Exploring Surrealism In Fashion Fashion Essay

Exploring Surrealism In Fashion Fashion Essay You only have to take a glance at todays catwalks and fashion magazines to see the unmistakable traits of Surrealism in fashion. How is it then that an art initially composed of concepts and words and subsequently of images generated in the complexities of the intellect and subconscious imagination (Martin 1987, p. 9) would forge such a harmonious relationship with fashion? In a bid to answer this question this thesis will investigate the origins of Surrealism in fashion and its enduring effects on the fashion industry to this day. In order to understand how an ideal founded on political reactions would find its way into the glamour and materialism of fashion, we will firstly begin with a brief analysis of Surrealism and the main ideologies of the movements. This essay will highlight the key steps in the progression of the Surrealist movement from its founding roots through to its manifestation in its most commonly recognised form, art. Upon having completed a review on the key characteristics of Surrealist ideology we will then explore how each of these characteristics has been expressed through fashion. Though surrealisms founding fathers would not have concerned themselves with the attire of their movement, the metaphorical and meaningful attributes of fashion created a natural avenue for the expression of surrealist ideas (Martin 1987). No study on Surrealism in fashion would be complete without mention of its pioneering first lady, Elsa Schiaparelli. This essay will contain a case study on the life and works of Schiaparelli, focusing specifically on how she led the way in merging art with fashion by introducing Surrealist ideas in her designs. Her collaborations with artists such as Salvador Dali, Man Ray and Jean Cocteau shocked the fashion industry with its ingenuity and style. A subsequent case study on Viktor Rolf will examine the contribution of Surrealism in todays fashion industry. Just like their predecessor Schiaparelli, Viktor Rolf are known for their ability to shock, with their extravagant collections and high-concept catwalk shows (Evans Frankel 2008). Though not explicitly billed as Surreal, the flamboyant designs of Viktor Rolf exhibit tell tale characteristics of Surrealist ideas and serve as an ideal example of the height of Surrealisms impact on todays fashion. This study aims to reveal the important role that Surrealism has played on the fashion industry. Both from a historical point of view in the way that it changed the way fashioned was viewed, as well as its continued impact on fashion as a source of inspiration for contemporary designers. The collaboration between artists and designers allowed for fashion to move forward in unprecedented ways, pioneered by the likes of Salvador Dali and Elsa Schiaparelli, and exemplified in todays fashion by the likes of Viktor Rolf. Surrealism Often when we hear the word Surrealism we automatically think of art and conjure up images from Dali and his contemporaries. However, in actual fact there is no such thing as surrealist art. At its true core surrealism is not a matter of aesthetics, but rather a way of thinking, a point of view (Waldberg 1997). It can be summed up quite well by Rimbauds dictum Change life (Levy 1995, p. 5). Surrealism,  through its roots in Dadaism, was a reaction to the philosophy of rationalism, which many felt had caused, through the Industrial Revolution, the disaster of World War I. Tristan Tzara, leader of the  Dada movement, believed that a society that creates the monstrosity of war does not deserve art, so he developed anti-art in a bit to shock society through scandal (Sanchez 2000). Lead by Andre Breton, the participants of the movement were influenced by the works of Sigmund Freund and Carl Jung. The differing interpretations automatism, a term used to describe one of Jungs theories on personal analysis, split the movement into two distinct groups of thought (Sanchez M, 2007, P.49). Some went down the path of abstractionism,  where calligraphy, animation and movement were the key attributes, regardless of the subject. Their belief was that images should not be burdened with meaning. The others however, believed that images could be a link between abstract spiritual realities. Through faithful representation, objects stood as metaphors for an inner reality (Waldberg 1997, p. 9). For the purposes of this thesis, the focus will be on the latter interpretation of automatism in the realm of surrealism as it applies to a subset of artistic expression in the form of fashion design. Surrealism in Fashion Though surrealisms founding fathers would not have concerned themselves with the attire of their movement, the metaphorical and meaningful attributes of fashion created a natural avenue for expression of surrealist ideas (Martin 1987, p. 9). Its appeal to the fashion industry was instantly obvious in the use of ordinary everyday objects and weird landscapes that transferred easily to fabric printing, jewelry,  hats, couture etc, allowing designers the freedom to create art pieces. The amalgamation of surrealism and fashion changed the view of fashion from being disposable and unsubstantial to an art form in its own right (Warburton T, 2008, P. 2). As surrealism evolved into an artistic style through the 1930s and beyond, fashion became one of surrealisms most observable juxtapositions between the ordinary and extraordinary, disfigurement and embellishment, body and concept, pretence and reality. This fascination worked both ways as what covered the body had always been important to the Surrealist  philosophy, in the way that it allowed the imagination to wonder what lay underneath, and this translated easily into wearable garments. The inherent characteristics of fashion offered a natural association to the physical properties of disfigurement that was central to the Surrealist style. Symbolism and Metaphors Fashion and its instruments were at the core of Surrealist metaphor even before Surrealism found its way into fashion. The imaginary of women and beauty has long been a favourite topic for Surrealist artists. Based on the line by French poet Isidore Ducasse, the chance encounter of a sewing machine and an umbrella on a dissecting table, Man Rays photograph of a sewing machine and an umbrella paved the way for the Surrealist study of the sewing machine object as a symbolic metaphor for woman. The sewing machine itself