Impact of Spanish Civil War on Surrealism Art

Impact of Spanish Civil War on Surrealism Art   This investigation assesses the significance of surrealist artists responses to the Spanish Civil War and how the experiences of the horrific event were documented visually. In order to evaluate such significance, this investigation examines the impact the events the war had on surrealist art in Spain, through the use of primary recounts of the wars impact on art and visual art history, mostly focusing on works by Salvador Dalà ­ and Pablo Picasso who became world renowned for their contribution. The Spanish Civil War broke out in the summer of 1936, as did the revolution within surrealist art. It was an event that did not just affect people locally, but on an international scale. Although, European art in general was impacted by the war, this investigation will not examine the effect the war had on continental surrealism, thus will only focus on Spanish artists and their work. As the leading artists in this movement were the Spanish born artists Picasso and Dali, they will be the central focus. Two of the sources used in this essay will assess are Surrealism and the Spanish Civil War by Robin Adà ¨le Greenley and The Secret Life of Salvador Dalà ­ by Salvador Dalà ­ will be evaluated for their origins, purposes, values and limitations. This investigation does not assess the difference in ideologies (Republicanism versus Nationalism) tearing apart Spain, nor does it assess other surrealist art movements in literature, philosophy, film, architecture or music. Background on the Spanish Civil War The summer of 1936 marked the beginning of a landmark event within modern European history: the Spanish Civil War, inviting with it a three-year tumultuous period of terror, destruction and persecution, shattering the nation. Its deep rooting ideological confrontations resulted in the intense commitment of all its participants and the loss of over half a million Spanish lives acted as a stimulus to the various international surrealist movements of the time, inspiring artists of all cultures. The creative energy focused on portraying political ideologies and illusions, the social idealisms and the military take on modern warfare, documenting the hopes and despair of the participants in this Kafkaesque war. The fall of the crumbling Spanish Monarchy and the dissatisfying Second Republic, and the electoral success of the leftist Popular Front, a rebellion against the newly elected government erupted. The Falange or the Nationalists, lead by General Franco, conducted a nationwide revolt, alongside General Mola. They managed to seize the key cities in Northern Spain, including Madrid. The Catalan and Basque country, both known for their persistent separatist movement, anarchism and socialism, unsurprisingly sided and remained loyal to the Republic. This politically polarized Spain, dividing the country into the Nationalist and Republicans. Mostly socialists, separatists, artists and intellectuals sided with Republicans. Franco wanted to follow Mussolinis example and establish a secular conservative regime and was supported mostly by the conservatives, the military, the royalists and the Clergy. Even though the Church and the Falange experienced some friction, they continued to remain in their marriage of convince because the Republic was seen as antidisestablishmentarian and lethally temporal. The Nationalists rose against the electoral Popular Front government and finally over threw it. The interferences from external powers such as Germany and the Soviet Union dragged out the war and worsened the conflict. Horrific events which paralyzed the country, such as the annihilation of the Basque country by the German Luftwaffes Blitzkrieg, served as inspiration which sparked the notion of a world exhibition in France, in 1937. The section dedicated to Spain was known was the Pavilion. Many artists, such as Dali, Picasso and Renau were asked to participate; each created a response to the many atrocities which occurred in the past year of the war. It was the first exhibition of its kind, prompting propaganda from countries such as Spain. Surrealism and the Spanish Civil War Surrealism, with no exact definition due to its ambiguous nature, is known for imaginative eccentricity and became a major movement in the late 1920s and throughout 1930s Europe; mostly in places like Germany and Spain. The twisted yet fantastic reality which surrealism creates is seen as an escape from the actual reality. Surrealist artist art is considered to be closely connected with Freudian psychological analysis, claiming that such warped art is an insight into a deeper psyche. The surrealist works of the Andalusian painters Dalà ­ and Picasso (amongst others) became signatures of the satirical content of the war, acting as world informants of the paralyzing happenings within the country. Although both artists had very different notions of surrealism, both artists depict the war in a grotesque, incomprehensible, violent and audacious manner which reflected the Civil War in all its accuracy. It can be concluded that the war distorted many perspectives of reality. Traditional elements of surrealism stemmed from the Dadaism movement and were subjected to metamorphosis by many artists who incorporated components from cubism, impressionism, Enlightenment and post impressionism as well as various other movements. In its purest form, surrealism had little or no affect on the civil