism to the nature of art itself, and (2) restricted the aesthetic exclusively to a formal conception of beauty. By construing formalism as an aesthetic theory (as an account of what constitutes aesthetic value ) or as part of an aesthetic theory (as an account of one kind of aesthetic value), whilst at the same time admitting that there are other values to be had (both aesthetic and non-aesthetic), the Formalist needn’t go so far as to ordain the priority or importance of this specific value in the various practices in which it features. In this way, one can anticipate the stance of the Moderate Formalist who asserts (in terms reminiscent of Admission essay writing, Kant’s account) there to be two kinds of Type a paper, beauty: formal beauty, and non-formal beauty. Write A College? Formal beauty is an Type a paper aesthetic property that is writing start entirely determined by “narrow” non-aesthetic properties (these include sensory and non-relational physical properties such as the for me letterhead, lines and colours on the surface of a painting). Non-formal beauty is determined by “broad” non-aesthetic properties (which covers anything else, including appeals to thesis sram the content-related aspects that would be required to ascertain the aptness or suitability of certain features for the intended end of the painting, or the accuracy of a representational portrait, or the Type a paper, category to which an artwork belongs). While these notions require much clarification (see Part 3), a useful way to express the aspirations of this account would be to Writing scientific essays note that the Moderate Formalist claims that their metaphysical stance generates the only theory capable of accommodating the aesthetic properties of all works of art. A Paper For Me Letterhead? Unlike Bell’s “extreme Formalism”, maintaining all aesthetic properties to Admission writing be narrowly determined by Type letterhead, sensory and intrinsic physical properties; and unlike “anti-Formalism”, according to which all aesthetic properties are at least partly determined by broad non-aesthetic properties such as the artist’s intentions, or the artwork’s history of production; the Moderate Formalist insists that, in Admission writing, the context of the philosophy of art, many artworks have a mix of formal and non-formal aesthetic properties; that others have only non-formal aesthetic properties; and Type a paper for me that at least some artworks have only formal aesthetic properties. 3. Nick Zangwill’s Moderate Aesthetic Formalism. The issue of theology, formalism is introduced on the assumption that aesthetic properties are determined by certain non-aesthetic properties; versions of formalism differ primarily in their answers to the question of which non-aesthetic properties are of interest.

This part of the presentation briefly outlines the Type letterhead, central characterisations of “form” (and their differences) that will be pertinent to an understanding of twenty-first century discussions of Formalism. For present purposes, and in light of the previous discussion, it will be satisfactory to Can you focus on formal characterisations of artworks and, more specifically visual art. a. Extreme Formalism, Moderate Formalism, Anti-Formalism. Nick Zangwill recognises that arrangements of lines, shapes, and colours (he includes “shininess” and “glossiness” as colour properties) are typically taken as formal properties, contrasting these with non-formal properties which are determined, in part, by the history of production or context of creation for the artwork. In capturing this divide, he writes: The most straightforward account would be to say that formal properties are those aesthetic properties that are determined solely by sensory or physical properties—so long as the Type for me letterhead, physical properties in question are not relations to other things or other times. This would capture the intuitive idea that formal properties are those aesthetic properties that are directly perceivable or that are determined by write my essay wikipedia, properties that are directly perceivable. (2001, p.56) Noting that this will not accommodate the Type a paper for me letterhead, claims of some philosophers that aesthetic properties are “dispositions to provoke responses in human beings”, Zangwill stipulates the word “narrow” to include sensory properties , non-relational physical properties , and dispositions to provoke responses that might be thought part-constitutive of Admission essay, aesthetic properties; the word “broad” covers anything else (such as the extrinsic property of the history of production of a work). Type A Paper For Me Letterhead? We can then appeal to a basic distinction: Formal properties are entirely determined by narrow nonaesthetic properties, whereas nonformal aesthetic properties are partly determined by broad nonaesthetic properties. (2001, p.56) On this basis, Zangwill identifies Extreme Formalism as the view that all aesthetic properties of an artwork are formal (and narrowly determined), and Writing scientific essays help Anti-Formalism as the view that no aesthetic properties of an artwork are formal (all are broadly determined by history of production as well as narrow non-aesthetic properties). His own view is a Moderate Formalism , holding that some aesthetic properties of an artwork are formal, others are not.

He motivates this view via a number of strategies but in Type a paper for me letterhead, light of earlier parts of this discussion it will be appropriate to Can you my essay wikipedia focus on Zangwill’s responses to those arguments put forward by the anti-formalist. b. Responding to Kendall Walton’s Anti-Formalism. Part 1 briefly considersed Kendall Walton’s influential position according to which in letterhead, order to make any aesthetic judgement regarding a work of Can you write my essay wikipedia, art one must see it under an art-historical category. This claim was made in response to various attempts to “purge from Type for me criticism of works of art supposedly extraneous excursions into Phd dissertation theology, matters not (or not “directly”) available to inspection of the works, and to focus attention on a paper for me letterhead, the works themselves” (See, for Master sram, example, the discussion of Type for me letterhead, Clive Bell in Part 2). In motivating this view Walton offers what he supposes to be various “intuition pumps” that should lead to the acceptance of his proposal. In defense of write a college, a moderate formalist view Nick Zangwill has asserted that Walton’s thesis is at letterhead best only scientific partly accurate. For Zangwill, there is for me a large and Help with statement significant class of works of art and aesthetic properties of works of art that are purely formal; in Walton’s terms the aesthetic properties of these objects emerge from the “configuration of colours and shapes on a painting” alone. This would suggest a narrower determination of Type a paper for me letterhead, those features of a work “available to inspection” than Walton defends in Phd dissertation theology, his claim that the Type a paper, history of production (a non-formal feature) of a work partly determines its aesthetic properties by determining the category to which the work belongs and must be perceived. Zangwill wants to resist Walton’s claim that all or most works and values are category-dependent; aiming to vindicate the disputed negative thesis that “the application of write my essay, aesthetic concepts to a work of art can leave out of consideration facts about its origin”. Zangwill is keen to point out that a number of the intuition pumps Walton utilises are less decisive than has commonly been accepted. Regarding representational properties, for Type a paper letterhead, example, Walton asks us to consider a marble bust of a Roman emperor which seems to us to resemble a man with, say, an essay how to aquiline nose, a wrinkled brow, and letterhead an expression of grim determination, and about which we take to represent a man with, or as having, those characteristics.

The question is why don’t we say that it resembles or represents a motionless man, of uniform (marble) colour, who is severed at the chest? We are interested in sram, representation and it seems the a paper letterhead, object is in more respects similar to the latter description than the former. Walton is thesis able to account for the fact that we are not struck by the similarity in the latter sense as we are by the former by appeal to his distinction between standard, contra-standard and variable properties: The bust’s uniform color, motionlessness, and abrupt ending at the chest are standard properties relative to the category of busts, and since we see it as a bust they are standard for us. […] A cubist work might look like a person with a cubical head to someone not familiar with the cubist style. But the standardness of such cubical shapes for people who see it as a cubist work prevents them from making that comparison. (1970, p.345) His central claim is that what we take a work to represent (or even resemble) depends only on the variable properties , and not those that are standard, for the category under which we perceive it. It seems fairly obvious that this account must be right. Zangwill agrees and is hence led to accept that in the case of representational qualities there is nothing in the objects themselves that could tell the viewer which of the opposing descriptions is appropriate.

For this, one must look elsewhere to such things as the history of production or the conventionally accepted practices according to which the object’s intentional content may be derived. Zangwill argues that while representational properties might not be aesthetic properties (indeed they are possessed by a paper for me letterhead, ostensibly non-aesthetic, non-art items such as maps, blueprints, and road signs) they do appear to be among the base (non-aesthetic) properties that determine aesthetic properties. Given that representational properties of a work are, in part, determined by Phd dissertation, the history of production, and assuming that some aesthetic properties of representational works are partly determined by what they represent, Zangwill concludes some aesthetic properties to be non-formal. This is no problem for the Moderate Formalist of course; Walton’s intuition pump does not lead to for me letterhead an anti-formalist argument for it seems equally clear that only a subclass of essay writing, artworks are representational works. Many works have no representational properties at a paper all and are thus unaffected by How to essay, the insistence that representational properties can only be successfully identified via the Type a paper for me letterhead, presence of art-historical or categorical information.

Given that Zangwill accepts Walton’s claim in respect only to a subclass of aesthetic objects, Moderate Formalism remains undisturbed. However, Walton offers other arguments that might be thought to Writing have a more general application and thus forestall this method of “tactical retreat” on the part of the would-be Moderate Formalist. The claim that Walton seems to a paper hold for all artworks (rather than just a subclass) is write essay that the art-historical category into which an artwork falls is aesthetically relevant because one’s belief that a work falls under a particular category affects one’s perception of it—one experiences the work differently when one experiences it under a category. A Paper? Crucially, understanding a work’s category is a matter of Can you wikipedia, understanding the degrees to which its features are standard, contra-standard and variable with respect to that category. Here is Walton’s most well-known example:

Imagine a society which does not have an a paper for me established medium of painting, but does produce a kind of work called guernicas. Guernicas are like versions of Picasso’s “ Guernica ” done in various bas-relief dimensions. How To Essay? All of Type for me letterhead, them are surfaces with the colours and shapes of Picasso’s “ Guernica, ” but the surfaces are moulded to protrude from the wall like relief maps of different kinds of terrain. […] Picasso’s “ Guernica ” would be counted as a guernica in this society - a perfectly flat one - rather than as a painting. Its flatness is variable and the figures on its surface are standard relative to the category of theology, guernicas . […] This would make for a paper for me letterhead, a profound difference between our reaction to “ Guernica ” and Phd dissertation theirs. (1970, p.347) When we consider (as a slight amendment to Walton’s example) a guernica in Type a paper for me letterhead, this society that is physically indistinguishable from Picasso’s painting, we should become aware of the different aesthetic responses experienced by members of their society compared to ours.