is the primary tool of fashion, and as such came to symbolise women, who at the time were the primary workers in the clothing industry. Therefore since the process is deemed female, so the result fashion is also deemed primarily female. Future Surrealist works would take this idea further such as Joseph Cornells untitled collage depicting a sewing machine producing not only a garment, but the woman within it also (Image 1). The sewing machine was a central metaphor in the Surrealists understanding of beauty within a woman as being composed of clothing and form. Image 1 Joseph Cornell, 1903, Untitled Music was another key imagery in the Surrealists arsenal; in particular musical instruments and their resemblance to the female form. This objectification of women included the idea of women being substitutes for musical instruments. Perhaps one of the most famous of Man Rays photographs Le Violon dIngres (Image 2) fittingly illustrates this concept. This exact imagery has been used many times in fashion from Christian Lacroixs Violin Dress (Image 3) to more recently Viktor Rolfs black violin dress (Image 4). Influenced by Dali and Man Ray themselves, Elsa Schiaparelli also used musical notes and instruments in her designs (Image 5). Image 2 Man Ray, 1924, Le Violon dIngres Image 4 Viktor Rolf, Spring/Summer 2008, Harlequin Collection [Mention mirrors?] Human Form and Parts The mannequins and dress forms of fashion created the ideal playground for the Surrealists appropriation of the human body. The bottle for Elsa Schiaparellis fragrance Shocking adopted the shape of a human torso (Image 6) is a prime example of the Surrealist ideal of the conversion between the living and the inanimate. These surrogates for living figures allowed for greater distortion and display than real models, thus allowing the Surrealist to fully examine the relationship between clothing and the naked body. The Surrealist fascination with parts of the body as symbolic representations is central to the understanding of Surrealist works. To the Surrealist, the eyes represent not only optical vision, but also dreaming, sight, voyeurism, and even blindness. Yves Saint Laurents used this convention in 1980, producing a jacket with emblazoned eyes, Les Yeux dElsa, paying homage to Schiaparelli as the greatest advocate of Surrealist fashion (Image 7). The French designer also used lips, a commonly used decorative device in surreal art, in his Lip Dress; the alignment of the lips with the breasts, creating a distinctive Surrealist touch along with sexual overtones (Image 8). Image 6 Elsa Schiaparelli, 1973, Shocking Perhaps the most imaginative of the abstracted parts are the hands. Used widely by Surrealists in all manner of creative, sexual and functional contexts. Schiaparellis jacket embroidered by Jean Cocteau plays on the functional concept of hands being a natural device for belting around the waist (Image 9). This is also emulated in Francios Lesages Hand Belt (Image 10) and Marc Jacobs lOeil Beaded Dress (Image 11). Likewise, Pierre Cardins leather shoes in the shape of feet draw out the functional characteristics of feet (Image12). Displacement of Objects One of the most common devices of Surrealism is the placement of everyday objects in unusual places. The dysfunction and dislocation of an object allows for a redefining of that object and a friction between the conventional and the subliminal. One obvious method of displacing object is by using it backwards as is the case with the backwards jacket created by Karl Lagerfeld (Image 13), originally pencilled by Elsa Schiaparelli. Viktor Rolf created a similar effect by presenting a whole collection of dresses worn upside down and a show itself that was run completely back to front (Image 14). However, displacement is not confined to within the realm of fashion itself. Objects from one classification can be used within another to create an even more vivid reaction. Dalis fusion of furniture and the human form inspired Schiaparellis design of a desk coat (Image 15) and later on Doline Dritsass Painted-Silk Drawer Dress (Image 16). The use of traditionally non-fashion related objects in fashion is common among contemporary designers. Viktor Rolf have often used objects such as bells, pillows and even spotlights in their designs. Hats have offered some of the most interesting examples of this Surrealist philosophy; from Schiaparellis Dali inspired shoe hat (Image 17), to Karl Lagerfelds mini sofa chair hat (Image 18). The hat is an appropriate agent not only because its function allowed for a seemingly limitless display of dissimilar objects, but it also enabled the ridicule of the hat as a symbolic accessory in culture, ceremony and rank. Image 14 Viktor Rolf, Spring/Summer 2006,Upside Down Collection Nature and Fantasy The natural world itself offered the Surrealist with an array of symbolic objects. Some chose to contort existing symbols and metaphors, such as Rene Magrittes unconventional mermaid (Image 19); while others chose to make up their own eccentric associations, the perfect example being Dalis association of the lobster with female genitalia (Image 20). Dalis obsession with the lobster influenced Schiaparellis legendary lobster dress (Image 21), the painted lobster deliberately placed at the front of the dress over the womans groin area Surrealists had a particular interest in fantasy and the worlds within the imagination They had a fondness of merging things in nature with the human body Looking for objects within nature to symbolise certain things such as sexuality, beauty, metamorphosis Image 19 Rene Magritte, 1934, A Reverse Mermaid Image 20 Salvador Dali Image 21 Elsa Schiaparelli, 1937, Organza Dress with Painted Lobster Surrealism in the Fashion Industry Throughout the 1930s and 40s major Surrealist figures entered the realm of fashion, fashion advertising and shop front displays. Spurned by the first generation of pure Surrealists they sought a channel to continue their exploration into the reconciliation of revolutionary art and everyday realities. By enlisting the talents of notable Surrealists such as Jean-Michel Frank, Jean Cocteau, Cecil Beaton and May Ray, fashion magazines became the method for the propagation of Surrealist style. The partial figure, dislocation of body parts and the placement of these parts in unnatural settings were adopted by new fashion imagery in the 1930s. The Surrealists ability to juxtapose the real and the imaginary made it an ideal