war, in fact, prior to the war, it was much more submissive and discerning. However, the introduction of war perverted the movement in Spain most notably by Dalà ­s Autumn Cannibalism (1936) (fig. 2) and Soft Construction with Boiled Beans: Premonition of Civil War (July, 1936) (fig. 1) and Picassos Guernika (1937) (fig. 3). Such works were considered a mutation and mockery of works of artists from previous movements like El Greco whose work was considered contemporary for his time. The Spanish surrealist art culture became a symbol of the Spanish Civil War as well as its leftist orientation and the Republic. This demonstrated the highly interlinked nature of political and cultural developments in 1930s Spain. Architects, like Alphonse Laurencic, drew inspiration from the twisted works of Dali, Kandinsky and Klee among others to invent a form of psychotechnic torture found in the mind-bending prison-cells and torture chambers of Barcelona and elsewhere, built in 1938. Jose Millicua suggested that through the use of the psychological properties of colors and geometric abstraction found in these works, Laurencic created a hell that would physically distort and mentally disturb the victim connecting the growing art culture with the growing militaristic government. Section C Evaluation of Sources [400w] Surrealism and the Spanish Civil War was written by Robin Adà ¨le Greenley, a respected art historian, currently Latin American Studies professor at the Connecticut University. The book, published in 2006 by Yale University Press, New Haven, is a critical interpretation of Surrealist art works by five artists, including, Dali and Picasso. The purpose of Greenleys work is an attempt to unravel the correspondence between aesthetics and politics during the Spanish Civil War and focuses on surrealist aspects of the war, how they differed and were affected by the intense struggle plaguing the country. The value of the book is that there is a clear study of the correlation between the art and the events which took place. It is a secondary source, designed mainly for the purpose of educating. Greenley intimately analyzes how artistic practice offers unique insight into the cataclysmic debacle of war. The limitation of the book from a historical perspective are the existence of some peculia rities in relation to its subject because she examines the surrealist artists and their work immaculately, but fails to draw strong parallels between the political situation of the time and the drastic change of the movement. Her work, although useful, is mostly suited for contemporary aesthetics and critical theory. The Secret Life of Salvador Dalà ­ was written by Salvador Dali (published in 1942 in its original French, then in 2000, translated into English by Haakon M. Chevalier). The purpose of this source is a memoire, allowing an inside scope to Dalis life. The sources value is that it is a direct account from the leading artist of the Surrealist movement, providing the historian with a unique and personal insight as how the war impacted him and his work. Dali is considered one of the few misunderstood artists of his time and here the idea that his genius saves him from chaos allows us to understand him more. The book allows a deeper understanding of the awesome painter. It is a primary source and therefore is subjected to personal prejudice. Taking into account that the source is a personal memoire, Dali has grandiose his life and placed a very positive theme to everything he did with is ingenious use of words. This highlights the limitations of the source. However, he acknowledges some o f this over-the-top heroism on his part in the central chapters of his prose as false memories. The memoir written only three years after the war, and passions were still running high in Spain while many people were trying to exonerate themselves from the general violence and anarchy. Section D Analysis [650w] Both the civil war and the surrealist art movement are closely connected and referred to by Greenley, as the publics awakening of politics and pictures in the politically polarized Spain. It is an accurate description of the relationship between the cultural and political aspects of the war, pointing out how closely connected the two were, although they are often treated as two separate issues within the 1930s. Common Themes in Surrealist Art Spains political polarization was that of artistic polarization too. The Spanish artistic culture were more than just a visual voice of the wars terrors; they took a more proactive role within the war, thus recording and commenting on the accounts of the petrifying events from a firsthand perspective. The perversion of the surrealist art movement was done in a manner that possibly was perfectly collaborated between all artists. There is no evidence that suggests this, however. The idea of the body as a political metaphor for the country, the people, the artist, for the audience to relate to was simply a trend that caught on. The lewd art united the people, it was not only those who were suffering on Spanish soils, but those who had suffered from the previous war and the various other struggles that were happening concurrently or had passed recently. The surrealistic art evolved and functioned in ways that one can relate his stylistic consistencies to his wild political swings Both Gr eenley and Dalà ­ agree that that surrealism is the portrayal horrific metaphor for the physical annihilation of life. Prevalent abstract