American Women suffrage movement Essay Example | Topics and Well Written Essays - 1750 words

American Women suffrage movement - Essay Example But this paper is not about the British suffrage action, that was merely meant as a reference point. This paper will instead concentrate on the trials and tribulations that the pioneering feminist movement women of the United States of America had to endure in order to allow the average 21st century woman the power of equality of the sexes and the right to vote. Both are achievements that the modern day woman tend to take for granted and as such, deserve revisiting in order to remind the women of where these freedoms came from and at what cost to the early 20th century woman. The early to middle 20th century saw an era of rapid industrialization in the United States which resulted in more women joining the workforce. Originally, women were not give the right to representation in their place of work and during voting procedures because there was a belief that these women, most of whom were married, would be represented in the vote by their husbands. However, the continuous changes tha t were occurring in the factories, including the abuse of women in terms of labor practice, proved that the male vote could not protect the rights of women (Liazos, 128). This was the original cause that started the Women's Suffragette movement. It is important to note however that there was at the time, a sector of women that did not totally believe in the female cause of the era. It was the belief of the non suffragettes that; ... only one class of women wanted the vote and that the vast majority of women were content as they were. in fact, many immigrant women working for reform in labor did indeed â€Å"[view] women's suffrage irrelevant to basic political change , a mere plaything for the middle-classed, privileged woman. â€Å" They felt that it was not as important as other social, industrial, educational, and moral progress (Liazos 126-127). One of the most notable names in the movement is that of Alice Paul who, raised in the Hicktite beliefs, always thought that equality of the sexes was something that was natural as their religious beliefs advocated that belief. Ms. Paul was born January 11, 1885 in Mt. Laurel, New Jersey to Quaker parents William and Tacie Paul. They were the first people who influenced the young Alice's belief in gender equality and the need to work for the betterment of society. The eldest of 4 siblings, Alice was the one who was most influenced by her mother's early association with the suffragette movement since the meetings for the cause were often held on Paulsdale, the family farm. Paul herself admitted to being exposed to the movement while in attendance at the family farm meetings with her mother. In fact, Alice often refers to her mother's advocacy and role in the movement when asked about why she had such a keen interest in seeing the desires of the movement become a reality, In a Time magazine article she was quoted as having credited â€Å"...her farm upbringing by quoting an adage she learned from her mother, "When you put your hand to the plow, you can't put it down until you get to the end of the row" (Carol, Myers, et. al. 1). Ms. Paul, having been raised within Quaker traditions explained that she had always been raised with a belief in equality of the sexes. It was, in her point of view, simply a normal part of Quaker life. In her best effort to explain the relation of her Quaker upbringing with her belief in the equality of the s

Changing a Partheid, But Not So Fast Essay Example | Topics and Well Written Essays - 750 words

Changing a Partheid, But Not So Fast - Essay Example Before summarizing the setting of the play, it is important to note something about the author of this play, and his purpose or message. The man who wrote this play is Athol Fugard. His parents were English and Afrikaner, and he was raised in South Africa, during apartheid, having been born there in 1932. While working as a court clerk in Johannesburg, he came to understand the evils of apartheid, and became an activist, writing plays about apartheid (Vienna Theatre Project 2). He alienated the government, in that way, and they removed his passport and years later they returned it. His award-winning plays spread apartheid awareness internationally, from marginalized theaters in South Africa, to famous theaters in London, and even to New York’s Broadway (Vienna Theatre Project 2). Fugard brings his criticism of the apartheid policies of the South African government to this play. However, through the character of Mr. M, Fugard also brings criticism of the policies of the African National Congress, which resisted the apartheid government (p. 2). That is a strong approach, especially for an activist who is well aware of the evils of apartheid, and has himself suffered under it. Good and evil are not as completely polarized in real life as they are in fairy tales. Mr. M represents the voice of a gray area, between the extremes. Isabel is white and filled with personal hope, raised to believe it is hers by right. Thami is black and cannot afford the luxury of hope without supporting street action for massive and immediate change (p. 3). Mr. M sees hope as a hungry beast