Walton notes that it seems violent, dynamic, vital, disturbing to us, but imagines it would strike them as cold, stark, lifeless, restful, or perhaps bland, dull, boring—but in any case not violent, dynamic, and vital. His point is Admission how to start that the Type a paper for me letterhead, object is only violent and disturbing as a painting , but dull, stark, and so forth as a guernica , hence the thought experiment is supposed to prompt us to agree that aesthetic properties are dependent on (or relative to) the art-historical categories under which the Phd dissertation theology, observer subsumes the object in question. Letterhead? Through this example Walton argues that we do not simply judge that an Can you write wikipedia artwork is dynamic and a painting. The only sense in which it is appropriate to claim that Guernica is dynamic is in claiming that it is Type a paper letterhead dynamic as a painting , or for people who see it as a painting. This analysis has been variously accepted in the literature; it is particularly interesting, therefore, to recognise Zangwill’s initial suspicion of Walton’s account. He notes that a plausible block to this intuition comes in the observation that it becomes very difficult to make aesthetic judgements about whole categories or comparisons of items across categories. Zangwill stipulates that Walton might respond with the claim that we simply widen the categories utilised in our judgements. For example, when we say that Minoan art is (in general) more dynamic than Mycenean art, what we are saying is that this is how it is with statement school when we consider both sorts of Type, works as belonging to the class of “prehistoric Greek art”.

He continues: But why should we believe this story? It does not describe a psychological process that we are aware of when we make cross-category judgements. The insistence that we are subconsciously operating with some more embracing category, even though we are not aware of Writing scientific help, it, seems to Type a paper for me letterhead be an Admission writing how to artefact of the a paper for me letterhead, anti-formalist theory that there is no independent reason to believe. If aesthetic judgements are category-dependent, we would expect speakers and Can you my essay thinkers to letterhead be aware of Master, it. But phenomenological reflection does not support the category-dependent view. (2001, pp. 92-3) In these cases, according to Zangwill, support does not appear to be sourced either from phenomenology or from for me letterhead our inferential behaviour.

Instead he argues that we can offer an Master sram alternative account of what is going on when we say something is “elegant for Type a paper letterhead, a C ” or “an elegant C ”. This involves the claim that questions of goodness and elegance are matters of degree. With Statement? We often make ascriptions that refer to a comparison class because this is a quicker and easier way of Type a paper for me letterhead, communicating questions of Master thesis, degree. But the formalist will say that the precise degree of some C -thing’s elegance does not involve the elegance of other existing C -things. And being a matter of degree is quite different from being category-dependent. So Zangwill’s claim is that it is pragmatically convenient, but far from essential, that one make reference to a category-class in offering an aesthetic judgement. We are able to make category-neutral aesthetic judgements, and crucially for Zangwill, such judgements are fundamental: category-dependent judgements are only possible because of Type a paper, category-neutral ones. The formalist will hold that without the ability to Writing scientific essays make category-neutral judgements we would have no basis for comparisons; Walton has not shown that this is not the case.

In this way Zangwill asserts that we can understand that it is appropriate to say that the flat guernica is “lifeless” because it is less lively than most guernicas— but this selection of objects is a particularly lively one. Picasso’s Guernica is a paper letterhead appropriately thought of as “vital” because it is write my essay wikipedia more so than most paintings; considered as a class these are not particularly lively. But in fact the painting and for me letterhead the guernica might be equally lively, indeed equivalent in respect of their other aesthetic properties—they only appear to differ in respect of the comparative judgements in which they have been embedded. Phd Dissertation? It is for this reason that Zangwill concludes that we can refuse to have our intuitions “pumped” in the direction Walton intends. A Paper For Me Letterhead? We can stubbornly maintain that the two narrowly indistinguishable things are aesthetically indistinguishable.

We can insist that a non-question-begging argument has not been provided. On this view, one can allow that reference to art-historical categories is a convenient way of classifying art, artists, and art movements, but the fact that this convenience has been widely utilised need not be telling against write my essay wikipedia, alternative accounts of Type, aesthetic value. Zangwill’s own distinction between formal and with my personal statement graduate school non-formal properties is derived (broadly) from Immanuel Kant’s distinction between free and dependent beauty. Indeed, Zangwill has asserted that “Kant was also a moderate formalist, who opposed extreme formalism when he distinguished free and Type letterhead dependent beauty in §16 of the theology, Critique of Judgement ” (2005, p.186). In the section in Type, question Kant writes: There are two kinds of beauty; free beauty ( pulchritudo vaga ) , or beauty which is merely dependent ( pulchritudo adhaerens ). The first presupposes no concept of what the with my personal graduate school, object should be; the second does presuppose such a concept and, with it, an answering perfection of the Type for me, object. On the with my personal graduate, side of free beauty Kant lists primarily natural objects such as flowers, some birds, and crustacea, but adds wallpaper patterns and musical fantasias; examples of dependent beauties include the Type a paper for me, beauty of a building such as a church, palace, or summer-house. Zangwill maintains that dependent beauty holds the key to How to a college understanding the non-formal aesthetic properties of art—without this notion it will be impossible to understand the aesthetic importance of a paper letterhead, pictorial representation, or indeed any of the art-forms he analyses. A work that is intended to be a representation of a certain sort—if that intention is successfully realised—will fulfil the representational function the Master thesis sram, artist intended, and may (it is claimed) do so beautifully . In other words, some works have non-formal aesthetic properties because of (or in Type a paper for me letterhead, virtue of) the way they embody some historically given non-aesthetic function. By contrast, Kant’s account of free beauty has been interpreted in line with formal aesthetic value.

At §16 and §17, Kant appears to place constraints on the kinds of Phd dissertation theology, objects that can exemplify pure (that is, formal) beauty, suggesting that nature, rather than art, provides the Type letterhead, proper objects of (pure) aesthetic judgement and that to Help with the extent that artworks can be (pure) objects of tastes they must be abstract, non-representational, works. If this is a consequence of Kant’s account, the strong Formalist position derived from judgements of pure beauty would presumably have to be restricted in application to judgements of abstract art and, perhaps in Type a paper, quotidian cases, the objects of nature. However, several commentators (for example, Crawford (1974) and Guyer (1997)) have maintained that Kant’s distinction between free and dependent beauty does not entail the Master sram, classification of Type a paper letterhead, art (even representational art) as merely dependently beautiful. Crawford, for example, takes the distinction between free and dependent beauty to turn on the power of the judger to Phd dissertation theology abstract towards a disinterested position; this is Type a paper letterhead because he takes Kant’s distinction to be between kinds of judgement and not between kinds of object. This is my personal statement graduate not the place for a detailed exegesis of Kant’s aesthetics, but it is pertinent to at least note the Type, suggestion that it is nature (rather than art) that provides the Can you write, paradigm objects of formal aesthetic judgement. In the Type a paper for me, next part of this presentation we will explore this possibility, further considering Zangwill’s moderate, and more extreme Formalist conclusions in Phd dissertation, the domain of nature appreciation. 4. From Art to the Aesthetic Appreciation of Nature.

Allen Carlson is well known for his contribution to the area broadly known as “environmental aesthetics”, perhaps most notably for his discussion of the aesthetic appreciation of nature (2000). Where discussing the value of art Carlson seems to adopt a recognisably moderate formalist position, acknowledging both that where formalists like Bell went wrong was in presupposing formalism to be the only valid way to appreciate visual artworks ( pace Part 2), but also suggesting that a “proper perspective” on Type a paper for me, the application of formalism should have revealed it to be one among many “orientations” deserving recognition in art appreciation ( pace Part 3). However, when turning to the appreciation of the natural environment Carlson adopts and defends a strongly anti-formalist position , occupying a stance that has been referred to as “cognitive naturalism”. This part of the presentation briefly discusses Carlson’s rejection of formalism before presenting some moderate, and stronger formalist replies in this domain. Carlson has characterised contemporary debates in the aesthetics of nature as attempting to distance nature appreciation from theories of the appreciation of art.

Contemporary discussion introduces different models for the appreciation of nature in place of the inadequate attempts to apply artistic norms to Master an environmental domain. For example, in his influential “Appreciation and the Natural Environment” (1979) he had disputed both “object” and “landscape” models of nature appreciation (which might be thought attractive to the Moderate Formalist), favouring the “natural environmental” model (which stands in Type a paper, opposition to the other two). Carlson acknowledged that the “object” model has some utility in Master thesis sram, the art-world regarding the appreciation of non-representational sculpture (he takes Brancusi’s Bird in Type a paper for me letterhead, Space (1919) as an example). Such sculpture can have significant (formal) aesthetic properties yet no representational connections to the rest of Master, reality or relational connections with its immediate surroundings. Indeed, he acknowledges that the formalist intuitions discussed earlier have remained prevalent in the domain of nature appreciation, meeting significant and sustained opposition only in the domain of Type for me letterhead, art criticism.

When it comes to nature-appreciation, formalism has remained relatively uncontested and popular, emerging as an assumption in many theoretical discussions. However, Carlson’s conclusion on the “object” and “landscape” models is that the How to write essay, former rips natural objects from their larger environments while the letterhead, latter frames and flattens them into scenery. In focussing mainly on Help my personal statement graduate school, formal properties, both models neglect much of our normal experience and understanding of nature. The “object” model is inappropriate as it cannot recognise the organic unity between natural objects and their environment of creation or display, such environments are—Carlson believes—aesthetically relevant. This model thus imposes limitations on our appreciation of natural objects as a result of the removal of the object from its surroundings (which this model requires in order to address the questions of what and how to appreciate). For Carlson, the natural environment cannot be broken down into discrete parts, divorced from their former environmental relations any more than it can be reduced to a static, two-dimensional scene (as in the “landscape” model).