portrayal in surrealist works Fundamental components which make up work such as that of Dalà ­ and Picasso were considered contemporary, even for surrealism and, to some extent, were frowned upon and considered the assassination of painting. These innovative elements found in surrealism seemed to pervert the movement making reality more abhorrent and unnatural, but at the same time it acted as an escape from the living nightmares of their reality allowing life to have a more satirical texture to it. Things such as disembodied humans, genitals, death, destruction, furniture and foods even references to religion and Catholicism became the norm in surrealist works represented the supple irony of the artists lives as well as that of the people; they were painting from their perspective of a war that created a reality for the world that was so obscene, it could not be captured any other way Spains political polarization was that of artistic polarization too. The Spanish artistic culture were more than just a visual voice of the wars terrors; they took a more proactive role within the war, thus recording and commenting on the accounts of the petrifying events from a firsthand perspective. The perversion of the surrealist art movement was done in a manner that possibly was perfectly collaborated between all artists. There is no evidence that suggests this, however. The idea of the body as a political metaphor for the country, the people, the artist, for the audience to relate to was simply a trend that caught on. The lewd art united the people, it was not only those who were suffering on Spanish soils, but those who had suffered from the previous war and the various other struggles that were happening concurrently or had passed recently. The surrealistic art evolved and functioned in ways that one can relate his stylistic consistencies to his wild political swings Both Gr eenley and Dalà ­ agree that that surrealism is the portrayal horrific metaphor for the physical annihilation of life. Use of media Elements of Spanish Surrealism became mostly to do with fascism in a farcical, perverse form of display, causing a ruin of surrealism. This was mostly Dalis movement, joined with other surrealists like Rene Magritte and Max Ernst. Dali, in particular, served as the main revolutionary artist to this complex way of painting. The constant elements of his works were things he found some sort of fascination in as a child such as food, death, the idea of sexuality, the human anatomy, insects, a crutch, and various other strange items which he later turned into a satirical, metaphorical component for his work. The idea of the body as a political metaphor became a fast trend throughout Surrealists work. The body came to represent many concepts of the happenings within their lives. It was a metaphor for the artists body, a body wounded by war and its ritualized combat, personal strife of civilians and artists, of politicized or sexualized body, an indicator of unconscious desires as well as body mechanisms acting as a transgression of avant-garde within the social context. It was created in a fashion as a universal component; anyone and everyone could relate to the art effortlessly. Picassos Guernika (1937) utilized these aspects to create an unconscious conception of war, where the strong prey on the weak as a response to the Pavilion,capturing the violence and the disruptive nature of the confusion of private sexuality. It was a symbol of Guernicas struggle and suffering after its violation by the German Blitzkrieg attack. Dalis Autumn Cannibalism (1936) also took into consideration these components, as well as his signature elements to represent the Kafkaesque idea of the war with a more ironic twist than Picassos art. Dalis work making mockery of bourgeoisie and the subtle grotesque manner in which this war is carried out, an element of sadomasochistic aggression between the two faceless, closely entwined figures that have an almost parasitic feel to them, turning a seemingly amorous kiss into a fatal, inescapable trap; underlining the murderous violence depicted. Artists social and political issues in their work A majority of the art responses to the war were surrealist, proving an obvious correlation between the two events. The war had an overwhelming impact of the surrealist art movement inspiring artists such as Dalà ­ and Picasso throughout Spain. Section E Conclusion [200w] It is evident the Spanish Civil War had an impact on the surrealist visual art movement and altered, significantly, the ways in which the movement was captured. The fundamental elements and secondary components that such works were composed of obtained many satirical and metaphorical characteristics which were impacted very much by the war. Previously, the image of the body as a perverse form of political metaphor was not thought of and therefore rarely appeared in surrealist paintings for the mutation of the body was seen as sacrilegious, and in doing so, the already worrying contemporary art became aesthetically tormenting The perverse maturity of the images from artists such as Dalà ­ and Picasso have been used as ideal examples of this epic movement which altered not only the way people saw their reality but the global ideal of art and art history. The Spanish Civil War did impact surrealist visual art in Spain by forcing the elements of the work not only more uniform among the artists but changed them to represent something more than the war in their minds.