that could potentially gobble up all of South Africa’s students (Chastang). He does not want to exercise the initiative to invite change abruptly. He is afraid that the inevitable backlash against activism for abrupt social change will put education further out of reach of his students. Mr. M is also an activist, because he is engaged in the visionary social action of education, but he i s older and more old-fashioned, and so he likes the relative safety of moving more slowly. He does not want to escalate risk, because education is critical to the future of the students. Mr. M is not fearful of insubstantial shadows, but of very real events and trends. The history of South Africa has not been peaceful. The Dutch killed and controlled the Xhosa. The British seized control of the area and the Afrikaner (Dutch descendants) moved their location to escape the British. Both the British and the Afrikaners defeated the Zulus. Then, war came between the British and the Afrikaners, and the British won. They later united to keep non-whites restricted (Vienna Theatre Project 4). The Afrikaner National Party came to power in 1948 and apartheid was firmly and miserably entrenched. The African National Congress was the Black answer to apartheid. It was backed by Communists (Vienna Theatre Project 4). In 1976, 15,000-20,000 Soweto students marched in protest of apartheid, intending to sing a song affirming solidarity and then go home. Unfortunately, the police over-reacted, released police dogs to attack the students and used tear gas. Students responded by throwing stones and bottles. The police started shooting students, without warning, Students reacted by setting fire to government property and the property of White businesses. The government called in massive reinforcements. Army helicopters dropped tear gas on the crowd. Entry and exit to and from

Celtic Christian Art Origins and Development

Celtic Christian Art Origins and Development How Celtic was Celtic Christian Art? The art of the Early Christian Period has been regarded as an Irish phenomenon representing the survival in Ireland of La Tene artistic traditions. (Laing, 1975, 339) It has gained considerable attention due to its wealth of ornamental metalwork, illuminated manuscripts and stone structure. However there is still the debate How Celtic is Celtic Christian Art? The term must first be analysed in order to understand the characteristics of Celtic Christian Art. The high point of this Insular art of the early Christian era was the creation of a series of illuminated Christian manuscripts, notably the Book of Durrow (c.650) and the Book of Kells (c.800), as well as such metalwork masterpieces as the Ardagh Chalice, the Derrynaflan Chalice, the unusual Moylough Belt Shrine, famous processional crosses like the Tully Lough Cross and the Cross of Cong, and the secular Tara Brooch. Within this essay I will attempt to summarise the origin and development of Celtic art in Great Britain and Ireland. As a result, this would assist my analysis on the significant influence Christianity had on Celtic art. A breakdown on examining Celtic art, is to begin defining the term. The term Celtic Art is defined by the people who spoke the Celtic language and embraced their traditions. Thus explains the characteristic decorative motives, for instance the divergent spiral were of foreign origin. However, one must understand that the conversion of the inhabitants of Britain from Paganism to Christianity was a gradual process, extending over a period of several hundred years. Therefore the evidence for the existence of Romano-British Christianity is scarce. Out of the several hundreds of inscribed and sculptured monuments belonging to the period of the Roman occupation of Britain there are hardly any which bear Christian symbols or show traces of Christian art.(Allen, 2001, 162) Moreover another misinterpretation about the term was that many believed the term came from art found in a church or a specific object. The term usually means art which embraces the character of Christianity. A number of problems must also be considered such as assessing beyond the religious aspect of the Celtic Christian tradition, creates a challenge as distorts the image of the range of material which may once have existed. Robert Lloyd Laing supports this view as he suggests that the Early Christian Art is a complex amalgam of artistic traditions which became blended together in the fifth to seventh centuries.(Laing, 1997, 339) Another issue of reliability of using other sources (for instance the La Tene Art), to assess the Christian Celtic Art, as it creates some imperative variations. Whilst La Tene art is undoubtedly of the same genus as that of the early Christian Celts, the variety in vogue after the fourth century AD was markedly different.