Instead he holds that the natural environment must be appreciated for what it is, both nature and letterhead an environment . On this view natural objects possess an organic unity with their environment of creation: they are a part of and have developed out Writing help of the elements of their environments by means of the forces at work within those environments. Thus some understanding of the environments of creation is Type a paper for me relevant to the aesthetic appreciation of natural objects. The assumption implicit in the above rejection of Phd dissertation, Formalism is familiar from the objections (specifically regarding Walton) from Type a paper Part 3. It is the suggestion that the appropriate way to appreciate some target object is via recourse to the kind of thing it is; taking the target for something it is not does not constitute appropriate aesthetic appreciation of that thing. Nature is natural so cannot be treated as “readymade” art. Theology? Carlson holds that the target for the appreciation of Type for me letterhead, nature is also an environment, entailing that the appropriate mode of appreciation is active, involved appreciation. It is the appreciation of a judge who is in the environment, being part of and reacting to it, rather than merely being an essay writing how to external onlooker upon a two-dimensional scene. It is this view that leads to his strong anti-formalist suggestion that the natural environment as such does not possess formal qualities. For example, responding to the “landscape” model Carlson suggests that the natural environment itself only appears to have formal qualities when a person somehow imposes a frame upon it and thus formally composes the resultant view.

In such a case it is the framed view that has the qualities, but these will vary depending upon Type a paper for me letterhead the frame and the viewer’s position. As a consequence Carlson takes the formal features of nature, such as they are, to be (nearly) infinitely realisable; insofar as the natural environment has formal qualities, they have an How to write a college essay indeterminateness, making them both difficult to appreciate, and of little significance in the appreciation of nature. Put simply, the natural environment is not an object, nor is it a static two-dimensional “picture”, thus it cannot be appreciated in ways satisfactory for objects or pictures; furthermore, the Type a paper, rival models discussed do not reveal significant or sufficiently determinate appreciative features. In rejecting these views Carlson has been concerned with the questions of what and how we should appreciate; his answer involves the necessary acknowledgement that we are appreciating x qua x, where some further conditions will be specifiable in relation to the nature of the x in question. It is in relation to this point that Carlson’s anti-formalist “cognitive naturalism” presents itself. In this respect his stance on nature appreciation differs from Walton’s, who did not extend his philosophical claims to aesthetic judgements about nature (Walton lists clouds, mountains, sunsets), believing that these judgements, unlike judgements of art, are best understood in terms of Writing scientific essays help, a category-relative interpretation. By contrast, Carlson can be understood as attempting to extend Walton’s category dependent account of letterhead, art-appreciation to the appreciation of nature.

On this view we do not need to treat nature as we treat those artworks about whose origins we know nothing because it is Can you write not the Type, case that we know nothing of nature: In general we do not produce, but rather discover, natural objects and aspects of nature. Why should we therefore not discover the correct categories for scientific, their perception? We discover whales and later discover that, in spite of somewhat misleading perceptual properties, they are in fact mammals and not fish. (Carlson, 2000, p.64) By discovering the correct categories to which objects or environments belong, we can know which is the correct judgement to Type make (the whale is not a lumbering and inelegant fish).

It is in scientific essays help, virtue of this that Carlson claims our judgements of the a paper, aesthetic appreciation of nature sustain responsible criticism in the way Walton characterises the appreciation of art. It is for this reason that Carlson concludes that for the aesthetic appreciation of nature, something like the knowledge and How to experience of the naturalist or ecologist is essential. This knowledge gives us the appropriate foci of aesthetic significance and the appropriate boundaries of the setting so that our experience becomes one of Type a paper letterhead, aesthetic appreciation. He concludes that the absence of such knowledge, or any failure to perceive nature under the correct categories, leads to aesthetic omission and, indeed, deception. We have already encountered some potential responses to this strong anti-formalism. The moderate formalist may attempt to write wikipedia deploy a version of the aesthetic/non-aesthetic distinction such as to deny that the naturalist and ecologist are any better equipped than the rest of us to aesthetically appreciate nature. They are, of course, better equipped to understand nature, and to evaluate (in what we might call a “non-aesthetic” sense) the objects and environments therein.

This type of response claims that the Type letterhead, ecologist can judge (say) the essay, perfectly self-contained and undisturbed ecosystem, can indeed respond favourably to her knowledge of the rarity of such a find. Such things are valuable in that they are of Type a paper, natural-historical interest. Such things are of interest and significance to Can you my essay natural-historians, no doubt. The naturalist will know that the whale is not “lumbering” compared to most fish (and will not draw this comparison), and will see it as “whale-like”, “graceful”, perhaps particularly “sprightly” compared to a paper for me letterhead most whales. My Essay? One need not deny that such comparative, cognitive judgements can feel a particular way, or that such judgements are a significant part of the appreciation of nature; but it may be possible to deny that these (or only these) judgements deserve to be called aesthetic. However, Carlson’s objection is not to Type a paper the existence of formal value, but to the appropriateness of consideration of write a college essay, such value.

Our knowledge of an environment is letterhead supposed to sram allow us to select certain foci of aesthetic significance and a paper for me letterhead abstract from, or exclude, others such as to characterise different kinds of appropriate experience: …we must survey a prairie environment, looking at the subtle contours of the land, feeling the Help with graduate school, wind blowing across the for me letterhead, open space, and smelling the mix of thesis, prairie grasses and flowers. Type A Paper? But such an act of aspection has little place in a dense forest environment. Here we must examine and Help with my personal scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of Type a paper for me letterhead, birds and smelling carefully for the scent of scientific essays, spruce and a paper for me letterhead pine. (Carlson, 2000, p.64) Clearly knowledge of the terrain and environment that is targeted in each of these cases might lead the subject to Master sram be particularly attentive to signs of certain expected elements; however, there are two concerns that are worth highlighting in closing. Firstly, it is unclear why one should, for all one’s knowledge of the expected richness or desolation of Type, some particular landscape, be in a position to assume of Can you write my essay wikipedia, (say) the prairie environment that no detailed local scrutiny should yield the kind of Type a paper for me, interest or appreciation (both formal and non-formal) that might be found in other environments. Start? It is unclear whether Carlson could allow that such acts might yield appreciation but must maintain that they would not yield instances of Type for me, aesthetic appreciation of that environment , or whether he is denying the availability of such unpredicted values—in either case the point seems questionable. Perhaps the suspicion is one that comes from proportioning one’s expectation to one’s analysis of the proposed target. Write? The first concern is thus that knowledge (even accurate knowledge) can be as potentially blinding as it is Type for me potentially enlightening. The second concern is related to the first, but poses more of a direct problem for Carlson. His objection to the “object” and “landscape” models regards their propensity to limit the potentiality for aesthetic judgement by taking the target to be something other than it truly is.

Part of the my personal graduate school, problem described above relates to worries regarding the Type a paper letterhead, reduction of Admission writing start, environments to general categories like prairie landscape , dense forest , pastoral environment such that one enlists expectations of those attentions that will and will not be rewarded, and limits one’s interaction accordingly. While it might be true that some understanding of the kind of Type, environment we are approaching will suggest certain values to expect as well as indicating the act of aspection appropriate for delivering just these, the worry is that this account may be unduly limiting because levels of appreciation are unlikely to exceed the estimations of the theory and the acts of engagement and interaction these provoke. Help With School? In nature more than anywhere else this seems to a paper fail to do justice to those intuitions that the target really is (amongst other things) a rich, unconstrained sensory manifold. To briefly illustrate the point with a final example, Zangwill (2001, pp.116-8) considers such cases (which he doesn’t think Carlson can account for) as the scientific essays, unexpected or incongruous beauty of the polar bear swimming underwater. Not only is this “the last thing we expected”, but our surprise shows that. …it is not a beauty that we took to be dependent in some way upon our grasp of a paper letterhead, its polar-bearness. Essay Writing? We didn’t find it elegant as a polar bear. It is a paper letterhead a category-free beauty. The underwater polar bear is a beautiful thing in beautiful motion… The suggestion here is that to “do justice to” and thus fully appreciate the target one must be receptive not simply to Master sram the fact that it is nature, or that it is an environment, but that it is, first and a paper for me foremost, the individual environment that it (and not our understanding of it) reveals itself to be. This may involve consideration of its various observable features, at different levels of observation, including perhaps those cognitively rich considerations Carlson discusses; but it will not be solely a matter of these judgements.

According to the (Moderate) Formalist, the my personal school, “true reality” of things is more than Carlson’s account seems capable of capturing, for while a natural environment is not in fact a static two-dimensional scene, it may well in fact possess (amongst other things) a particular appearance for us, and that appearance may be aesthetically valuable. The Moderate Formalist can accommodate that value without thereby omitting acknowledgement of other kinds of values, including those Carlson defends. Finally, it should be noted that when it comes to inorganic nature , Zangwill has argued for a stronger formalist position (much closer to Bell’s view about visual art). Type For Me Letterhead? The basic argument for this conclusion is that even if a case can be made for claiming that much of write my essay, organic nature should be understood and appreciated via reference to some kind of “history of production” (typically in terms of letterhead, biological functions, usually thought to depend on evolutionary history), inorganic or non-biological nature (rivers, rocks, sunsets, the rings of Saturn) does not have functions and therefore cannot have aesthetic properties that depend on functions. Can You Wikipedia? Nor should we aesthetically appreciate inorganic things in the light of functions they do not have. In relation to both art and for me letterhead nature we have seen that anti-formalists argue that aesthetic appreciation involves a kind of connoisseurship rather than a kind of childlike wonder. How To Write A College Essay? Bell’s extreme (artistic) formalism appeared to recommend a rather restricted conception of the Type for me, art-connoisseur. Walton’s and Carlson’s anti-formalism (in relation to art and how to nature respectively) both called for the expertise and knowledge base required to identify and apply the “correct” category under which an item of appreciation must be subsumed. Type A Paper For Me Letterhead? Yet the plausibility of Writing scientific essays help, challenges to these stances (both the strong formalism of Bell and Type a paper the strong anti-formalism of Walton and Carlson) appears to be grounded in more moderate , tolerant proposals. Zangwill, for example, defends his moderate formalism as “a plea for open-mindedness” under the auspices of attempts to recover some of our aesthetic innocence . This presentation began with an historical overview intended to help situate (though not necessarily motivate or defend) the intuition that there is some important sense in which aesthetic qualities pertain to the appearance of things . Help Statement School? Anti-formalists point out that beauty, ugliness, and other aesthetic qualities often (or always) pertain to appearances as informed by our beliefs and understanding about the reality of things. Contemporary Formalists such as Zangwill will insist that such aesthetic qualities also—often and legitimately—pertain to mere appearances , which are not so informed.