Irony in “The Story of an Hour” Essay

There are many types of irony such as basic irony which is the use of word to convey a meaning that is opposite of its literal meaning. Situational irony which is the moment a characters actions have the opposite of their intended effect. Finally there is dramatic irony which occurs when there is a contrast between the readers knowledge and the knowledge of the characters in the work. However situational irony is what mostly transpires in Kate Chopin short story â€Å"The Story of an Hour† Situational irony is used in â€Å"The Story of an Hour† through Mrs. Mallard’s reaction to her husband’s death. When she first heard the news of her husband’s death, Mrs. Mallard, â€Å"wept at once, with sudden, wild abandonment† (Chopin, 1). Everyone in the house thought that she was upset and went upstairs to be alone in her room because this is a common reaction after having just lost a loved one. Although once Mrs. Mallard is alone in her room, Chopin wants the reader to witness that she is not saddened by the loss of her husband but relieved, â€Å"When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: â€Å"free, free, free!†Ã¢â‚¬  (Chopin, 1) Although Mrs. Mallard is â€Å"free† from her marriage that does not mean that she did not love her husband, as she looks through the open window from which she gazes represents freedom and opportunities. Instead of being dark and full of grief to symbolize how one would expect her to feel, she sees patches of blue sky, fluffy clouds and treetops. She also hears singing of birds and smells a rainstorm coming. Chopin signifies this as new beginning for Mrs. Mallard. Everything that she experiences through her time of â€Å"mourning† suggests joy and a new life that awaits her. She is expected to mourn her husband’s death, but she is thinking about her new life â€Å"There would be no  one to live for her during those coming years; she would live for her self† (Chopin, 2) this is to be understood that she has sacrificed her life for her husband, although there is no evidence that her husband has done her living â€Å"for her†. The language Chopin uses throughout her story foreshadows the ironic happiness that she feels with being free. Chopin further more tries to explain that she is not only feeling happiness through her husband’s death when she writes, â€Å"She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead.†(Chopin, 1) It is not clear on why Louise Mallard feels this way about her husband’s death because there is no evidence on any physical or emotional abuse, repression or neglect from her husband â€Å"it might have been external, in society or in her marriage or whether it was internal, a recognition that it takes strength to control one’s feelings or whims.† (Berkove, 153). Through Louise’s recognition that she is free from her husband there is situational and dramatic irony as well. While she was alone in her room she realized that she would no longer be bound to her husband but rather free to do whatever she should choose, † â€Å"Free! Body and soul free!† she kept whispering.† (Chopin, 2) She continues to whisper this to herself because although she is alone in her room she acknowledges that she should not be having such thoughts and does not want anyone to know how she really feels about her husband’s death. No one else knew this, they all believed that she was sorrowful and wanted to be alone to grieve. Josephine, a woman in the house, even though Mrs. Mallard was making herself sick, but in reality Louise was absorbing the days ahead of her. Her overwhelming joy all comes to an abrupt stop when she descends from her room to only find out that her husband is not dead. She is so shocked to see her husband that she has a heart attack and as doctors described it as, â€Å"joy that kills,† which is perceived as the dramatic irony part of the short story. Everyone believes she died in that way so the reader can actually realize that she was in fact not joyful to see her husband instead in disarray and upset that she only had a glimpse of real freedom and would rather be dead than to go back and live the life she had. â€Å"Louise dies in the world of her family where she has always sacrificed for others† (Ewell, 160.) Kate Chopin’s â€Å"The Story of an Hour† is one of the many books that says â€Å"so much in so few words† (Berkove, 152). The irony in her story is almost never ending. Louise Mallards life after discovering about her husbands death is the true meaning of â€Å"the story of an hour† because she had a quick look of how her life was going to be. Works Cited Chopin, Kate. â€Å"The Story of an Hour.