(Laing, 1987, 5) These difficulties must therefore be interpreted by using the Celtics traditions and its influences from outside elements. This would allow a descriptive analysis of the origin and changes within Celtic Christian Art. Ireland was one of the very few countries that were never colonized by Rome. Unlike Britain and Continental Europe Irish Celtic art was neither influenced by Greek or Roman art. Between the end of the Iron Age and the gradual emergence of Christianity in Ireland a prominent feature within the Irish culture was its unbroken tradition of Celtic culture influenced only marginally by Roman art. Furthermore, Christianity gained more attention with the arrival of St. Patrick in the 5th century CE. This along with the significant introduction of the renaissance of Hiberno- Saxon style or Insular art which was caused by the mission of Aidan of Iona in the 630s to the ancient kingdom of Northumbria, were was especially important in the later development of insular Celtic art and changed the Celtic Christian art. The spread of Christianity throughout Ireland introduced the Irish monastic art. Archaeological evidence such as the monasteries became the principal artistic centres which aid archaeologists, to understand the origin and development of Celtic Christian art. Thus emphasises the impact of Christianity on Irish art and should not be underestimated. A renaissance in the arts was created due to the close connection of the network of monasteries throughout Ireland, Britain (especially Northumbria) and parts of Europe. All these monasteries combined acted as centres of learnin g and artistic craftsmanship as well as places of religious devotion. Thus resulted to the illumination of manuscripts and the enhancement of Celtic designs taken from jewellery and metalwork produced for the Irish secular elite, but most insular art came about because of the patronage and direction of the Catholic Church. Christian Celtic art can generally be summarised by looking at stone crosses, illuminated manuscripts, and metal objects such as chalices, shrines and reliquaries. The art of this period utilized traditional Celtic curvilinear designs enriched with foreign influenced brought back to Ireland by returning missionaries-motifs such as the Saxon use of entangled, interlocking animal forms in geometric decorations. The art of the Anglo-Saxons came into contact due to the Irish missionaries. They practised the traditional colourful animal style in metalwork which became a significant aspect within Celtic art as they associated the animals to individual gods and myths. This is supported by Paul Jacobsthal who analysed that The Scythian animal style expresses a Eurasiatic beast-mythology, a totemism which was all its own. (1935, 113) This shows a subtle influence Christianity had on Celtic Art as the people of the time are beginning to assess animals with religion. However there are limitations with using the animal designs for understanding the changes within Celtic art. Allen suggests that Animal forms are comparatively rare in Late-Celtic art, as they are not interlaced, so that it is almost useless to seek for the original inspiring idea in this direction. (2001, 250) Nevertheless we could still establish a connection with the La Tene compositions and the animal ornaments. For instance from Donore a disc was found; it demonstrated an elaborate composition of trumpet scrolls in tinned bronze, placed against a richly textured background. The sophistication of this striking pattern may be compared to the great Chi-Rho page of the Gospel book, the Book of Kells, which was preserved at the nearby monastery of Kells, Co. http://www.visual-arts-cork.com/irish-images/kells-chi-rho-page.jpgMeath for many centuries. The Early Christian Mediterranean artistic traditions would be similarly seen amongst the Frank and Lombards in which these missionaries would have travelled. In addition this connection would have produced a shared manuscript for illuminators, metalworkers and later, monumental sculptors which enabled the basic houses to foster a new art form in northern Britain and Ireland. The most notable artefacts of Christian Celtic Art were dominated by ornaments such as trumpet scrolls, fine spirals often designed to be seen as a reserved line of metal in a field of red enamel. This pattern is best exemplified on the escutcheens of a series of vessels called hanging bowls. These bowls are most likely to be found in Anglo-Saxon cemeteries in eastern and southern England. In addition these bowls have a distinct decoration which is more likely to be Celtic in character. Allen suggests that The closest resemblance between the spiral decoration of the Pagan period and that of the Christian period is to be found on the discoidal ornaments with patterns in champlevà © enamel, forming the attachments of the handles of certain bronze bowls, several examples of which have been discovered from time to time in different parts of England.