On this more moderate approach, the aesthetic responses of the connoisseur, the art-historian, the ecologist can be acknowledged while nonetheless insisting that the sophisticated aesthetic sensibility has humble roots and we should not forget them. Formal aesthetic appreciation may be more “raw, na i ve, and uncultivated” (Zangwill, 2005, p.186), but arguably it has its place.

Jan 27, 2018 Type a paper for me letterhead, order essay online -

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If every bullet in your resume starts with “Responsible for,” readers will get bored very quickly. Use our handy list of for me, better verbs to mix it up ! Use keywords in your resume: Scan the job description, see what words are used most often, and make sure you’ve included them in your bullet points. Master Thesis! Not only is this a self-check that you’re targeting your resume to the job, it’ll make sure you get noticed in Type a paper applicant tracking systems. Stuck on which words to Can you write my essay wikipedia, include? Dump the job description into a tool like TagCrowd , which will analyze and spit out the Type most used keywords. What words shouldn’t you include? Detail-oriented, team player, and hard worker—among other vague terms that recruiters say are chronically overused . Scientific! We bet there’s a better way to describe how awesome you are. 24. Experience First, Education Second. Unless you’re a recent graduate, put your education after your experience. Chances are, your last couple of jobs are more important and relevant to a paper letterhead, you getting the theology job than where you went to college.

25. Also Keep it Reverse Chronological. Usually, you should lay down your educational background by listing the most recent or advanced degree first, working in reverse chronological order. But if older coursework is more specific to the job, list that first to grab the Type a paper for me letterhead reviewer’s attention. Don’t list your graduation dates. The reviewer cares more about whether or not you have the my personal statement graduate school degree than when you earned it.

If you graduated from college with high honors, absolutely make note of it. While you don’t need to list your GPA, don’t be afraid to showcase that summa cum laude status or the fact that you were in the honors college at Type a paper, your university. 28. Essay Writing How To Start! Include Continuing or Online Education. Don’t be afraid to include continuing education, professional development coursework, or online courses in your education section, especially if it feels a little light. Kelli Orrela explains , “Online courses are a more-than-accepted norm nowadays, and your participation in them can actually show your determination and a paper for me letterhead motivation to get the Master sram skills you need for letterhead, your career.” Be sure to Admission essay start, add a section that lists out for me letterhead all the relevant skills you have for a position, including tech skills like HTML and Adobe Creative Suite and any industry-related certifications.

Just make sure to skip including skills that everyone is expected to Master thesis, have, like using email or Microsoft Word. Doing so will actually make you seem less technologically savvy. If you have lots of skills related to a position—say, foreign language, software, and leadership skills—try breaking out one of Type for me letterhead, those sections and listing it on its own. Below your “Skills” section, add another section titled “Language Skills” or “Software Skills,” and detail your experience there. Phd Dissertation! Again—we’re going for skimmability here, folks!

Feel free to include an for me “Interests” section on your resume, but only Writing scientific essays, add those that are relevant to the job. Are you a guitar player with your eye on a music company? Definitely include it. But including your scrapbooking hobby for a tech job at a healthcare company? Don’t even think about it. 32. Type For Me! Beware of Interests That Could Be Controversial. Maybe you help raise money for your church on the reg. Or perhaps you have a penchant for Admission, canvassing during political campaigns.

Yes, these experiences show a good amount of work ethic—but they could also be discriminated against by someone who disagrees with the cause. Zhang explains here how to Type for me letterhead, weigh the decision of whether to include them or not. Do include awards and accolades you’ve received, even if they’re company-specific awards. Just state what you earned them for, e.g., “Earned Gold Award for Admission writing start, having the company’s top sales record four quarters in a row.” What about personal achievements—like running a marathon—that aren’t totally relevant but show you’re a driven, hard worker? Zhang shares the for me letterhead proper ways to include them. Gaps and Other Sticky Resume Situations. If you stayed at a (non-temporary) job for only a matter of months, consider eliminating it from Can you wikipedia your resume. For Me! According to The New York Times ’ career coach , leaving a particularly short-lived job or two off your work history shouldn’t hurt, as long as you’re honest about your experience if asked in an interview.

If you have gaps of a few months in your work history, don’t list the usual start and end dates for each position. Use years only (2010-2012), or just the number of years or months you worked at your earlier positions. If you’ve job-hopped frequently, include a reason for leaving next to Admission essay how to, each position, with a succinct explanation like “company closed,” “layoff due to downsizing,” or “relocated to new city.” By addressing the gaps, you’ll proactively illustrate the reason for your sporadic job movement and make it less of an issue. Re-entering the workforce after a long hiatus? This is the perfect opportunity for a summary statement at the top, outlining your best skills and accomplishments. Then, get into your career chronology, without hesitating to include part-time or volunteer work. See more tips from Jenny Foss for killing it on a paper for me, your comeback resume. Don’t try to creatively fill in gaps on your resume. Sram! For example, if you took time out of the Type workforce to raise kids, don’t list your parenting experience on your resume, a la “adeptly managed the growing pile of laundry” (we’ve seen it). While parenting is essay how to start as demanding and intense a job as any out a paper for me there, most corporate decision makers aren’t going to take this section of your resume seriously. 39.

Ditch “References Available Upon Request” If a hiring manager is interested in essay writing how to you, he or she will ask you for references—and will assume that you have them. Type A Paper Letterhead! There’s no need to address the obvious (and doing so might even make you look a little presumptuous!). It should go without saying, but make sure your resume is Phd dissertation free and Type for me letterhead clear of typos. And don’t rely on theology, spell check and a paper letterhead grammar check alone—ask family or friends to take a look at it for you (or get some tips from an editor on how to write my essay wikipedia, perfect your own work ). If emailing your resume, make sure to always send a PDF rather than a .doc. That way all of your careful formatting won’t accidentally get messed up when the hiring manager opens it on his or her computer.

To make sure it won’t look wonky when you send it off, Google’s head of HR Laszlo Bock suggests, “Look at it in both Google Docs and Word, and then attach it to an email and open it as a preview.” Ready to Type letterhead, save your resume and send it off? Save it as “Jane Smith Resume” instead of “Resume.” It’s one less step the hiring manager has to Help with graduate, take. Carve out some time every quarter or so to pull up your resume and make some updates. Type A Paper For Me! Have you taken on new responsibilities? Learned new skills? Add them in. When your resume is updated on Can you write wikipedia, a regular basis, you’re ready to pounce when opportunity presents itself. And, even if you’re not job searching, there are plenty of good reasons to keep this document in tip-top shape. Photo courtesy of Type letterhead, Hero Images / Getty Images . Erin Greenawald is a freelance writer, editor, and content strategist who is passionate about Phd dissertation, elevating the standard of Type a paper for me, writing on the web. Master Thesis Sram! Erin previously helped build The Muse’s beloved daily publication and led the letterhead company’s branded content team.

If you’re an individual or company looking for help making your content better—or you just want to go out to tea—get in touch at eringreenawald.com. Hmmm, seems you#39;ve already signed up for this class. While you#39;re here, you may as well check out my essay wikipedia all the amazing companies that are hiring like crazy right now.

Jan 27, 2018 Type a paper for me letterhead, essay writer for all kinds of papers -

essay on ww1 and ww2 About World War I. T he First World War was truly #145;the Great War#146;. Its origins were complex. Type Letterhead? Its scale was vast. Writing How To? Its conduct was intense. Its impact on military operations was revolutionary.

Its human and material costs were enormous. And its results were profound. The war was a global conflict. Thirty-two nations were eventually involved. Twenty-eight of these constituted the Allied and Associated Powers, whose principal belligerents were the British Empire, France, Italy, Russia, Serbia, and the United States of America. They were opposed by the Central Powers: Austria-Hungary, Bulgaria, Germany, and the Ottoman Empire. The war began in the Balkan cockpit of competing nationalisms and ancient ethnic rivalries.

Hopes that it could be contained there proved vain. Expansion of the war was swift. Austria-Hungary declared war on Serbia on 28 July 1914; Germany declared war on Russia on a paper 1 August. Germany declared war on France on 3 August and invaded Belgium. Admission How To? France was invaded on 4 August. German violation of Belgian neutrality provided the British with a convenient excuse to enter the war on Type a paper the side of France and Russia the Phd dissertation, same evening.

Austria-Hungary declared war on Russia on Type a paper for me letterhead 6 August. France and Great Britain declared war on Austria-Hungary six days later. The underlying causes of these events have been intensively researched and Phd dissertation debated. Modern scholars are less inclined to allocate blame for the outbreak of war than was the case in the past. They have sought instead to understand the fears and ambitions of the governing lites of Europe who took the fateful decisions for war, particularly that of imperial Germany. Fears were more important than ambitions. Of the powers involved in the outbreak of war, only Serbia had a clear expansionist agenda. The French hoped to for me, recover the provinces of Alsace and Lorraine lost to Germany as a result of their defeat in write, the Franco-Prussian War of 1870-1, but this was regarded as an attempt at restitution rather than acquisition.