form for advertising and media expression. Case Study 1: Elsa Schiaparelli For Elsa Schiaparelli, her works were more about the passion and energy than fashion and design itself. What mattered to her more was that moment of inspiration (Martin 1987, p. 197). Born to an intellectual family in Rome, the would-be French designers work is best known for its Surrealist period in the 1930s, yet her work can be traced back to the 1920s during the earlier Futurism movement. Her marriage to Theosophist Wilhelm Wendt de Kerlor in 1914 encouraged a bohemian existence that led to encounters with a broad circle of international avant-garde artists and thinkers including Dada artist Francis Picabia and surrealist photographer, Man Ray. Through collaborative efforts with Surrealist artists like Jean Cocteau, Man Ray, Salvador Dalà ­ and Marcel Vertà ¨s she was able to bring enthusiasm and spontaneity to her collections. The Modernist characteristics and avant garde style of Schiaparellis work must have reflected their interests. Her simple and sharp design aligned well with their modern lifestyle in tailored suits and evening dresses; and her witty persona esteemed her original designs with embroidery and complementary colors fit for an active clientele (Bryan 2010). Schiaparelli was more an artistic designer than a refined designer, always grasping at ideas but not extracting a style from her garments. In her mind, the objectives of both the designer and artist were equal, and that a garment was a place for artistic expression rather than a medium for the couturiers craft (Martin, P.198). The defining characteristic of Schiaparelli was her daringness to dream, enabling her to bring creations of pure, undiluted inspiration to fashion. A keen interest in unusual materials kept Schiaparelli at the forefront of design innovation. She was persistent in accruing new fabrics for fashion, especially manmade fabrics which were intentionally different from natural fabrics. Her use of cellophane like materials played on the illusions of transparency (The Torso, Picture Book, P.65), and hard rendered soft materials challenged the traditional notions of the properties of materials. In one instance Schiaparelli commissioned the creation of a newspaper-clipping fabric, producing a paradox between the expected ruffle and stiffness of newspaper with the softness of fabric. She also designed a number of accessories to complement her garments; costume jewelry, hand bags as bird cages and even necklaces made of insects (Picture from Elsa picture book, P.43). Most of these were created to make a statement rather than to be worn on the street. Not only was Schiaparelli eager to use unconventional materials in her garments, she was also zealous in adopting new fashion innovations of her time. Invented in 1936, the zipper was already being used by Schiaparelli in imaginative ways. Though we may look at a wool dress with a zipper and contrasting colours and see nothing sublimely Surreal about it now, at the time it was considered novel and daringly inventive. In the 1937-38 season, Schiaparelli shocked the world with her Jean Cocteau jacket (Martin, P.100). The jacket presents an illusion of hands clasping the waste complemented by the profile of a figure and a cascade of hair down the side of the arm. In typical Surrealist style it creates a friction between the figure on the jacket and the wearer, frustrating the viewers attempt to place parts of the body in relationship with the figure. That same year also saw the creation of the iconic, Dali inspired lobster dress (Picture book, P.46). An elegant party dress imprinted with a giant lobster. The lobster was a prime example of the Surrealist vocabulary of forms, Dali using it as a substitute for female genitalia and sexuality. Of all of Schiaparellis artistic collaborations, it is the one with Salvador Dali which produced some of the most imaginative and unusual results. In 1936, Schiaparelli and Dali presented suits and jackets with bureau-drawer pockets reflecting themes prevalent in Dalis Art. In that same year, she and Dali created the Shoe Hat (Martin, P.111), a black felt concoction in the shape of a high-heeled shoe with a shocking pink heel. In these designs, Schiaparelli and Dali used the idea of displacement, where an object is selected and then removed from its usual environment. In doing so, they modify the objects original purpose. The same Surrealist idea of displacement can also be seen on another of their collaborations, the Mutton Hat (Example?). With the desk suit, shoe hat and mutton hat, the artist and the designer altered an objects conventional meaning by transforming it into an item of clothing. The beginning of the Second World War put a halt on Schiaparellis work, which after the war would not return to the same level of exuberance as the past. Her glory was brief, but left a lasting impact on both art and fashion. Perhaps Schiaparellis most important legacy was in bringing to fashion the playfulness and sense of anything goes of the Dada and Surrealist movements. She was an artist in the world of couture, not a designer involved in the evolution of designs. A pioneer, whose inspiration and merger of the arts altered clothing with a capacity to be art, enabling it to be more than just apparel. Case Study 2: Viktor Rolf Viktor Rolf started in 1993 with the pairing of two Dutch graduates, Viktor Horsting and Rolf Snoeren. Ever since then they have endeavoured to blur the line between art and fashion. Through their early instillations at European galleries, Viktor Rolf quickly gained a reputation as high-end conceptual designers who created images and ideas rather than commercial fashion (Evans C. and Frankel S. 2008, P10). Though early on they were known for wowing the fashion press but not selling a stitch Viktor Rolf made a move from haute couture to ready-to-wear in 2000. Similar to conceptual art, conceptual fashion involves works in which concepts and ideas take precedence over traditional aesthetic and material concerns. Aside from the garments themselves, conceptual fashion was marked with radically new retail spaces, experimental fashion shows and adventurous publishing ventures. All of which have been exemplified in the works and methods of Viktor Rolf; their upside down store in Milan, performance piece catwalk shows and designs for miro-zines such as Visionaire. For Viktor Rolf, couture is an artistic medium, and a playground for the expression of