† Katechopin.org Kate Chopin International Society, April 19, 1894. Web. 1 Nov. 2014. 2. Berkove, Lawrence I. American Literary Realism, Vol. 32, No. 2 : Fatal Self-Assertion in Kate Chopin’s â€Å"The Story of an Hour.† Jstor.org. 2000. Web. 1 Nov. 2014 3. Ewell, Barbara C. â€Å"Chopin and the Dream of Female Selfhood: Kate chopin Reconsidered† Jstor.org. 2000. Web. 1 Nov. 2014

Jeffrey Bezos

Most people believe a leader is either born or made. When it comes to Jeffrey Bezos, I believe it is a combination of the two. Bezos, founder of Amazon. com, was born into a family full of extraordinary people. Jeffrey’s step-father was a petroleum engineer and his grandfather was the manager of the Atomic Energy Commission’s operations office (Bezos, Ebsco). During his childhood, Jeff was intrigued by his surroundings, often finding ways to alter or enhance everyday items. The people and experiences throughout Bezos’ life have helped him become the successful CEO he is today.Jeff Bezos, born Jeffrey Preston Jorgensen, was born on January 12, 1964 in Albuquerque, New Mexico. After his parents split up, his mother raised him until he was two years old. In 1966, Miguel Bezos came into the picture. After his mother remarried, Jeff was legally adopted and took Miguel’s last name. (Bezos, Ebsco) Since a young age, Jeffrey Bezos has been intrigued by the way thi ngs work. At three years old, Jeff took a screwdriver to his crib, disassembling it into multiple parts. This trend continued when later down the road he built a burglar alarm with an electronic kit his grandfather had given him (Bezos, Encycl).Bezos’ grandfather, Lawrence Preston Gise, played a big part in who Jeff is today (Bezos, Ebsco). From age four to sixteen, Jeff would spend the summers living on his grandfather’s ranch in Cotulla, Texas (Brandt). Here, Jeff’s grandfather put him to work doing jobs such as fixing windmills and repairing pumps. Bezos’ grandfather used his background in working on space technology and missile defense systems to help spark Jeff’s interest in similar things (Bezos, Ebsco). But this was just the beginning. At age eight, Jeff was enrolled in a gifted program at his elementary school in Houston, Texas.Jeff used his intelligence to wow teachers with his knowledge of computers. While none of the teachers even knew h ow to use a computer, Jeff and some of his friends had managed to program one. A local author by the name of Julie Ray took interest in Bezos and featured him in her book, Turning on Bright Minds: A Parent Looks at Gifted Children in Texas. (Bezos, Ebsco) In 1978, Miguel Bezos was transferred to Miami, Florida where Jeff’s fascination with space began. Jeff went to Palmetto High School where he was already thinking out of the box for his time.Bezos hoped to one day become an astronaut on a shuttle that would take passengers from earth into outer space. (Bezos, Ebsco) Bezos graduated from Palmetto High School in 1982 where he was class valedictorian. Along with this honor, he received recognition from the Miami Herald for his academic excellence by winning the Silver Knight Award. Upon graduating high school, Bezos began running his own business with his then girlfriend before heading off to college. Jeff spent the summer establishing an educational summer camp for children. B ezos, Ebsco) In the fall of 1982, Jeff began studying at Princeton University in New Jersey. He graduated summa cum laude in 1986 with a Bachelor of Science in Computer Science and Electrical Engineering (Bezos, Ebsco). After graduation, there were many opportunities awaiting Jeffrey Bezos. He proceeded to go to New York to work for Fitel, a company that allowed him to build a worldwide communications network for financial trading (Bezos, Encycl. ). Two years later, while Fitel was struggling, Bezos accepted a job with Bankers Trust Corporation.This new job opportunity allowed him to develop software applications for the company’s pension