Otherwise, defensive considerations were paramount. The states who embarked on the road to Type a paper letterhead, war in 1914 wished to preserve what they had. This included not only their territorial integrity but also their diplomatic alliances and their prestige. Help Graduate? These defensive concerns made Europe's statesmen take counsel of their fears and submit to the tyranny of events. The Austrians feared for the survival of a paper their multi-racial Empire if they did not confront the threat of theology Serb nationalism and Panslavism. The Germans feared the a paper letterhead, consequences to themselves of allowing Austria, their closest and only reliable ally, to be weakened and humiliated. The Russians feared the threat to their prestige and authority as protector of the Slavs if they allowed Austria to defeat and humiliate Serbia. The French feared the my personal, superior population numbers, economic resources, and military strength of their German neighbours. France's principal defence against the threat of German power was its alliance with Russia. This it was imperative to defend.

The British feared occupation of the Low Countries by a hostile power, especially a hostile power with a large modern navy. For Me? But most of all they feared for the long-term security of their Empire if they did not support France and Russia, their principal imperial rivals, whose goodwill they had been assiduously cultivating for a decade. All governments feared their peoples. Some statesmen welcomed the war in the belief that it would act as a social discipline purging society of dissident elements and encouraging a return to patriotic values. Others feared that it would be a social solvent, dissolving and transforming everything it touched. The process of expansion did not end in August 1914. Thesis? Other major belligerents took their time and waited upon events. Italy, diplomatically aligned with Germany and Austria since the Triple Alliance of 1882, declared its neutrality on 3 August. In the for me letterhead, following months it was ardently courted by France and Britain. On 23 May 1915 the Italian government succumbed to Allied temptations and Phd dissertation theology declared war on Austria-Hungary in pursuit of territorial aggrandizement in the Trentino.

Bulgaria invaded Serbia on 7 October 1915 and sealed that pugnacious country's fate. Serbia was overrun. The road to Type a paper for me letterhead, Constantinople was opened to the Central Powers. Romania prevaricated about which side to join, but finally chose the Allies in August 1916, encouraged by the success of the Russian 'Brusilov Offensive'. It was a fatal miscalculation. The German response was swift and decisive. Romania was rapidly overwhelmed by two invading German armies and Phd dissertation theology its rich supplies of wheat and oil did much to keep Germany in the war for another two years. Romania joined Russia as the other Allied power to suffer defeat in the war. It was British belligerency, however, which was fundamental in turning a European conflict into a world war.

Britain was the world's greatest imperial power. The British had world-wide interests and a paper letterhead world-wide dilemmas. They also had world-wide friends. Germany found itself at war not only with Great Britain but also with the dominions of Australia, Canada, New Zealand, and South Africa and with the greatest British imperial possession, India. Concern for the defence of India helped bring the Can you wikipedia, British into conflict with the Ottoman Empire in November 1914 and resulted in a major war in the Middle East. Most important of all, perhaps, Britain's close political, economic, and cultural ties with the United States of Type for me letterhead America, if they did not ensure that nation's eventual entry into the war, certainly made it possible. The American declaration of war on Germany on theology 6 April 1917 was a landmark not only in the history of the United States but also in that of Europe and the world, bringing to an end half a millennium of European domination and ushering in 'the American century'. The geographical scale of the conflict meant that it was not one war but many. On the Western Front in France and Type a paper Belgium the French and their British allies, reinforced from 1917 onwards by the Americans, were locked in with my personal, a savage battle of attrition against the German army. Here the war became characterized by for me increasingly elaborate and sophisticated trench systems and field fortifications.

Dense belts of barbed wire, concrete pillboxes, intersecting arcs of machine-gun fire, and accumulating masses of write quick-firing field and heavy artillery rendered man#156;uvre virtually impossible. Casualties were enormous. The first phase of the war in Type, the west lasted until November 1914. This witnessed Germany's attempt to defeat France through an enveloping movement round the left flank of the French armies. The plan met with initial success. The advance of the German armies through Belgium and northern France was dramatic.

The French, responding with an offensive in Lorraine, suffered an almost catastrophic national defeat. France was saved by the iron nerve of its commander-in-chief, General J. J. C. Joffre, who had not only the with my personal statement graduate school, intelligence but also the Type a paper for me letterhead, strength of character to Phd dissertation theology, extricate himself from the for me, ruin of Writing scientific help his plans and order the historic counter-attack against a paper for me letterhead the German right wing, the 'miracle of the Marne'. The German armies were forced to retreat and to entrench. Their last attempt at a breakthrough was stopped by essay writing French and a paper for me letterhead British forces near the small Flemish market town of Ypres in November. By Christmas 1914 trench lines stretched from the Belgian coast to the Swiss frontier. Although the events of 1914 did not result in a German victory, they left the Germans in a very strong position. The German army held the strategic initiative.

It was free to retreat to positions of How to write essay tactical advantage and to reinforce them with all the skill and ingenuity of German military engineering. Enormous losses had been inflicted on France. Two-fifths of Type a paper letterhead France's military casualties were incurred in 1914. These included a tenth of the officer corps. German troops occupied a large area of northern France, including a significant proportion of French industrial capacity and mineral wealth. These realities dominated the second phase of the war in the west. This lasted from November 1914 until March 1918. It was characterized by the unsuccessful attempts of the French and their British allies to evict the German armies from French and Belgian territory.

During this period the Germans stood mainly on write wikipedia the defensive, but they showed during the Second Battle of Ypres (22 April-25 May 1915), and more especially during the Battle of Verdun (21 February-18 December 1916), a dangerous capacity to disrupt their enemies' plans. The French made three major assaults on the German line: in the spring of 1915 in Artois; in the autumn of 1915 in Champagne; and in the spring of 1917 on the Aisne (the 'Nivelle Offensive'). Letterhead? These attacks were characterized by Can you my essay wikipedia the intensity of the fighting and the absence of achievement. Little ground was gained. No positions of strategic significance were captured. Casualties were severe. The failure of the Nivelle Offensive led to a serious breakdown of morale in the French army. For much of the rest of 1917 it was incapable of major offensive action. The British fared little better.

Although their armies avoided mutiny they came no closer to a paper letterhead, breaching the German line. During the battles of the Somme (1 July19 November 1916) and the Third Battle of Ypres (31 July-12 November 1917) they inflicted great losses on my essay wikipedia the German army at great cost to themselves, but the German line held and Type no end to the war appeared in sight. The final phase of the Writing essays help, war in the west lasted from 21 March until 11 November 1918. This saw Germany once more attempt to achieve victory with a knock-out blow and a paper letterhead once more fail. The German attacks used sophisticated new artillery and infantry tactics. They enjoyed spectacular success. The British 5th Army on the Somme suffered a major defeat. But the British line held in front of Amiens and later to the north in front of Ypres. How To Write Essay? No real strategic damage was done.

By midsummer the German attacks had petered out. The German offensive broke the for me, trench deadlock and returned movement and man#156;uvre to the strategic agenda. It also compelled closer Allied military co-operation under a French generalissimo, General Ferdinand Foch. The Allied counter-offensive began in July. At the Battle of Amiens, on 8 August, the British struck the German army a severe blow. For the write, rest of the Type letterhead, war in the west the Germans were in retreat. On the Eastern Front in Galicia and Russian Poland the Germans and their Austrian allies fought the gallant but disorganized armies of Russia. Here the theology, distances involved were very great.

Artillery densities were correspondingly less. Man#156;uvre was always possible and cavalry could operate effectively. This did nothing to lessen casualties, which were greater even than those on the Western Front. The war in the east was shaped by German strength, Austrian weakness, and Russian determination. German military superiority was apparent from the start of the war. Type A Paper For Me Letterhead? The Russians suffered two crushing defeats in 1914, at Tannenberg (26-31 August) and the Masurian Lakes (5-15 September). These victories ensured the security of Germany's eastern frontiers for the rest of the war. They also established the military legend of Field-Marshal Paul von Hindenburg and General Erich Ludendorff, who emerged as principal directors of the German war effort in Master sram, the autumn of Type for me 1916. By September 1915 the Russians had been driven out of Poland, Lithuania, and Courland.

Austro-German armies occupied Warsaw and How to write the Russian frontier fortresses of Ivangorod, Kovno, Novo-Georgievsk, and Brest-Litovsk. These defeats proved costly to Type a paper for me letterhead, Russia. They also proved costly to a college, Austria. Austria had a disastrous war. For Me? Italian entry into the war compelled the Austrians to fight an Admission essay start three fronts: against for me Serbia in write a college essay, the Balkans; against Russia in Galicia; against Italy in the Trentino. This proved too much for a paper for me letterhead, Austrian strength. Their war effort was characterized by dependency on Germany. Germans complained that they were shackled to the 'Austrian corpse'. The war exacerbated the Austro-Hungarian Empire's many ethnic and write my essay national tensions.

By 1918 Austria was weary of the war and desperate for peace. This had a major influence on the German decision to seek a victory in the west in the spring of 1918. Perceptions of the Type a paper for me letterhead, Russian war effort have been overshadowed by the October Revolution of 1917 and by Bolshevik 'revolutionary defeatism' which acquiesced in the punitive Treaty of start Brest-Litovsk (14 March 1918) and took Russia out of the war. This has obscured the astonishing Russian determination to keep faith with the Franco-British alliance. Without the Russian contribution in for me letterhead, the east it is far from certain that Germany could have been defeated in the west.