ideas. They are innovative designers who make exquisite and technically amazing garments, yet at the same time they are commentators of their own industry. This is probably most evident in their early gallery installations, as many were critiques and commentaries on the difficulty of breaking into the fashion industry. The pairs first collection of over-sized dresses expressed their feelings of minuteness in the threatening world of Paris fashion. The internal referencing of the industry itself can also be seen in Viktor Rolfs use of Yves Saint Laurent emblazoned fabrics and paying homage to the iconic silhouettes of Chanel, Balenciaga and Yves Saint Laurent in their Black Hole collection. More recently their The Fashion Show collection presented their view on the importance of the fashion show itself to the industry. The garments for this collection were draped over scaffolding and spot lights w orn by the model in a surreal juxtaposition of hard metallic frames and soft flowing fabric. Having mostly displayed their work through art gallery instillations for the initial few years of their career, Viktor Rolf had their first fashion show during the 1998 Paris Fashion Week, albeit without the endorsement of the Chambre Syndicale de la Haute Couture, the regulators of haute couture. However, even then, their works hardly existed outside the realm of the fashion show. As one magazine put it their gowns tend to go straight from the catwalks into art museums rather than into wardrobes (Tuner J. 2000).The almost virtual nature of their garments prevented them from initially being granted admittance to the Chambre Syndicale. Despite not conforming to the Chambres requirements, it was their success in the fashion press and magazines that eventually gained them the respect and recognition for membership. Through their simulation of an emergence into the fashion industry via media channels, Viktor Rolf were able to do it for real. In doing so, they had also discovered the rising importance of images in an ever more media rich society. They grappled with the philosophy that our perception of reality is shaped by images and that illusion is now a new form of reality; believing that fashion doesnt have to be something that people wear. Fashion is also an image (Gan S. 2001). This ideology is personified in their Autumn/Winter 2002-03 collection labelled Bluescreen. Models dressed all in blue were recorded via a video camera with the image then being projected onto large screens. On the screen, urban and natural landscapes were transposed onto the blue areas utilizing a movie industry method for creating special effects, thus creating a blur between image and reality. The innovative and often outlandish clothes produced by Viktor Rolf where often complimented by the surreal theatrics of the fashions shows that they were displayed in. In their Autumn/Winter 1998-99 collection Atomic Bomb, the duo fused the silhouette of mushroom clouds with the human form by installing silk padding to inflate the clothes. The apocalypse themed show was followed by models parading the same outfits, however with the implants removed to reveal the graceful draping of the clothes. They used a similar dichotomy in their Spring/Summer 2006 Upside Down collection, showcasing pieces that could be worn bottom up or bottom down; presented on the catwalk one way then the other. Applying the same surreal reasoning, the show itself was presented entirely backwards, with the designers appearing first followed by a procession and then the presentation of each individual piece. Perhaps one of Viktor Rolfs most memorable shows was for their Autumn/Winter 1999-2000 Russian Doll collection. The show was more a performance piece, involving just one model who was dressed one piece at a time in layers of couture dresses by the designers themselves. The resulting effect was that of a reverse Martryoshka doll. This fascination with dolls has been prevalent throughout their career since their Launch instillation of miniatures in 1996 to their latest offering at Londons Barbican Art Gallery. Proving that their move to more commercial markets has not diminished the duos affinity towards Surrealism, the 2008 Barbican display consists of a gigantic dollhouse inhabited by 55 dolls clothed with miniaturised Viktor Rolf outfits showcasing their 15 year career, aptly named The House of Viktor Rolf. In 2004 the duo launched a perfume called Flowerbomb and in fine Surrealist fashion packaged it in a grenade shaped bottle. Complimenting that was a clothing collection featuring the excessive use of oversized bows and ribbons. Viktor Rolfs penchant for the Surrealist ideology of displacement of objects can be further witnessed by their Bells collection of garments, heavily embroidered with brass bells, and the use of pillows and quilting in their intimate Bedtime Story collection. Not only do Viktor Rolf draw on the ideologies of the Surrealism movement, but their works also show inspiration from other Surrealist artists. The ever present trait of medieval carnival was brought out explicitly in their Spring/Summer 2008 Harlequin collection. The garments exhibited references to commedia dellarte, a theme that was once adopted by the queen of Surrealist fashion, Elsa Schiaparelli (Evans C. and Frankel S. 2008, P16). Motifs of violins adorning the dresses paid homage to Surrealist photographer May Ray and his famous image, Le Violon dIngres (Image 2). Though not known specifically as Surrealist designers the characteristics of Surrealism are clearly evident in Viktor Rolfs designs. They have used Surrealist methods such as the displacement of objects, manipulation of the human form and merging of the real and imaginary as tools for their own conceptual ideas. Just like their predecessors, in the likes of Elsa Schiaparelli, they employ these methods to create innovative and shocking garments often more akin to art, than off-the-shelf fashion. The Lasting Impact of Surrealism on Fashion Conclusion When Surrealism came to fashion it was with a passion, engulfing the fashion arts with an enthusiasm that has never left. Over time ideas about fashion presentation in magazines, window displays and apparel have evolved, but Surrealism remains fashions favourite art. The collaboration between artists and designers allowed for fashion to move forward in unprecedented ways, pioneered by the likes of Dali and Elsa Schiaparelli, and exemplified in todays fashion by the likes of Viktor Rolf.