fund clients. Jeffrey moved among the rankings quickly at Bankers Trust; within 10 months he became the company’s youngest vice-president (Bezos, Ebsco). But shortly after, Bezos realized this company was not for him. The next move would prove important in Bezos’ path to becoming an up and coming entrepreneur. In 1990, Jeffrey Bezos was hired by Wall Street financial trading company, D. E. Shaw. Bezos’ duties at D. E. Shaw included looking for new investment opportunities in areas such as insurance, software, and internet.In 1992, Bezos proved he was capable of his role by securing â€Å"one of the most successful qualitative funds on Wall Street†. He was promoted to senior vice-president shortly after. (Bezos, Ebsco) While researching for new business opportunities in the internet sector, Bezos came across some data that would help him in his decision to develop Amazon. com. According to these numbers, the internet was growing at an exceedingly fast rate. Jeffrey decided it was a good time for his next big step. He quit his job in 1994 at D. E. Shaw and prepared to venture into the world of online retail. Bezos, Ebsco) Jeffrey Bezos began by looking into what products could be sold successfully in the online retail market. He composed a list and determined that books would be the best choic e. Bezos told Karen Southwick in October of 1996 that â€Å"there are 1. 5 million Eng lish-language books in print at any given time. If you take all languages worldwide, it’s about 3 million books active and in print. † Bezos knew from his computer background that an online sorting and organizing database to purchase books would catch on. (Bezos, Ebsco) Jeffrey and his wife Mackenzie packed up and headed for the west coast.Jeffrey chose to start his new conquest in Seattle, Washington. Seattle offered a large number of skilled workers and was located by the largest book distributing company in the United States (Bezos, Ebsco). After experimenting with different names, Bezos decided to name the company Amazon after the world’s largest river (Bezos, Encycl. ). Using money from investors, his savings, and his parents, Bezos launched Amazon. com in July of 1995 from his garage in Seattle. At the close of the first month, it is said that Bezos had received orders f rom customers in all fifty states.The large quantity of books available on the database as well as the new features available on the site enticed many customers. (Bezos, Ebsco) Bezos and his colleagues established features that would change internet shopping forever. Amazon was the first of its kind to offer one click-shopping, customer reviews, and e-mail order verification (Hoover’s). Bezos’ main focus of the site was customer satisfaction. Along with these new additions to the site, Amazon was also one of the first companies to encrypt credit card numbers, ensuring safe shopping for their customers (Bezos, Credo).Jeff Bezos helped familiarize the public with on-line shopping, and it quickly became as popular as a trip to the mall (Bezos, Ebsco). After attracting 3 million customers, Bezos decided to take Amazon public in 1997. Jeffrey Bezos quickly became one of the first internet billionaires (Bezos, Credo). In 1998, Amazon broadened their inventory and began selli ng new products in order to gain new customers. Along with books, Amazon. com began offering CDs, videos, electronics, clothing, toys, and games to its millions of customers worldwide (Bezos, Ebsco). In 1999, Amazon. om hit a huge milestone when its sales crossed the billion-dollar mark. During this same year, Jeffrey Bezos was named Time Magazine’s Person of the Year (Bezos, Ebsco). What once started as a small company in Bezos’ garage in Seattle had turned into the â€Å"world’s biggest everything store†. In 2000, Amazon. com teamed up with ToysRUs. com to launch a co-branded toy and video game store. However, this new partnership would not last long. Over the next few years, Amazon would dabble in an array of products. In 2002, Bezos began offering clothing sales from large retail stores such as the Gap, Nordstrom, and Land’s End.A few years later, in 2006, Amazon. com dabbled in online dry groceries. A year later the company began offering a fr esh delivery service for the Seattle area. (Hoovers) In 2007, Amazon expanded