The unhesitating Russian willingness to aid their western allies is nowhere more apparent than in the 'Brusilov Offensive' (June-September 1916), which resulted in the capture of the Bukovina and large parts of Galicia, as well as 350,000 Austrian prisoners, but at a cost to Russia which ultimately proved mortal. In southern Europe the Italian army fought eleven indecisive battles in an attempt to dislodge the Austrians from their mountain strongholds beyond the Isonzo river. In October 1917 Austrian reinforcement by seven German divisions resulted in a major Italian defeat at Caporetto. The Italians were pushed back beyond the Piave. Help With Graduate School? This defeat produced changes in the Italian high command. During 1918 Italy discovered a new unity of purpose and a greater degree of organization. On 24 October 1918 Italian and British forces recrossed the Type, Piave and split the Austrian armies in two at Vittorio Veneto. Austrian retreat turned into rout and then into surrender. In the Balkans the Serbs fought the Austrians and Bulgarians, suffering massive casualties, including the highest proportion of servicemen killed of any belligerent power. In October 1915 a Franco-British army was sent to theology, Macedonia to operate against the Bulgarians. It struggled to have any influence on the war.

The Germans mocked it and declared Salonika to be the biggest internment camp in Europe, but the French and Type British eventually broke out of the malarial plains into the mountainous valleys of the Vardar and Struma rivers before inflicting defeat on Bulgaria in thesis sram, the autumn of 1918. In the for me letterhead, Middle East British armies fought the Master thesis, Turks in a paper for me, a major conflict with far-reaching consequences. Here the war was characterized by the doggedness of Turkish resistance and by the constant struggle against climate, terrain, and disease. The British attempted to knock Turkey out of the war with an attack on the Gallipoli peninsula in April 1915, but were compelled to withdraw at the end of the Can you write my essay wikipedia, year, having failed to break out from their narrow beach-heads in the face of stubborn Turkish resistance, coordinated by a German general, Liman von Sanders. The British also suffered another humiliating reverse in Mesopotamia when a small army commanded by Major-General C. V. Type A Paper For Me? F. Townshend advanced to Ctesiphon but outran its supplies and was compelled to surrender at Kut-al-Amara in April 1916.

Only after the appointment of Sir Stanley Maude to Writing essays, the command of Type a paper for me British forces in Mesopotamia did Britain's superior military and economic strength begin to assert itself. Maude's forces captured Baghdad in March 1917, the first clear-cut British victory of the war. The following June General Sir Edmund Allenby was appointed to command British forces in Egypt. Essay? He captured Jerusalem by Type a paper for me Christmas and in September 1918 annihilated Turkish forces in Palestine. Turkey surrendered on statement 31 October 1918. The war also found its way to tropical Africa. Germany's colonies in Type, West and south-west Africa succumbed to British and write South African forces by the spring of 1915. In East Africa, however, a German army of locally raised black African soldiers commanded by Colonel Paul von Lettow-Vorbeck conducted a brilliant guerrilla campaign, leading over 100,000 British and South African troops a merry dance through the bush and surrendering only after the defeat of Germany in Europe became known. On and under the oceans of the Type a paper for me, world, Great Britain and Germany contested naval supremacy. Surface battles took place in the Pacific, the south Atlantic, and the North Sea.

The British generally had the better of these despite suffering some disappointments, notably at Coronel (1 November 1914) and Jutland (31 May-1 June 1916), the only major fleet engagement, during which Admiral Sir John Jellicoe failed to deliver the expected Nelsonic victory of total annihilation. Submarine warfare took place in the North Sea, the Black Sea, the Atlantic, the Mediterranean, and the Baltic. German resort to unrestricted submarine warfare (February 1917) brought Britain to the verge of ruin. Phd Dissertation? German violation of international law and sinking of American ships also helped bring the United States into the war on the Allied side. The British naval blockade of Germany, massively reinforced by the Americans from April 1917, played an important role in German defeat. The geographical scale of the conflict made it very difficult for political and military leaders to control events. Type For Me Letterhead? The obligations of coalition inhibited strategic independence.

Short-term military needs often forced the great powers to allow lesser states a degree of licence they would not have enjoyed in peacetime. My Personal Statement Graduate School? Governments' deliberate arousal of popular passions made suggestions of compromise seem treasonable. The ever-rising cost of the military means inflated the political ends. For Me? Hopes of a peaceful new world order began to replace old diplomatic abstractions such as 'the balance of power'. Rationality went out of season.

War aims were obscured. Strategies were distorted. Great Britain entered the war on proclaimed principles of international law and in defence of the rights of Phd dissertation theology small nations. By 1918 the British government was pursuing a Middle Eastern policy of naked imperialism (in collaboration with the French), while simultaneously encouraging the aspirations of Arab nationalism and promising support for the establishment of a Jewish national home in Palestine. For Me Letterhead? It was truly a war of illusions. Europe's political and military leaders have been subjected to much retrospective criticism for their belief that the #145;war would be over by Christmas'. This belief was not based on complacency. Even those who predicted with chilling accuracy the murderous nature of First World War battlefields, such as the Polish banker Jan Bloch, expected the war to sram, be short. This was because they also expected it to be brutal and costly, in both blood and a paper for me letterhead treasure.

No state could be expected to sustain such a war for very long without disastrous consequences. The war which gave the lie to these assumptions was the American Civil War. This had been studied by European military observers at close quarters. Most, however, dismissed it. This was particularly true of the Can you my essay, Prussians. Their own military experience in Type, the wars against Austria (1866) and France (1870-1) seemed more relevant and compelling. These wars were both short. They were also instrumental.

In 1914 the Germans sought to replicate the success of Can you my essay their Prussian predecessors. Type Letterhead? They aimed to fight a 'cabinet war' on the Bismarckian model. To do so they developed a plan of breath-taking recklessness which depended on the ability of the German army to defeat France in the thirty-nine days allowed for a war in the west. Strategic conduct of the First World War was dominated by write my essay wikipedia German attempts to a paper for me, achieve victory through knock-out blows. Erich von Falkenhayn, German commander-in-chief from September 1914 until August 1916, was almost alone in his belief that Germany could obtain an outcome to Admission writing how to start, the war satisfactory to its interests and those of a paper for me letterhead its allies without winning smashing victories of theology total annihilation. His bloody attempt to win the war by attrition at Verdun in 1916 did little to recommend the strategy to his fellow countrymen.

The preference for knock-out blows remained. It was inherited from German history and was central to Germany's pre-war planning. Pre-war German strategy was haunted by the fear of a paper letterhead a war on two fronts, against France in the west and Russia in the east. The possibility of a diplomatic solution to this dilemma was barely considered by the military-dominated German government. A military solution was sought instead. The German high command decided that the best form of defence was attack. They would avoid a war on two fronts by knocking out one of their enemies before the other could take the field.

The enemy with the slowest military mobilization was Russia. Can You Write? The French army would be in for me, the field first. France was therefore chosen to receive the first blow. Thesis? Once France was defeated the German armies would turn east and defeat Russia. The Schlieffen Plan rested on two assumptions: that it would take the Russians six weeks to put an army into the field; and that six weeks was long enough to defeat France. Type A Paper For Me Letterhead? By 1914 the first assumption was untrue: Russia put an write my essay wikipedia army into the field in fifteen days. The second assumption left no margin for error, no allowance for Type a paper letterhead, the inevitable friction of war, and Can you my essay wikipedia was always improbable. The failure of the Schlieffen Plan gave the First World War its essential shape. This was maintained by the enduring power of the German army, which was, in John Terraine's phrase, 'the motor of the war'. The German army was a potent instrument. It had played a historic role in the emergence of the German state.

It enjoyed enormous prestige. It was able to letterhead, recruit men of talent and dedication as officers and theology NCOs. As a result it was well trained and well led. It had the political power to a paper, command the resources of Germany's powerful industrial economy. Germany's position at the heart of Europe meant that it could operate on interior lines of communication in a European war. The efficient German railway network permitted the movement of German troops quickly from front to front. The superior speed of the locomotive over Master thesis the ship frustrated Allied attempts to use their command of the sea to operate effectively against the periphery of the Central Powers. The power of the German army was the fundamental strategic reality of the war. 'We cannot hope to Type for me, win this war until we have defeated the German army,' wrote the commander-in-chief of the British Expeditionary Force, Field Marshal Sir Douglas Haig. This was a judgement whose consequences some Allied political leaders were reluctant to embrace. The German army suffered from two important strategic difficulties. The first of these was the inability of the German political system to forge appropriate instruments of strategic control.

The second was Great Britain. German government rested on the tortured personality of the Kaiser. It was riven by intrigue and indecision. The kind of centralized decision-making structures which eventually evolved in Britain and France (though not in Russia) failed to evolve in Germany. When the Kaiser proved incapable of coordinating German strategy, he was replaced not by a system but by other individuals, seemingly more effective.

Field Marshal Paul von Hindenburg radiated calm and inspired confidence. This gave him the appearance of a great man but without the substance. General Erich Ludendorff was a military technocrat of outstanding talent, but he was highly strung and without political judgement. In 1918 his offensive strategy brought Germany to ruin. The failure to develop effective mechanisms of Writing scientific essays help strategic control applied equally to the Austro-German alliance.

The Austrians depended on German military and economic strength, but the Germans found it difficult to turn this into 'leverage'. Austria was willing to take German help but not German advice. Only after the crushing reverses inflicted by Brusilov's offensive did the Austrians submit to German strategic direction. By then it was almost certainly too late. Germany's pre-war strategic planning was based entirely on winning a short war. British belligerency made this unlikely. The British were a naval rather than a military power.

They could not be defeated by the German army, at least not quickly. The British could, if necessary, hold out even after their Continental allies had been defeated. A Paper Letterhead? They might even have chosen to do this. They had in the past and they would again in the not-too-distant future. The German navy was too weak to defeat the British, but large enough to make them resentful and Help with my personal statement school suspicious of German policy; it ought never to have been built.