Trade in the 19th-21st Century

IntroductionExplain how the function of the Mercantilism pattern between 1500-to the late 1700s century has influence the International Trade Theories in the 19Thursday-21stcentury. ( one page )â€Å"Mercantilism† A school of economic idea developed in 16th-and 17th-century England, mercantile system argued that a state ‘s primary economic aim should be the accomplishment of a trade excess with the associated influx of gold. The cardinal thought was that trade was a zero-sum game and that a state could accumulate gold through a balance-of-trade excess merely at the disbursal of another state. ( Bowles, Paul, 2009 ) . Mercantilism had really of import influence to the organisation of Britain’s trade with other states particularly with its settlements. And there were assortment of rules for illustration, curtailing to provide the natural stuffs for Britain’s mill and prohibiting competed with some sorts of goods. The intent of mercantile system is to advance the economic strength of female parent state and acquire a trade excess. However, Adam Smith thought that mercantile system is incorrect. He believed free trade policy was better than mercantile system. In add-on to David Hume wrote essay â€Å" Of the Balance of Trade † ( 1752 ) suggestion that the balance of trade excess would take to domestic monetary value degree unstable. And, he developed early measure theory of money. In the mid- 18Thursdaycentury, hence, mercantile system had been proved unreasonable and was replaced by the theory of comparative advantage and the industry benefits from free trade that developed by David Ricardo. In 1840s, Mercantilism was eliminated and free trade and comparative advantage as the new economic policy for the economic system. Although free trade had become the chiefly theory in economic system, protectionist policies returned because of the economic catastrophe in the 1930s. Even Keynes believed that increasing the money supply could better domestic goods. Therefore mercantile system had new followings and so called â€Å"Neomercantilism† . Particularly in 1940 period East Asia, Japan, South Korea, and Taiwan – and in the 1990s and early twenty-first century, China – had taken the policies of â€Å" neomercantilist. † That enabled the East Asiatic economic systems to acquire quickly growing over a long period which impacted many other developing states, for illustration, Latin America, to take the same economic policies â€Å" neomercantilist † .Examinewhy states engage in tradeand the benefits of specialisation and trade between states.Nowadays, international trade is play a polar function in maintaining economic addition. People the universe over have profited tremendo usly from the cooperation across it, for illustration, developed states get inexpensive labour and big market, and developing states get engineering and increasing populating standing. It is win-win state of affairs. There are assortment of benefits for both states in footings of economic and societal advancement. For economic system, particularly for free trade, there are many states benefits from this economic policies such as Latin American state, Brazil, Chile, where fiscal and free trade has quickly change their economic system. First, free trade could better the life standing of domestic citizens. Several surveies has indicated successful trade could enable people out of poorness. Through free trade, by constructing an unfastened market, could profit for local economic because of the financess of international investing and trade. And there is possible chances to construct new industries and pull new engineerings. In add-on to which could make employee chances. Second, free trade besides can make a more competitory environment which really of import for development of domestic economic system for case China, duty rate â€Å"highest value over the past 19 old ages was 40.75 in 1992, while its lowest value was 7.69 in 2010.† ( China – Duty rate, indexmundi.com ) . During 18 o ld ages developing, the GDP of China had addition quickly. Of class, the increasing of GDP in China is the consequence of many factors while diminishing the duty rate and the barriers of import play a cardinal function for it. In fact, the political ground non merely find the economic system but besides the populating criterion of people. For societal advancement, by free trade, in one regard which can increase the financess for society, in other regard, the authorities can utilize the financess to put substructure and instruction. Equally far as we know, the societal advancement should establish on the fiscal development.When you sit down for your eventide repast attempt to gauge the figure of people andminutessthatare required to convey your repast to you-be as sidelong inventive and every bit specific as possible.Tonight, my flushing repast was rice and fish which made by myself. For rice, purchase it from supermarket, which is imported from Thailand. In Thailand, the rice need factors of merchandises to bring forth, which include husbandman, seeds, land and capital goods. First, husbandmans need purchase seeds from retail of seed and capital goods, in this measure, the store need staff to sell the seeds and capital goods. During period clip, the rice is produced which need to present to factory to treat and pack a nd so sell to wholesaler. Second, the employee of council would oversee the quality of rice whether fulfill the nutrient criterion. Wholesaler need staff to sell the rice to retail and supermarket. In the last measure, supermarket, need staff for illustration teller to sell the rice. For fish, it was imported from Australia. First measure, catching the fishes in the ocean. During this procedure, need person drive the boat and staff to catch the fishes. Second measure, presenting the fish to the mill. In this measure, the mill need staff to treat the fish, and packing. Third measure, export the fish to New Zealand, in this measure, the staff of imposts would oversee the quality of the fish. The forth measure, selling