(2001, 243) the distinctive Celtic character is often argued, for instance some archaeologist believe that it represented booty taken by the conquerors from the Celtic lands and others believe it was uniquely religious. Another important artefact of the time was the Book of Durrow. It is another illuminated manuscript of the Insular style. There are unique textual peculiarities which create a similarity with the Book of Kells. It was seen as one of the most outstanding early manuscripts in the history of Irish art. The illuminated text includes the four Gospels of the New Testament, along with the six surviving carpet pages (which were believed to have been devoted for decoration). It is furthermore suggested that it was linked with the earlier patterns of Celtic metalwork. Unusual symbols are assigned to the gospels which do not follow tradition: a man for Matthew, but an eagle for Mark (instead of the traditional lion), a calf for Luke, but a lion for John (instead of the traditional eagle). These symbols along with the cross which unites them amplify harmony if the Gospels and the argument that early Christian art had influences from the Celtic tradition. This is furthermore supported by the interlace pattern-work, spirals, zoomorphic triskeles, and knots, which were all derived from Celtic art. OSullivan agrees with this argument as they suggested that In Durrow it is followed by a page of abstract design based on Celtic ornament, the first of five so-called carpet-pages, one of which originally faced the opening of each gospel. (2005, 526) In the late 7th to early 8th century, Irish missions in Europe produced the most impressive Celtic Christian art in Europe. This is shown in the illuminated manuscripts of the Bible, which were embellished with decorative borders and astounding intricate, inventive lettering. The complexity of the twining geometric designs dominated previous art, the rare representations of human faces and figures were abnormally stylized. Another book which was considered just as important as the Bible and was seen as a masterpiece of its time was the Book of Kells. The Book of Kells shares the monumentality of its conception with some of the later Pictish cross-slabs, decorated with a wealth of biblical and secular scenes (Laing, 1979, 168) This book was deemed as the most famous, finest group of manuscripts of the 6th through to early 9th centuries, in the monasteries of Ireland, Scotland and England. The book had many similar features to the bible, it included the iconographic and stylistic traditions and the decorated letters, which were usually found in incipit pages for the Gospels. Large stone crosses were also seen as a significant aspect in evaluating how Celitc Celtic Christian art was during its time. During the later eighth and ninth centuries the form of the ringed High Crosses came of great importance. Many of the crosses are devoted to Christian scriptural themes but one early group, probably mostly ninth century in date, is dominated by abstract interlace ornament, the La Tene animal interlace, and key- and fret-patterns. Pure ornament plays a major part also on the crosses with figured scenes and frequently occurs in the form of bossed fleshy scrolls. These sculptural works reached their high point during the early tenth century, as evidenced by Muiredachs Cross at Monasterboice, County Louth, and the Ahenny High Cross in Tipperary. The free-standing crosses, in which the outline of the stone corresponds with the outline of the cross, are the most highly developed type of Celtic sculptured monument of the Christian period, and are therefore presumably the latest, with the exception of those of the decadent period just before and after the Norman Conquest.(Allen, 2001, 188) These crosses were vital in understanding the Celtic Christian art, they were carved with interlacing relief decorations such as ceremonial religious objects, which ornamented with gold filigree and coloured enamel stud. An example of this type of cross would be the Ardagh Chalice. The Ardagh Chalice largely conceals its Christian symbolism, but it carries two medallions on its bowl that contain prominent crosses of arcs.(Duffy, MacShamhrian, Moynes, 2005, 141) This highly sophisticated design is considered one of the finest works of Insular art. Stokes suggested that The Tara brooch and the Ardagh chalice offer the most perfect examples of the use of this peculiar spiral that have been found in the metal-work of Irish Christian Art;(2004, 63) The Ardagh Chalice itself is made from a silver-bronze alloy and its main features include delicate gold filigree work, ornate handles and the use of semi-precious and coloured stones and enamels. The overall impression is that of a master craftsman at work and probably dates from the eight century. Another significant chalice was the Derrynaflan Chalice which was considered to be one of the most outstanding religious artworks in the history of Irish art. It was made in the eigth and ninth century by Irish metallurgists. These were highly skilled craftsmen who had superlative artistic skills during the Insular Art period (c.650-1000) in the ultimate La Tene style. Duffy, MacShamhrain and Moynes analysed that the Derrynaflan Chalice is less colourful than the Ardagh Chalice however its filigree is of great interest because it shows elements of common Christian iconography griffons, birds, beast, and quadrupeds, probably lions that are widespread in early medieval European sculpture and metalwork as part of the Tree of Life and related motifs. (2005, 141) Brooches are also very useful in examining How Celtic is Celtic Art? In Ireland, the Celtic brooches were a perfect example of the type of jewellery the high-status people used to wear. Many of the brooches features include symbols that have come to epitomize the Celtic culture; examples such as Claddagh, the Brigids cross, the Celtic hound and the classic example of Celtic interlace are typical patterns for Celtic art. The most popular Celtic brooch is the Tara brooch design. The Tara brooch design and the Hunterston brooch are considered to be two of the most important evidences in Celtic Christian art. Hourihane suggests that It has long been recognized that while both brooches show elements from the native Celtic La Tene repertoire, their design also reflects outside influences and incorporates many foreign elements.