British entry into a paper for me letterhead the war dramatically shifted the economic balance in Phd dissertation, favour of the Allies. Britain was one of the world's great industrial powers. Seventy-five per cent of the world's shipping was British built and much of it British owned. London was the world's greatest money and commodities market. British access to world supplies of for me letterhead food and credit and to imperial resources of manpower made them a formidable enemy, despite the 'contemptible little army' which was all they could put into the field on essays the outbreak of war. From about mid-1916 onwards British economic, industrial, and manpower resources began to Type, be fully mobilized. Germany was forced for the first time to confront the writing, reality of material inferiority. Type A Paper Letterhead? Germany had increasingly to fight a war of scarcity, the a college, Allies increasingly a war of abundance. French strategy was dominated by the German occupation of much of northern France and most of Belgium. At its closest point the German line was less than 40 miles from Paris. A cautious, defensive strategy was politically unacceptable and psychologically impossible, at least during the first three years of the war.

During 1914 and 1915 France sacrificed enormous numbers of men in the attempt to evict the Germans. A Paper For Me Letterhead? This was followed by the torment of wikipedia Verdun, where the Germans deliberately attempted to 'bleed France white'. French fears of military inferiority were confirmed. Type Letterhead? If France was to prevail its allies would have to contribute in kind. For the British this was a radical departure from the historic norm and Master thesis sram one which has appalled them ever since. British strategy became increasingly subordinated to the needs of the a paper letterhead, Franco-British alliance. The British fought the war as they had to, not as they wanted to.

The British way in warfare envisaged a largely naval war. A naval blockade would weaken Germany economically. Scientific Essays Help? If the German navy chose not to break the stranglehold Germany would lose the war. Type A Paper Letterhead? If it did choose to fight it would be annihilated. British maritime superiority would be confirmed. Neutral opinion would be cowed. Fresh allies would be encouraged into the fight. The blockade would be waged with greater ruthlessness.

Military operations would be confined to Can you write my essay, the dispatch of a small professional expeditionary force to help the French. Remaining military forces would be employed on for me the periphery of the Central Powers remote from the German army, where it was believed they would exercise a strategic influence out of all proportion to their size. The British never really fought the Phd dissertation, war they envisaged. The branch of the British army which sent most observers to for me letterhead, the American Civil War was the Can you write my essay wikipedia, Corps of Royal Engineers. And it was a Royal Engineers' officer, Lord Kitchener, who was one of the few European political and military leaders to recognize that the war would be long and require the complete mobilization of a paper for me letterhead national resources.

Kitchener was appointed Secretary of State for War on 5 August 1914. He doubted whether the French and the Russians were strong enough to defeat Germany without massive British military reinforcement. He immediately sought to raise a mass citizen army. There was an overwhelming popular response to his call to arms. Kitchener envisaged this new British army taking the essays, field in 1917 after the French and Russian armies had rendered the German army ripe for defeat.

They would be 'the last million men'. They would win the Type for me letterhead, war and decide the peace. For the British a satisfactory peace would be one which guaranteed the long-term security of the British Empire. Admission? This security was threatened as much by Britain's allies, France and Type Russia, as it was by Help statement Germany. It was imperative not only that the Allies win the war but also that Britain emerge from for me letterhead it as the dominant power. Kitchener's expectations were disappointed.

By 1916 it was the French army which was ripe for defeat, not the German. Help My Personal Graduate School? But the obligations of the French alliance were inescapable. The British could not afford to acquiesce in for me letterhead, a French defeat. French animosity and resentment would replace the valuable mutual understanding which had been achieved in Master thesis, the decade before the Type letterhead, war. The French had a great capacity for Help my personal school, making imperial mischief. And so did the Russians. If they were abandoned they would have every reason for doing so. There seemed no choice. The ill-trained and ill-equipped British armies would have to take the field before they were ready and be forced to take a full part in a paper for me letterhead, the attrition of German military power. The casualties which this strategy of Help statement 'offensive attrition' involved were unprecedented in Type for me, British history. They were also unacceptable to essays, some British political leaders.

Winston Churchill and David Lloyd George (Prime Minister from Type a paper for me letterhead December 1916), in particular, were opposed to the British army 'chewing barbed wire' on the Western Front. They looked to use it elsewhere, against Germany's allies in my essay wikipedia, the eastern Mediterranean, the Middle East, and the Balkans. Their attempts to do this were inhibited by the need to keep France in the war. Type A Paper For Me Letterhead? This could only be done in France and by fighting the German army. They were also inhibited by the war's operational and tactical realities. These imposed themselves on Gallipoli and in Salonika and in write a college, Italy just as they did on the Western Front. Attempts to implement an Allied grand strategy enjoyed some success.

Allied political and military leaders met regularly. At Chantilly in December 1915 and December 1916 they determined to stretch the German army to Type a paper letterhead, its limits by simultaneous offensive action on the western, eastern, and Italian fronts. A Supreme Allied War Council was established at Versailles on 27 November 1917, and was given the power to control Allied reserves. Franco-British co-operation was especially close. This was largely a matter of practical necessity which relied on the mutual respect and understanding between French and British commanders-in-chief on the Western Front. The system worked well until the German Spring Offensive of 1918 threatened to divide the Allies. Only then was it replaced by a more formal structure. My Essay Wikipedia? But not even this attained the for me letterhead, levels of joint planning and control which became a feature of Master thesis sram Anglo-American co-operation in the Second World War. Allied grand strategy was conceptually sound. The problems which it encountered were not principally ones of planning or of for me letterhead co-ordination but of Writing scientific help performance.

Achieving operational effectiveness on the battlefield was what was difficult. This has given the war, especially the war in the west, its enduring image of boneheaded commanders wantonly sacrificing the lives of their men in fruitless pursuit of impossibly grandiose strategic designs. The battlefields of the a paper for me, First World War were the How to, product of a century of economic, social, and political change. Europe in 1914 was more populous, more wealthy, and more coherently organized than ever before. The rise of nationalism gave states unprecedented legitimacy and authority.

This allowed them to demand greater sacrifices from Type their civilian populations. Improvements in agriculture reduced the numbers needed to work on the land and provided a surplus of males of military age. They also allowed larger and Master thesis sram larger armies to be fed and kept in the field for years at a time. Changes in administrative practice brought about by the electric telegraph, the telephone, the typewriter, and the growth of railways allowed these armies to be assembled and a paper letterhead deployed quickly. Industrial technology provided new weapons of unprecedented destructiveness. Quick-firing rifled cannon, breech-loading magazine rifles, and machine-guns transformed the writing, range, rapidity, accuracy, and deadliness of military firepower. They also ensured that in any future war, scientists, engineers, and Type a paper for me mechanics would be as important as soldiers. These changes did much to make the First World War the first 'modern war'.

But it did not begin as one. Essays? The fact of a firepower revolution was understood in most European armies. The consequences of Type letterhead it were not. The experience of the Russo-Japanese War (1904-5) appeared to offer a human solution to the problems of the technological battlefield. Victory would go to the side with the best-trained, most disciplined army, commanded by essay generals of Type a paper letterhead iron resolution, prepared to maintain the offensive in the face of huge losses. As a result the with graduate school, opening battles of the war were closer in conception and execution to a paper for me, those of the sram, Napoleonic era than to the battles of 1916 onwards. It is difficult to for me, say exactly when 'modern' war began, but it was apparent by the end of 1915 that pre-war assumptions were false. Can You Wikipedia? Well-trained, highly disciplined French, German, and Russian soldiers of high morale were repeatedly flung into battle by commanders of iron resolve. The results were barren of strategic achievement. The human costs were immense. The 'human solution' was not enough.

The search for a technological solution was inhibited not only by the tenacity of pre-war concepts but also by the limitations of the technology itself. The principal instrument of Type education was artillery. And the mode of instruction was experience. Shell-fire was merciless to troops in the open. Thesis? The response was to get out of the open and into the ground. Soldiers did not dig trenches out of perversity in a paper letterhead, order to be cold, wet, rat-infested, and lice-ridden. They dug them in How to a college essay, order to survive. The major tactical problem of the Type, war became how to break these trench lines once they were established and reinforced. For much of the war artillery lacked the ability to find enemy targets, to hit them accurately, and to destroy them effectively. Phd Dissertation? Contemporary technology failed to provide a man-portable wireless.

Communication for most of the war was dependent on telephone or telegraph wires. These were always broken by shell-fire and difficult to protect. Artillery and infantry commanders were rarely in voice communication and both usually lacked 'real time' intelligence of battlefield events; First World War infantry commanders could not easily call down artillery fire when confronted by an enemy obstruction. As a result the coordination of Type a paper infantry and artillery was very difficult and often impossible. Infantry commanders were forced to fall back on their own firepower and Phd dissertation theology this was often inadequate. A Paper? The infantry usually found itself with too much to do, and paid a high price for its weakness. Artillery was not only a major part of the problem, however. It was also a major part of the solution. During 1918 Allied artillery on the western front emerged as a formidable weapon. Target acquisition was transformed by aerial photographic reconnaissance and the sophisticated techniques of flash-spotting and sound-ranging. These allowed mathematically predicted fire, or map-shooting.

The pre-registration of guns on enemy targets by my essay wikipedia actual firing was no longer necessary. Type For Me? The possibility of surprise returned to the battlefield. Accuracy was greatly improved by maintaining operating histories for individual guns. Thesis Sram? Battery commanders were supplied with detailed weather forecasts every four hours. Each gun could now be individually calibrated according to its own peculiarities and according to wind speed and direction, temperature, and humidity. All types and calibres of guns, including heavy siege howitzers whose steep angle of Type fire was especially effective in trench warfare, became available in write, virtually unlimited numbers. Munitions were also improved.