the fishes to the retail and the supermarket. And in this measure, need driver to transport the fish to supermarket. The last measure, in the supermarket, merely like the rice, need staff to shop and sell the fish. I cooked the rice and fish by the electric cooker. For the electric cooker, I think that more complicated than rice and fish. First measure, the mill demand to by the constituent which the made by natural stuffs, for illustration, plastic and metal. Both natural stuffs need to delve from land, in this procedure, need tonss of people to make it. In the 2nd measure, doing the natural stuffs into constituents. The 3rd measure, selling and presenting the constituents to the mills that make the electric cooker. The forth measure, the staff of mill industry the electric cooker. The 5th measure, selling and presenting the merchandises to the retail and supermarket. It seems that is a really simple eventide repasts, but behind it there are many people to work and bring forth, which is the amazing of trade and economic. And the most of import portion of the procedure, making many chances and financess. And it is power for development of society. Q2 Trade construction of your chosen statesAnalysisAustralia is an Oceanian state consisting the mainland of the Australian continent, the island of Tasmania, and legion smaller islands ( Australia, en.wikipedia.org ) , in the South hemisphere. New Zealand is in the South hemisphere every bit good, hence, both states have the similar clime and agribusiness construction. However, the land country of Australia is 7,692,024 sq.km. larger than New Zealand land country 268021 sq.km. about 29 times. Australia’s GDP is 1560.60 USD, one million millions. New Zealand’s GDP is 182.59 USD, one million millions, in 2013, about 8.6 times. Australia is a affluent state ; it generates its income from assorted beginnings including mining-related exports, telecommunications, banking and fabrication. ( Australia, en.wikipedia.org ) . Because of affluent mineral resource particularly iron mine in Australia, hence mining-related exports has big proportion in its export. And she has really clo sely economic relation with China, every twelvemonth, China would import big Numberss of Fe mine signifier Australia. Turn to New Zealand, because of the land country is little and low population lead to domestic consume does non plenty, hence, international trade of New Zealand is really of import in its economic construction, peculiarly for agricultural merchandises. Exports has big proportion that is 24 per centum of its end product, which doing New Zealand vulnerable to international goods monetary values and planetary economic. And, because of agribusiness land is affluent so, the nutrient merchandises is the most important portion of its exports in 2014, doing up 55 % of the value. Because of the affluent forest resource, Wood is the 2nd largest merchandises ( 7 % ) in New Zealand. New Zealand is good know because of the film The Lord Of Rings and its beautiful environment. Therefore Tourism plays a important function in New Zealand ‘s economic system, lending $ 15.0 billion to New Zealand’s entire GDP and back uping 9.6 per centum of the entire work force in 2010. ( New Zealand, en.wikipedia.org ) . Every twelvemonth, there are tonss of international visitants to New Zealand to see the astonishing landscape, and the figure of visitants are expected to increase at 2.5 per centum yearly up to 2015. Therefore, the service industry is the largest industry in the New Zealand economic system, the 2nd one is fabricating and building and so farming and natural stuff.Datas tabular arrayData tabular array must include the undermentioned information in 2013: Table 1: Basic economic indexs and trade construction of state Australia and New Zealand in 2013AustraliaNew ZealandLand country ( sq.km. )7,692,024Land country ( sq.km )268021GDP ( current USD, one million millions )1560.60GDP ( current USD, one million millions )182.59GNI per capita ( current USD )43084.90GNI per capita ( current USD )32768Entire Trade ( X+M ) ( current USD, 1000000s )-661Entire Trade ( X+M ) ( current USD, 1000000s )473Entire exports ( current USD, 1000000s )10484Entire exports ( current USD, 1000000s )3969Entire Import ( current USD, 1000000s )11145Entire Import ( current USD, 1000000s )3223Trade to GDP ratio i % i?†°0.04Trade to GDP ratio i % i?†°0.26Share of exports ( % )Agricultural MerchandisesAgricultural MerchandisesFuels and excavation merchandisesFuels and excavation merchandisesIndustriesIndustriesShare of Imports ( % )Agricultural MerchandisesAgricultural MerchandisesFuels and excavation merchandisesFuels and excavation merchandisesIndustriesIndustries Q3 Explain the theory Analysis of absolute advantage of Australia and New Zealand Absolute advantage is a state is said to hold an absolute advantage over another state in the production of a good or service if it can bring forth that good or service ( the ‘‘output’’ ) utilizing fewer existent resources ( like capital or labour, the ‘‘inputs’’ ) . Equivalently, utilizing the same inputs, the state can bring forth more end product. ( Van M. , Charles, 2009 ) To better the rule of absolute advantage, premise that there are two states ( the Australia and New Zealand ) bring forthing four agribusiness merchandises ( Meat, poulet, wheat, soya beans and tomatoes ) , and the labour is the lone factors of merchandises. Suppose that merchandises for illustration, soya beans can be traded without costs and labours are stable in the two states. All employee in Australia or New Zealand have the same productive. However, production engineering in Australia different from that in the New Zealand. Suppose that Australia requires four units of labour to bring forth one unit of wheat, nevertheless the New Zealand requires merely need three units of labour. As the same as above, Australia merely needs five units of labour to bring forth one unit of tomatoes, while the New Zealand needs seven units of employee. Because Australia is more efficient to bring