(2001, 211) The Tara brooch is a classic example of an artefact from early Christian-era Ireland. It dates around 700AD and features an embellished circle with a long, straight pin. It is a representation of the Celitc peoples brilliant craftsmanship. The Hunterston brooch is one of the earliest examples of decorative brooches from Britain and Ireland. Solid silver with gold and silver filigree and amber studs compose the head and pin of the brooch. The style of the brooch derives from the Pictish tradition in its presentation of zoomorphic creatures.Brooches can be found on monument al sculpture of the Mullaghmast stone, in which they appeared to be used for carrying variants of the early hanging bowl style. Moreover during the period of 800-100AD, silver became exceedingly popular with the Irish and Anglo-Saxon metallurgists, thus led to the creation of well-noted brooches. In conclusion Celtic Christian art was very Celtic as just like all art, it was inspired by religion. The Celts paganism was different to that of the Greeks and Romans as it was supported by the authority of druids, who were the guardians of writing, teaching, culture and most importantly religion. Their polytheistic ideas manifested themselves through animals, various monsters and collective goddesses, (Gods and demigods were usually depicted on coins). Thus, this explains the popular use of zoo morphology in their art. In addition to understand Celtic art we must analyse the unity between the materials and techniques the people of the time used. For instance Celtic art consists of hard or hardened objects such as metal, stone, wood, leather, glass and clay. There is no painting (except on pottery), no wax, no wickerwork and virtually no weaving. Iron engraving and abstract sculpture in bronze both derive from the Ancient Celts who combined the techniques of engraving and sculpting most effectively. Their strong point was the creation of tiny sculptures, particularly for the embossed engraving of coinage. Another form of unity was their common use of animals. Frequent subjects such as the quadrupeds, birds, fish and reptiles are often represented, along with the merge of plant designs which lend themselves into transformations. The Celts favoured using animals and plants than those depicted humans, thus makes it simple for an archaeologist to identify Celtic Christian art. The very human representations which were found are usually a form of an imaginary being for instance a monster, as though everything in the world were metaphysically linked. The treatment of these subjects is a source of bafflement for, in each case, the Celts present us with riddles. In conclusion, to answer the question How Celtic is Celtic Christian Art? an archaeologist must look at the common traditional themes which continued through to the Early Christian art. The complex, twining geometric designs predominated; the rare representations of human faces and figures were abstract and stylized, would assist us in judging how Celtic, Celtic Christian Art was at the time. Bibliography Allen J. R., 2001, Celtic Art in Pagan and Christian Times, Dover Publications Inc, General Publishing Company Ltd, 30 Lesmill Road, Don Mills, Toronto, Ontario Duffy S., MacShamhrain A., Moynes J., 2005, Medieval Ireland: an encyclopedia, Routledge, 2 Park Square Miton Park, Abingdon, Oxon, OX14 4RN, U.K. Dumbleton W. A., 1984, Ireland, life and land in literature, State University of New Yotk Press, State University Plaza, Albany, N.Y., 12246 Hourihane C., 2001, From Ireland coming: Irish art from the early Christian to late Gothic period and its European context, Department of Art and Archaeology, Princeston University, Princeston, New Jersey, 08540 Laing R. L., 1975, The Archaeology of Late Celtic Britain and Ireland, c.400-1200AD, Methuen Co Ltd, 11 New Fetter Lane London EC4P 4EE Laing R. L., 1997, Later Celtic Art in Britain and Ireland, Shire Publications Ltd, Cromwell House Church Street Princes Risborough Buckinghamshire HP27 9AA UK OSullivan, 2005, Manuscripts and Palaeography in A New History of Ireland: Prehistoric and early Ireland, Oxford University Press, New York Stokes M., 2004, Early Christian Art in Ireland, Kessinger Publishing,

A Summery of the Life and Writings of John Stuart Mill :: essays papers