Poison gas shells became available for Type a paper for me letterhead, the first time in large numbers. High explosive replaced shrapnel, a devastating anti-personnel weapon but largely ineffective against the earthworks, barbed wire entanglements, and concrete machine-gun emplacements which the infantry had to assault. Instantaneous percussion fuses concentrated the explosive effect of shells more effectively against barbed wire and reduced the cratering of the battlefield which had often rendered the forward movement of supplies and reinforcements difficult if not impossible. Artillery-infantry co-operation was radically improved by aerial fire control. The tactical uses to Phd dissertation, which this destructive instrument were put also changed. In 1915, 1916, and for much of 1917 artillery was used principally to kill enemy soldiers.

It always did so, sometimes in large numbers. But it always spared some, even in front-line trenches. These were often enough, as during the first day of the Battle of the Somme (1 July 1916), to inflict disastrous casualties on attacking infantry and bring an entire offensive to a halt. From the autumn of 1917 and during 1918, however, artillery was principally used to suppress enemy defences. Command posts, telephone exchanges, crossroads, supply dumps, forming-up areas, and gun batteries were targeted. Effective use was made of poison gas, both lethal and lachrymatory, and smoke. The aim was to disrupt the Type, enemy's command and control system and keep his soldiers' heads down until attacking infantry could close with them and bring their own firepower to essay, bear. The attacking infantry were also transformed. In 1914 the a paper letterhead, British soldier went to war dressed like a gamekeeper in a soft cap, armed only with rifle and bayonet. My Personal School? In 1918 he went into battle dressed like an a paper industrial worker in a steel helmet, protected by a respirator against poison gas, armed with automatic weapons and mortars, supported by tanks and ground-attack aircraft, and preceded by a creeping artillery barrage of crushing intensity.

Firepower replaced manpower as the instrument of victory. This represented a revolution in the conduct of war. The ever-increasing material superiority of the western Allies confronted the German army with major problems. Its response was organizational. As early as 1915 even the write my essay, weakly armed British proved that they could always break into the German front-line trenches. The solution was to Type for me letterhead, deepen the trench system and limit the number of infantry in the front line, where they were inviting targets for enemy artillery. The burden of Help statement graduate defence rested on Type a paper for me letterhead machine-gunners carefully sited half a mile or so behind the front line. From the autumn of 1916 the How to, Germans took these changes to their logical conclusion by Type a paper instituting a system of 'elastic defence in depth'. The German front line was sited where possible on a reverse slope to make enemy artillery observation difficult. A formal front-line trench system was abandoned.

The German first line consisted of machine-gunners located in shell-holes, difficult to essays help, detect from the a paper, air. Their job was to disrupt an enemy infantry assault. This would then be drawn deep into the German position, beyond the supporting fire of its own guns, where it would be counter-attacked and destroyed by the bulk of the German infantry and artillery. This system allowed the Germans to survive against an Allied manpower superiority of more than 3:2 on the Western Front throughout 1917 and to inflict significant losses on their enemies. The German system required intelligent and well-trained as well as brave soldiers to make it work. An increasing emphasis was placed on individual initiative, surprise, and speed. In 1918 specially trained #145;stormtroops', supported by a college essay a hurricane bombardment designed to disrupt their enemies' lines of communication and their command and control systems, were ordered to bypass points of resistance and advance deep into the enemy's rear. The success they enjoyed was dramatic, and Type a paper for me much greater than anything achieved by the French and British, but it was not enough. Admission How To? Attacking German infantry could not maintain the momentum and for me letterhead inflict upon enemy commanders the kind of moral paralysis achieved by German armoured forces in Writing scientific essays, 1940.

The Allied line held and exhausted German infantry were eventually forced back by the accumulating weight and increasing sophistication of Allied material technology. The material solution to the problems of the First World War battlefield, favoured by the western Allies, was not in the gift of soldiers alone. It depended on the ability of the armes' host societies to produce improved military technology in Type a paper for me letterhead, ever-greater amounts. This, in turn, depended on the effectiveness of How to write a college their political institutions and the quality of their civilian morale. It was a contest at Type a paper which the liberal democracies of France and Great Britain (and eventually the United States of America) proved more adept than the help, authoritarian regimes of Austria-Hungary, Germany, and Russia. The 'modern war' fought from 1916 onwards resolved itself simply into a paper for me a demand for more: more men, more weapons, more ammunition, more money, more skills, more morale, more food. Some of the demands were contradictory. More men meant more men for the armies and more men for the factories.

Balancing the competing demands was never easy. Phd Dissertation Theology? 'Manpower' (a word first coined in 1915) became central to the war effort of all states. A Paper? The Allies were in a much stronger position than Germany. They had access not only to their home populations but also to those of their empires. 630,000 Canadians, 412,000 Australians, 136,000 South Africans, and 130,000 New Zealanders served in the British army during the war. Very large numbers of Indian troops (800,000 in Mesopotamia alone) and a small number of Africans (perhaps 50,000) also served. With Statement Graduate School? (The British also employed several hundred thousand Chinese labourers to work on Type their lines of communication.) The French recruited some 600,000 combat troops from North and West Africa and a further 200,000 labourers. And of Master thesis course there were the Americans. American troops arrived in France at a paper the rate of 150,000 a month in 1918. Truly the new world had come in to redress the balance of the old.

The British and French were particularly successful in How to write essay, mobilizing their economies. In Britain this had much to do with the work of David Lloyd George as Minister of Munitions (May 1915-July 1916). The grip of the skilled trade unions on industrial processes was relaxed. Ancient lines of demarcation were blurred. Women replaced men in the factories. Research and development were given a proper place in industrial strategy. Prodigies of production were achieved. On 10 March 1915, at the Battle of Neuve Chapelle, the British Expeditionary Force struggled to accumulate enough shells for half an hour's bombardment.

In the autumn of 1918 its 18-pounder field guns were firing a minimum of 100,000 rounds a day. The French performance was, in Type for me letterhead, many ways, even more impressive, given that so much of their industrial capacity was in German hands. Not only did the French economy supply the write a college essay, French army with increasing amounts of old and new weaponry, but it also supplied most of the American Expeditionary Force's artillery and aeroplanes. The French aircraft industry was, arguably, the best in Europe and provided some of the a paper for me letterhead, leading aircraft of the war, including the Nieuport and the SPAD VII. Morale was also a key factor. All sides tried to explain and justify the war and used increasingly refined techniques of propaganda to maintain commitment to the cause. Giving the impression of adversity shared equally among the classes became a key theme. One of the major threats to this was the my essay wikipedia, equality of access to food supplies. In Germany this proved increasingly difficult to maintain. Morale deteriorated and industrial efficiency suffered as a result. British agriculture did not perform particularly well during the Type for me letterhead, war, but British maritime superiority and financial power allowed them to command the agricultural resources of North and a college South America and Australasia.

Food was one of the Allies#146; principal war-winning weapons. Type A Paper For Me Letterhead? The degree of active resistance to the war was low in most countries. But war-weariness set in everywhere by 1917. There were many strikes and much industrial unrest. In Russia this was severe enough to produce a revolution and then a Bolshevik coup d#146;tat which took Russia out of the war in 1918.

The social consequences of this mass mobilization were less spectacular than is sometimes claimed. There were advances for the organized working class, especially its trade unions, especially in Britain, and Admission arguably for women, but the working class of Europe paid a high price on the battlefield for social advances at home. And in the defeated states there was very little social advance anyway. The First World War redrew the map of a paper letterhead Europe and the Middle East. Four great empires, the Romanov, the Hohenzollern, the Habsburg, and the Ottoman, were defeated and collapsed. They were replaced by a number of weak and Master thesis sram sometimes avaricious successor states.

Russia underwent a bloody civil war before the establishment of a Communist Soviet Union which put it beyond the pale of letterhead European diplomacy for a generation. Germany became a republic branded at thesis sram its birth with the stigma of Type a paper for me defeat, increasingly weakened by the burden of Allied reparations and by scientific inflation. France recovered the provinces of Alsace and Type for me letterhead Lorraine, but continued to be haunted by fear and loathing of Germany. Italy was disappointed by the territorial rewards of its military sacrifice. This provided fertile soil for Mussolini's Fascists, who had overthrown parliamentary democracy by 1924.

The British maintained the integrity and my personal independence of Belgium. They also acquired huge increases in imperial territory and imperial obligation. But they did not achieve the security for the Empire which they sought. The white dominions were unimpressed by the quality of letterhead British military leadership. The First World War saw them mature as independent nations seeking increasingly to go their own way. The stirrings of revolt in India were apparent as soon as the war ended.

In 1922 the British were forced, under American pressure, to abandon the Anglo-Japanese alliance, so useful to them in protecting their Far Eastern empire. Admission Essay How To Start? They were also forced to accept naval parity with the Americans and a bare superiority over the Japanese. 'This is not a peace,' Marshal Foch declared in 1919, 'but an armistice for twenty-five years.' The cost of all this in human terms was 8.5 million dead and 21 million wounded out of some 65 million men mobilized. The losses among particular groups, especially young, educated middle-class males, were often severe, but the demographic shape of Europe was not fundamentally changed. The real impact was moral. The losses struck a blow at European self-confidence and pretension to superior civilization. It was a blow, perhaps, whose consequences have not even now fully unfolded.

From The Oxford Illustrated History of Modern War . Ed. Charles Townshend. Oxford: Oxford UP, 1997. Copyright © 1997 by Oxford University Press.

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How to Get Started on Your Resume: A Five-Step Primer for College Students and Recent College Grads. by Randall S. Hansen Ph.D. When we visit college campuses here are the two most common scenarios we see with students and resumes. First a solid majority do not have a resume. Second of those students who do have a resume many are unhappy with it.If you fall into one of those groups — or are simply looking for a few tips to put your resume among the best — this article is for you. The same writer’s block that many students face when writing papers seems to hold true with developing a resume.

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