forth tomatoes and the New Zealand is more efficient to bring forth wheat. So, there is decision, Aus tralia has an absolute advantage to bring forth tomatoes and the New Zealand has an absolute advantage to bring forth wheat. Because of absolute advantage that enable both states gain advantages in trading. And this is why there is tendency specialisation of production in planetary economic system. Just reference above in illustration premise that the Australia produces less wheat than New Zealand. If Australia frees up several units of labour from wheat to bring forth tomatoes, hence, Australia can now to bring forth more units of tomatoes ( chance cost of wheat production in the Australia ) . The Australia has now produced less wheat and more unite tomatoes. If premise that the Australia still need to devour the same units of wheat as earlier. It must import more wheat from New Zealand. To bring forth wheat New Zealand needs more units of employee. These employee should come from the tomatoes industry, therefore the production of tomatoes in New Zealand will drop. ( chance costs of tomatoes production in New Zealand ) . At last, the entire production of wheat keep the same, while the entire production of tomatoes has increased. These excess units of tomatoes is the additions from specialisation if both states focus on the production that they produce most expeditiously. This is win-win state of affairs. Datas Table Data tabular array must include the undermentioned information in 2013 0r 2014i?s Production: Four selected agricultural merchandises of India and Hungary in 2013 or 2014AustraliaNew ZealandMerchandiseEntire production ( tone )Output ( kg/hectare )Entire production ( tone )Output ( kg/hectare )PistachiosPistachiosAlmondsAlmondsBananasBananasCassavaCassavaQ4 Comparativeadvantage Explain the Theory Application and Analysis of comparative advantage of Australia and New Zealand The theory of comparative advantage is an economic theory about the possible additions from trade for persons, houses, or states that arise from differences in their factor gifts or technological advancement. ( Comparative advantage, en.wikipedia.org ) There are two states in the information tabular array, Australia and New Zealand, which produce four agribusiness merchandises chicken, wheat, soya beans and tomatoes. To exemplify the theory merely choose two merchandises, ? ? and? ? . For illustration, in Australia, it can bring forth? ? one unit of? ? by utilizing 10 units of labour to bring forth, or bring forth 4/5 units of? ? . And, in New Zealand could bring forth one unit of? ? by utilizing 9 units of labour, or bring forth 5/4 units of? ? . Therefore, New Zealand has an absolute advantage in bring forthing? ? because of fewer units of labour, while Australia has a comparative advantage because of lower chance cost. Suppose that absence of trade between two states, Australia need 20 units of labours to bring forth one unit? ? and one unit? ? , meanwhile New Zealand need 17 unites to bring forth the same units. If each state focal point on the agribusiness which it has a comparative advantage, the consequence is both merchandises increases, for Australia can pass all units of labour to bring forth? ? and New Zealand can pass all units to bring forth? ? . So, the entire merchandise measure addition. And base on the free trade, both states exchange one unit? ? and one unit? ? . Except consume the same units merchandise as earlier, there still staying more units of merchandises. Datas Table Data tabular array must include the undermentioned information in 2013 0r 2014i?s Production: Four selected agricultural merchandises of India and Hungary in 2013 or 2014IndiaHungaryMerchandisePrice per unitiUSDPrice per unit, USDPistachiosPistachiosAlmondsAlmondsBananasBananasCassavaCassavaQ5 Factor gift, trade and income distributionHecksher-Ohlin ( H-O ) theoretical accountExplain the Theory Application and Analysis of H-O theoretical account for India and Hungary Data tabular array Data tabular array must include the undermentioned information in 2013 Factor gift and form of trade of India and Hungary in 2013 or 2014IndiaHungaryFactorsFactorsAgricultural Land ( million hectares )Agricultural Land ( million hectares )Agricultural Land ( % of land countryAgricultural Land ( % of land countryLabour ( 1000000s )Labour ( 1000000s )Capital ( UDS, 1000000s )Capital ( UDS, 1000000s )Four major exported MerchandisesFour major exported MerchandisesFour major exported MerchandisesFour major exported MerchandisesPistachiosPistachiosAlmondsAlmondsBananasBananasCassavaCassavaStolper-Samuelson ( S-S ) theoretical accountExplain the theory Application and Analysis of S-S theoretical account for India and Hungary Student should utilize information old informations tabular array to reply this portion. Q6 Context of new trade theoriesEconomic of ScaleExplain the theory Application and Analysis of economic of graduated table for India and Hungary Datas tabular array Data tabular array must include the undermentioned information in 2013 0r 2014i?s Domestic ingestion and export: Four selected agricultural merchandises of India and Hungary in 2013 or 2014IndiaHungaryMerchandiseDomestic ingestion ( tone )Exports ( tone )Domestic ingestion ( tone )Exports ( tone )PistachiosPistachiosAlmondsAlmondsBananasBananasCassavaCassavaImperfect competition and market powerExplain the theory Application and Analysis of imperfect competition and market power power of four top bring forthing states on one selected agricultural merchandise Datas tabular array Data tabular array must include the undermentioned information in 2013 One selected agricultural merchandise in 2013 or 2014Agricultural merchandise name:Top four producing/exporting statesVolume of production ( tone )Share of universe production ( % )PistachiosAlmondsBananasCassava Mention Bowles, Paul. ( 2009 ) .The Princeton Encyclopedia of the World Economy: Essaies from the Business And Economics — Economic Situation And Conditions, , ( pp.757-759 ) . Princeton, Princeton University Press. Van M. , Charles. ( 2009 ) . Absolute advantage: Essaies from the Business And Economics — Economic Situation And Conditions, ( pp.1-3 ) . Princeton, Princeton University Press. World Trade Organization. ( 2015 ) . Retrieved from 1 April, 2015, from Wikipedia: hypertext transfer protocol: //en.wikipedia.org/wiki/World_Trade_Organization China – Duty rate. Retrieved from hypertext transfer protocol: //www.indexmundi.com/facts/china/tariff-rate Australia. ( 2015 ) . Retrieved from 28 April, 2015, from Wikipedia hypertext transfer protocol: //en.wikipedia.org/wiki/Australia New Zealand. ( 2015 ) . Retrieved from 28 April, 2015, from Wikipedia hypertext transfer protocol: //en.wikipedia.org/wiki/New_Zealand # Economy Comparative advantage. ( 2015 ) . Retrieved from 11 April, 2015, from Wikipedia hypertext transfer protocol: //en.wikipedia.org/wiki/Comparative_advantage # Ricardo.27s_example