A Summery of the Life and Writings of John Stuart Mill After reading 100% of the book, New Ideas From Dead Economists, I chose to write a little summery of John Stuart Mill. I did a little outside research on the subject, because his theories and philosophies were intriguing to me. I was impressed by his change in his views as he entered his mid twenties. John Stuart Mill was born in London on May 20, 1806, and was the oldest son of James Mill. His education, as a boy, was carried out by his father, James Mill. John’s discipline was extremely rigid, as a result, he believed it gave him the intellectual advantage of a quarter century on his contemporaries. Later in life Mill recognized that his father’s extreme system of intellectual discipline gave him little time to develop social and emotional relationships with others. He regretted this aspect of his childhood. Mill was considered a leader in thought at the young age of twenty-one. This is when he encountered a mental crisis. The cause of the crisis, extreme mental and physical strain, gave him as he called it, â€Å"a dull state of nerves†. He realized that the goals in his life, that his father had given him, stolen the feelings out of him. After many months of despair, he found that the emotions within him were not dead. One important factor in this emotional realization was a woman by the name of Mrs. Taylor. She was known to help Mill in authoring works of his, and a good friend. While she was married, Mill held a close relationship with her. After the death of her husband, Mrs. Taylor and John Mill were married in 1851. After this he had great success publishing in multiple literary journals. These articles had ranged from those relating to philosophy and social to political and economic. One of his earliest was with The Westminster Review, but were mostly for The London Review. Through these articles, we can trace his gradual development and change in his radical politics. His first real intellectual work appeared in 1843, System of Logic, Ratiocinative and Inductive. This was followed by his, Essays on some Unsettled Questions of Political Economy, in 1844, and, Principles of Political Economy in 1848.

Context Aware Data Center Allocation

The method to find a proper data center is based on six contextual parameters: 1) Geographical distance network delay) between a consumer and data centers, 2) Workload of each data center 3)Power usage effectiveness 4)Network monitoring 5)Facility monitoring 6)Allocation delay time. The proposed model can successfully allocate the decanter based on above mentioned parameters. Objective or Aim: To allocate each consumer request to an appropriate data center among the distributed data centers based on the location Of consumer and the location of data centers.Scope: Using the proposed model can expect fast allocation time, but also future response time. The proposed model can successfully allocate the data center tit minimum distance between user and data center, workload, power usage effectiveness, network traffic, allocation delay, good facility. Problem Statement: Mapped/Reducer Provider computing service providers deliver their resources to consumers as a service, for example, softw are, platform and Infrastructure. Those services are based on the demands of the consumers, and the provider offers the services to consumers through brutalized resources.The resources of the providers are usually hosted by a data center. Since the location of consumer is different in geographically, a service provider should have strutted data centers throughout the world to deliver its services. Therefore, to find an appropriate data center for a consumer request is very much necessary. Existing System: Dynamic resource allocation problem is one of the most challenging problems in the resource management problems. In [7] authors have explained the algorithm for negotiation protocol for resource provisioning in detail. In authors have made a comparison of many resource allocation strategies.In [9] authors propose a model and a utility function for location- aware dynamic resource allocation. A comprehensive comparison of resource allocation policies is covered in [10]. In [1 1], au thors propose an adaptive resource allocation algorithm for the Mapped/Reducer Provider system with predictable tasks in which algorithms adjust the resource allocation adaptively based on the updates of the actual task counterinsurgency Allocation [1 2] is a subject that has been addressed in many computing areas, such as operating systems, grid computing, and data center management.For example, developers can have network requirements, such as bandwidth and delay, and computational requirements, such as CAP], memory and storage. The RA should deal with these unpredictable requests in an elastic and transparent way. This elasticity should allow the dynamic use of physical resources, thus avoiding both under-provisioning and over provisioning of resources. Proposed System: In this project, we propose a Context aware data center allocation model which allocates the consumer's request to an appropriate data center. Here, we assume the VIM run on the providers data centers infinitely a fter they are successfully allocated.Also, the VIM allocated in only one data center. Context aware data center allocation is designed to demonstrate the data enter allocation. In this model we have consumer and Mapped/Reducer Provider service provider, and coordinator agent. Coordinator agent works on behalf of each consumer and Mapped/Reducer Provider service provider. System Architecture: Working Principle: In this project, we assume the VIM run on the provider's data centers infinitely after they are successfully allocated. Also, the VIM allocated in only one data center. That means a VIM has not allocated a