once again. Bezos introduced Amazon’s new electronic portable reader, the Kindle. By 2011, Amazon announced that they sell more e-books than printed books. Along with new items such as the Kindle, Amazon began offering products and services such as self-publishing, online advertising, e-commerce platform, hosting, and a co-branded credit card. (Hoovers) Today, Amazon. om has five international websites for Canada, France, Germany, Japan, and the United Kingdom. The company has an estimated 20 million customers in 160 countries across the world (Bezos, Credo). According to Hoover’s Quick Report, Amazon. com employs 56,200 employees as of 2011 at all of their sites. Amazon’s efficient operating model has allowed it to succeed despite downward pressure on prices. Offering low prices to their customers has been a key success to Amazon’s business strategy (Hoovers). As a Business Man agement major, there are many things one can learn from looking at Jeffrey Bezos’ life.He saw a business opportunity and did everything he could to make it work. Starting off in his garage in Seattle, Bezos turned Amazon. com into the world’s largest online store. Despite the many years of not turning profit, Bezos managed to make Amazon. com into the company it is today. By focusing on customer service, Jeffrey Bezos was able to appeal to new customers and keep the current ones satisfied. Works Cited Bezos, Jeff (1964-). (2010). In The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide. Retrieved from http://www. credoreference. om/entry/heliconhe/bezos_jeff_1964 Bezos, Jeff. (2003). In Capstone Encyclopedia of Business. Retrieved from http://www. credoreference. com/entry/capstonebus/bezos_jeff Bezos, Jeff. (2004, Jan 1). Leaders of Information Age (Bio Ref Bank. Brandt, R. L. (2011, Oct 15). REVIEW — Birth of a Salesman — Behind the Rise o f Jeff Bezos and Amazon: Richard L. Brandt on the Founder’s Texas Roots, the Sites Chaotic Early Days, Why Negative Reviews are Allowed and the Increasing Use of Personalized Data. Wall Street Journal, pp. C. 1. -C. 1. http://search. proquest. com/docview/898391472? accountid=2837

Sectarianism Islam and Pakistan - 4378 Words

Sectarianism can broadly be defined as divisions within a group, such as different denominations within a religion, based on perceived differences. It does not necessarily result in conflict, but historically, sectarian divisions along religious and political lines have contributed to conflict. Sectarian religious conflict has contributed to some of the most intractable, bitter and painful episodes of aggression and persecution throughout history. For instance, conflict between Irish Catholics and Protestants has existed for centuries, bound closely with nationalist identities, playing out globally in North American cities, as well as the streets of Belfast and Glasgow. Another faultline where sectarian conflict has contribute to wider†¦show more content†¦[5] Northern Ireland experiences approximately 1,500 sectarian incidents annually, such as arson and vandalism to religious buildings and symbols. [6] Marches continue to publicly display and promote sectarian differences. [6] The global financial crisis has slowed development in Northern Ireland’s economy; if economic hardships continue or increase, sectarian divisions might become a channel for people’s frustrations. More extremist and violent groups could use the economic situation to build suppo rt among a frustrated population. In 2010, the Government, Sinn Fà ©in and the Democratic Unionist Party agreed to devolve justice and policing from Westminster to the Northern Ireland administration. Such an agreement could become a foundation for more peaceful relations within the country; however, they could also isolate more extremist republications and, in the court case, could be accompanied by an increase in violent attacks. [7] The ability of the administration of Northern Ireland to cope with the crisis, increase investor confidence and improve education, health and employment opportunities could influence the future of sectarian conflict in the country. [8] Implications International geopolitics, political instabilities (local, regional and global) or economic change could fuel the intensification of sectarian divisions, and potentially contribute to violence in countries such asShow MoreRelatedTerrorism Is Fanaticism, Hatred, Segregation, Or Disdain Emerging From Appending Essentialness1521 Words   |  7 PagesSectarianism is fanaticism, segregation, or disdain emerging from appending essentialness to saw contrasts between subdivisions inside a gathering, for example, between diverse divisions of a religion. 