A Prayer for My Daughter: the Poem

A PRAYER FOR MY DAUGHTER The poem by WB Yeats portrays how a father, blessed with a daughter, prays for the future happiness and wellbeing of her. The poet hopes that instead of growing up to be a woman of immense beauty, his daughter should be blessed with attributes of a virtuous and a great soul. She should be well-mannered and full of humility rather than being strongly opinionated, to avoid any intellectual detestation that could drown her in misery. The prayer for his daughter beyond its personal scope is a prayer for the evolution of a culture and human society based on values of decency and courtesy, magnanimity, innocence and ceremony. It is a prayer for the whole world. The poem begins with a vivid picture of a storm brewing in the seas. The storm is symbolic of the turmoil going on in the apprehensive poet’s mind regarding his newly-born’s future in a world marked with bloodshed and violence. Between his daughter and the raging seas, there stands ‘one bare hill’ and ‘Gregory’s wood’ which might not thwart the storm from reaching the hapless child. The poet is naturally worried as he senses the gale striking the tower and ‘the arches of the bridges’. In his mind, the storm presages the future years of his daughter arriving in a ‘frenzied’, delirious agitation, mounting from the ‘murderous innocence of the sea’. As a father, the poet wishes beauty for his daughter but not in such voluptuousness to engross the others to distraction or make her vain. He knows that people of immense superficial beauty consider beauty to be an end in it itself. They are blindfolded by their overwhelming beauty when the behold themselves ‘before a looking glass’, lose their ‘natural kindness’ and become inadequate to make the right choices in life. They are often lonely souls unable to respond to ‘sincere love’ or ‘find a friend’. The poet does not aspire his daughter to be bereft of kindness. He shudders at the thought of her daughter turning out to be another Helen of Troy, who finding life ‘dull and flat’ eloped with Paris only to ignite a war the completely destroyed the city of Troy. He cites the example of Queen Aphrodite who, having no guardians to impose restrictions on her chose a ‘bandy-legged smith’ for a husband. This substantiates his statement that women of exquisite beauty are often unpredictable and choose a ‘crazy salad’ to go with their ‘meat’. He puts forward a slice of his own life as an example of true exquisiteness and charm which his wife exudes. He philosophically remarks that ‘hearts are not had as a gift but hearts are earned’. Though men often are initially entices by bewitchingly stunning females, it is really the compassion and warmth of the women by which they get enamored in the end. The father in the poet is keen that his daughter should be like a humble tree giving succor and shade to the people when she grows up. She should live a life of constancy deeply rooted to her culture and traditions. Yeats wants his daughter to be like the ‘linnet’ whose songs infuse pure and unadulterated happiness in others. He hopes that she would be like the laurel tree, standing firm on her convictions. The poet realizes that his mind ,after being enticed by all the beauty that he had been attracted to, has ‘dried up’, become drained of all ideas and intelligence. He realizes that hatred is the worst of all evils. If an individual decides not to succumb to hatred, the no force, however violent and detrimental, can’ tear the linnet from the leaf’. He goes on to give a paradigm of ‘intellectual hatred’ in the form of Maude Gonne who due to her ‘opinionated mind’ had to give away everything. The truth rings in poet’s mind that by eliminating the malady of hatred, the soul not only recovers the ‘radical innocence’ but also embarks on a journey that is ‘self delighting, self-appeasing, self-affrighting’. It is only then would his daughter be able to face every storm or ‘scowl’ happily. Finally, Yeats hopes, as a father, that his daughter would be betrothed to a man who has forever steered away from ‘arrogance and hatred’. Their marriage should a custom for spreading peace and happiness like ‘the laurel tree’.

Identity Theft Related Laws - 585 Words

Identity Theft Related Laws The Health Insurance Portability and Accountability Act of 1996 (HIPAA) is a federal law that requires covered entities to maintain reasonable and appropriate administrative, technical, and physical safeguards for protecting electronic patient health information (e-PHI) (The Health Insurance Portability and Accountability Act of 1996 (HIPAA) Privacy and Security Rules). Entities must: 1) ensure the confidentiality, integrity, and availability of all e-PHI they create, receive, maintain, or transmit; 2) identity and protect against reasonable anticipated threats to the security or integrity of the information; 3) protect against reasonable anticipated , impermissible users or disclosures; and 4) ensure compliance in the workplace. Entities must review and modify security measures to continue protecting e-PHI in a changing environment. 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