VIM in multiple data centers to support the consumer requests.For this reason, the workload of each data center has not depends on its resource availability, but the allocated Vim's specification (number of Cups) in the data center. Context aware data center allocation is designed to demonstrate the data center allocation. In this model we have consumer and Mapped/Reducer Pr ovider service provider, and coordinator agent. Coordinator agent works on behalf of each consumer and Mapped/Reducer Provider service provider. In this model, a Mapped/Reducer Provider service provider consists of several data centers that are geographically distributed.Likewise, there are consumers that are geographically distributed, or else they may be moving entities. The intent aware data center allocation model consists of different kind of agents; 1) User Agent, 2) Coordinator Agent, and 3) Monitoring Agent. In this agents; 1) User Agent, 2) Coordinator Agent, and 3) Monitoring Agent User Agent: A user agent sends a demand to the coordinator agent by sending an allocation request message on behalf of a consumer. Request message format is as follows: Request (allocation_ARQ_size, Location details of user).The user agent waits to receive an allocation result message from the coordinator agent. Coordinator Agent: A coordinator agent is responsible to coordinate resource allocat ions for geographically disturbed data centers and consumer. The coordinator agent finds an appropriate data center for a consumer request. When the coordinator agent receives an allocation request, the agent evaluate each data center to allocate the consumer request based on the location of consumer, workload on data center, Power usage, Facility monitoring, Network monitoring, and allocation delay latency of data centers.Functional Requirements The functional requirements for a system describe what the system should do. These requirements depend on the type of software being developed, the expected users of the software and the general approach taken by the organization when writing requirements. When expressed as user requirements, the requirements are usually described in a fairly abstract way. However, functional system requirements describe the System function in detail, its inputs and outputs, exceptions, and so on.Functional requirements are as follows: The proposed system s hould allocate each consumer request to an appropriate data center among the distributed data centers The proposed model can expect fast allocation time, and also future response time. Non-Functional Requirement Non-functional requirements, as the name suggests, are requirements that are not directly concerned with the specific functions delivered by the system. They may relate to emergent system properties such as reliability, response time and store occupancy.

Defining Prejudice Essay

Prejudice-a preconceived negative judgement of a group and its individual members. -prejudice is an attitude. The negative evaluations that mark prejudice often are supported by negative beliefs called stereotypes. Forms of prejudice Stereotype – a belief about the personal attributes of a group of people. Stereotypes are sometimes overgeneralized, inaccurate, and resistant to new information. Discrimination- unjustified negative behaviour toward a group or its members. Racism- an individual’s prejudicial attitudes and discriminatory behaviour toward people of a given race or institutional practices that subordinate people of a given race. Sexism- an individual’s prejudicial attitudes and discriminatory behaviour toward people of a given sex. Racial prejudice In the context of the world, Every race is a minority. Most folks see prejudice in other people. -is racial prejudice disappearing? -in 1942 most Americans agreed that there should be separate sections for negroes on streetcars and buses. -parents both black and white suggested that their children should know the history of blacks and whites. -most black and white would likely to vote a black American for president. In the United States, whites tend to compare the present with the oppressive past and to perceive swift and radical progress. Blacks tend to compare their present with their ideal world, which has not yet been realized, and to perceive somewhat less progress. Gender Prejudice – people’s prejudgment on others based on gender. Gender Stereotype – are simplistic generalizations about the gender attributes, differences, and roles of individuals and/or groups. Stereotypes can be positive or negative, but they rarely communicate accurate information about others. When people automatically apply gender assumptions to others regardless of evidence to the contrary, they are perpetuating gender stereotyping. Many people recognize the dangers of gender stereotyping, yet continue to make these types of generalizations. the female stereotypic  role is to marry and have children. She is also to put her family’s welfare before her own; be loving, compassionate, caring, nurturing, and sympathetic; and find time to be sexy and feel beautiful. The male stereotypic role is to be the financial provider. He is also to be assertive, competitive, independent, courageous, and career†focused; hold his emotions in check; and always initiate sex. These