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He is currently Director, South Asian Free Media Association (SAFMA), LahoreRead MoreIn Pakistan, Which Aspires To Be A Islamic State, Sectarian1475 Words   |  6 PagesIn Pakistan, which aspires to be a Islamic state , sectarian conflict is part of, and interacts with, broader issues concerning the place of Islam in public life. There are sectarian identities which diversify each group and say who belongs to what sect , for example the believing of attending a mosque or madarasa. Islamization, or the introduction of Islamic norms and institutions through government policy or decree, is another factor which has often provoked and defined sectarian controversiesRead MoreThe Conflict Between Saudi Arabia And Iran1780 Words   |  8 Pagessituation is, religious politics has been left behind in the west. It’s true that the divide in identities within Islam was formed from a religious dispute centuries ago. 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In India, there are not only a wide range of religions; the differences between these sectsRead MoreSunni-Shiite Conflict1583 Words   |  7 PagesThe Sunni and Shiite branches of Islam have been feuding for hundreds of years dating back to the beginning of the Islamic religion. The deity or god of the Sunnis is Allah. The Sunni branch of Islam is the larger of the two branches with over 80% of the Muslim population. The Sunni are the majority in most of the countries that have Islamic followers. There are a few different translations of what Sunna stands for, one of which is â€Å"Habitual Practice.† The differences between the two branches canRead MoreGood Governance in Pakistan1667 Words   |  7 PagesGood Governance in Pakistan. OUTLINES: 1. Introduction 2. Definition of Governance 3. Governance in Pakistan. 4. Failures of Governance in Pakistan 5. Causes of failures: 1. Political commotion 2. No democratic setup 3. Military intrusion 4. Feudal indulgence 5. Massive Corruption 6. Constitutional crises 7. Institutional clashes 8. Mismanagement of resources 9. Lack of Accountability 10. Over Exploitation of funds 11. Restrictions on media 12. Ethnic conflicts 13. Secterianism 14. Extremism 6 EssentialsRead MorePakist A Secular Or A Islamic State1825 Words   |  8 Pages Pakistan a secular or a Islamic state According to history England’s condition were worse than those prevailing in Pakistan. The Roman Catholics and Protestants abused each other. There were some states in which bars impose biased decisions on a particular class depending on majority; with the passage of time they faced realities of the situation and government ceased fire of arrogance between The Roman Catholics and Protestants. Today Pakistan is facing the similar crisis they have disjunctionRead MoreSectarianism in Pakistan5487 Words   |  22 PagesSectarianism in Pakistan INTRODUCTION The decade of the 1990s witnessed a frightening upsurge in the Shia-Sunni sectarian violence in Pakistan, both in terms of scope and intensity. Recently, sectarian strife has engulfed even those areas, which were previously unaffected, largely because of the emergence of organized terrorist groups along sectarian lines. Besides target killings, these groups hit even ordinary members of each other’s sects. The problem, therefore, is no more of an occasional natureRead MoreInternal Threats to Pakistan10157 Words   |  41 PagesEMERGING DYNAMICS OF INTERNAL THREATS TO NATIONAL SECURITY Introduction 1. The multifarious threats to the security of Pakistan whether external or internal, have intensified in the 21st century. Unfortunately, no threat posed to the security of this country since the time of her inception has ever been fully controlled or eradicated. According to Quaid-e-Azam, â€Å"Pakistan was a cyclic revolution without parallel or precedence in history†. He wanted to make it a State that was united and powerful