sorts of stereotypes can prove harmful; they can stifle individual expression and creativity, as well as hinder personal and professional growth. Ambivalent Sexism – Ambivalent sexism is an ideology composed of both a â€Å"hostile† and â€Å"benevolent† prejudice toward women. Hostile sexism is an antagonistic attitude toward women, who are often viewed as trying to control men through feminist ideology or sexual seduction. Benevolent sexism is a chivalrous attitude toward women that feels favorable but is actually sexist because it casts women as weak creatures in need of men’s protection. What causes ambivalent sexism? According to Professors Glick and Fiske, sexist ambivalence is the result of two basic facts about relations between women and men: male dominance (patriarchy) and interdependence between the sexes. Male dominance is prevalent across cultures, with men dominating high status roles in business, government, religious institutions, and so forth. Hostile sexism arises in large part because dominant groups tend to create hostile ideologies concerning the inferiority of other groups. Despite male dominance, however, men are often highly dependent upon women as wives, mothers, and romantic partners. This dependence fosters benevolent sexism, which recognizes women as valuable and attractive (an attitude not generally present in prejudices such as racism, anti-Semitism, and homophobia, in which the targets of prejudice are typically shunned or loathed). Gender Discrimination – Discrimination based on gender or sex Where and When Can Gender Discrimination Occur? Employment – Including claims that a potential employer asked discriminatory questions based on gender during the interview process; claims that an employer failed to hire, failed to promote, or wrongfully terminated an  employee based on his or her gender; unequal pay claims; and claims for sexual harassment of employees. Education – Including claims for exclusion from educational programs or opportunities based on gender; and claims for sexual harassment of students. Housing – Including claims for refusal to negotiate with a person seeking housing, claims for imposition of different lease/contract terms, and claims for refusal to extend a loan based on the gender of the applicant/tenant/buyer. Borrowing / Credit – Including claims for refusal to extend credit, claims for imposition of unequal loan terms, and claims arising from improper inquiries during the credit/loan approval process, based on the gender of the applicant. 3 SOURCES OF PREJUDICE Social Source Emotional Source Cognitive Source Social Sources of Prejudice The self-fulfilling prophecy: where a belief is accepted as truth, & in stating it, becomes true. Stereotype Threat Stereotype threat is â€Å"the threat of being viewed through the lens of a negative stereotype, or the fear of doing something that would inadvertently confirm that stereotype,† such as the stereotype that women perform poorly in math. Some students try to escape stereotype threat by misidentifying with the part of life in which the stereotype originates, such as race or ethnic identities. Emotional Sources of Prejudice Frustration & aggression: The Scapegoat Theory: When problems occur, people do not like to blame themselves. They will thus actively seek scapegoats onto whom they can displace their aggression. Scapegoats may be out-group individuals or even entire groups. Powerless people who cannot easily resist will often become victims of scapegoating. Scapegoating increases when people are frustrated &  seeking an outlet for their anger. The Realistic Group Conflict Theory When there are limited resources, then this leads to conflict, prejudice & discrimination between groups who seek that common resource. Cross-race/ Other-race Effect Refers to the tendency to more easily recognize members of one’s own race. A study was made which examined 271 real court cases. The results from this study showed that witnesses correctly identified 65 % of the defendants which were of the same race as them. On the other hand, 45% of the defendants were identified which belonged to a different race than the witnesses. Just-world Phenomenon The just-world phenomenon, refers to the tendency for people to believe that the world is â€Å"just† & so therefore people get what they deserve.† It wrongly colors our impression of â€Å"victims† of any sort. Controversies and Prominent Topics Sexism Nationalism Classism Sexual Discrimination Racism Religious Discrimination Linguistic Discrimination Reducing Prejudice The contact hypothesis The contact hypothesis predicts that prejudice can only be reduced when in-group and out-group members are brought together. In particular, there are six conditions that must be met to reduce prejudice, as were cultivated in Elliot Aronson’s Jigsaw Classroom. First, the in- and out- groups must have a degree of mutual interdependence. Second, both groups need to share a common goal. Third, the two groups must have equal status. Fourth, there  must be frequent opportunities for informal and interpersonal contact between groups. Fifth, there should be multiple contacts between the in- and the out- groups. Finally, social norms of equality must exist and be present to foster prejudice reduction.