Apocolyptic, A In Depth Look At The Gospel Of Mark Essays - Religion

Apocolyptic, A In Depth Look At The Gospel Of Mark Mark is most likely the first of the Gospels to be written because it is the shortest and tells of the ministry of Jesus. Mark stresses Jesus' message about the kingdom of God and how it is breaking into human life as good news and that Jesus himself is portrayed as the gospel of God. Jesus is explained as the Son of God who is sent down to rescue everyone. His life is predestined as a sacrifice for humanity. The beginning of the book sets the tone of Mark by the actions of John the Baptist and God as he speaks during Jesus' baptism declaring Jesus his son. Also in the beginning Jesus is supposed to baptize the Holy Spirit and that the temptation of Satan fails. Examining the verse 14-15 of chapter 1 one can understand Jesus proclamation as Gospel: fulfillment, the nearness of the kingdom and therefore the need for faith. From this point on we see miracles being performed on the people. It almost seems as though he is carrying out these miracles in order to make people either fear him, or prove to people who he is. People then start to take a real liking to him as he helps them unconditionally with all of their ailments. Jesus later appoints 12 disciples to carry out his reign and to drive out the demons as he is doing. Though we see in chapter three the introduction of the Apocalyptic thought. Jesus is accused of being Beelzebul which is a word used for Satan, they say this because they do not have an explanation for him driving out the demons. We also see in this chapter that Jesus say's that his family is those that believe in God and follow his reign. This insinuates the idea that Jesus is in all of us. Continuing the story we see Jesus is preparing for everything that is to happen. He is aware of the disciples that are going to betray him, and that he is going to be sentenced to death by Pilate. Then the Last Supper where he is to foretells the future. In chapter 13 we are told about the destruction of the Temple. This is very apocalyptic in tone because it tells of the falling of all the great buildings right down to the last stone. He says that there will be many wars, and many nations will fight but it will all be built again, saying that intervention will only happen after destruction. What he is talking about is the Romans coming to take over Jerusalem and to destroy the temple. Though Jesus does not say when this is going to happen. The book of Mark ends with Jesus being crucified and dying on the cross for everyone. He was buried and then the following day as Mary Magdedalene, Mary Mother of James and Salomon went to go anoint his body they found that his body was not there. They assumed that Jesus had risen. He appeared to the eleven and said go out and proclaim what has happened and those that believe will be saved and those that don't will be condemned. This is the final portion of Mark and it's proclaims that those who do not believe will be punished. This is a very similar attitude that was seen in Daniel as God the punisher. Religion Essays

Gary Condit essays

Gary Condit essays Mark Sherman Writer for the Philadelphia Inquirer Reports that Gary A. Condit, A democrat from California received a grand jury subpoena for undisclosed documents related to the disappearance of federal intern Chandra Levy. Abbe Lowell, Condits lawyer, issued a statement saying whatever the reason were for the issuance of the subpoena, the congressman would provide the documents. Levy, 24 disappeared shortly after ending an internship at the Bureau of Prisons in Washington. Condit acknowledged a close relationship with Levy but has denied being involved in her disappearance. Federal authorities said that they do not consider Condit a suspect, but they are examining whether Condit and his aides may have obstructed the search for Levy. Larry King, A CNN talk host said This is the first sign that this country is going back to normalcy, after the September 11 attacks everyone forgot about the Chandra Levy case now once again its starting to surface. A poll on CNN show that Seventy percent of the people asked felt that Condit has some connection to the disappearance of Levy. Condit has not said whether he will seek reelection. But a chairman for Art Torres, chairman of the California Democratic Party, was less than enthusiastic about the prospect of Condit running for re-election in 2002. He said he had "great concerns" about Condit and offered not one word of support for the embattled lawmaker. "As chairman, I don't think it's my place to tell an incumbent member of Congress what to do. He's smart enough. He knows what the figures are, he knows what the polls are looking like, he knows his district. He's got to come to his own conclusions," Torres said. Even thought this is not a major development in the finding of Chandra Levy, I feel that the subpoena is just the start for what Gary Condit is in for. ...

Gender Discrimination Problem in US Orchestra Company Research Paper

Gender Discrimination Problem in US Orchestra Company - Research Paper Example Any case on sexual harassment needs immediate action to be taken by the authority. They should be encouraged to undertake positions of leadership in order to instill equality of opportunity. The previous paper has already raised the instance of gender bias in the United States especially in the orchestra companies or the music industry. Several instances of discrimination take place especially with respect to promotion, hiring or even granting of leaves. Since compliance with local laws is a major requirement of corporate social responsibility sometimes corporate social responsibility (CSR) norms might be in a dilemma when local laws permit some form of discrimination. This is mainly the case with corporate houses having offices around the world. CSR norms look forward to avoiding or overrule any kind or expression of discrimination based on race, ethnicity, gender, etc (Idowu, & Filho, 2009, p. 39). Women working in the male domain are often assumed to be overly ambitious. Problems might arise when the woman begins asking for maternity leaves. The Philadelphia case mentioned in the previous paper highlights one of the major outcomes of such gender bias – sexual harassment. The lawsuit in case of the Philadelphia Orchestra Company suggests that the issue of gender bias and rather sexual harassment has not been given adequate importance by the company. Instead of making an attempt to deal with the case the victim, Kathleen was compelled to resign the orchestra with a certain sum of money as compensation. The company was more worried about the unity about workforce rather than business ethical conduct. The equal work situation is a basic issue to be taken care of by a corporate house in order to maintain business ethics. After conducting a primary survey and some background research on the issue it is now time to analyze the problem and put forward some solutions to this problem.

Geography Essay Example | Topics and Well Written Essays - 750 words - 5

Geography - Essay Example ch has focused on so-called transitions or changes in the population’s death rates and birth rates, as they pertain to populations in the industrialized world, stretching back two centuries. The model has four stages: stage 1, known as the pre-modern stage; stage 2, or the urbanizing/industrializing stage; stage 3, or the mature industrial stage; and stage 4, or the post-industrial stage. The early stages are characterized by high CBR and high CDR figures, at around 35-40 for every thousand. At stage four, or the post-industrial stage, the population is at its highest, even as CBR and CDR figures are at their lowest, at around 10 for every thousand people. In the model, the CBR and CDR figures trend downwards slowly from stage 1 to stage 2, but the downwards trend accelerates at stage 3, until the figures plateu at stage 4, at the levels described above, around 10 for every 1,000 population. The stages of the model, and the CDR, CBR, and population figures for every stage, are identified and plotted in this graph by way of illustration (Montgomery; Lee 167-190; Galor 1-10): In the plot above, the large population at stage 4 and the low CBR and CDR figures there are graphically illustrated. In the first stage, the birth and death rates are similar, with CBR being only fractionally larger than CDR, so that the population was almost static, and population doubling was measured in thousands of years. Stage One is characterized by high levels of infant mortality, from poor hygiene that resulted in many diseases such as diarrhea and cholera. With the advent of industrialization and urbanization. Medicine was also archaic at that time, with knowledge on disease management and prevention being basic or unavailable altogether, and the threat of hunger from famines eventually coming to pass. The high death rates countered the effect of high birth rates, or CBR, at this stage (Montgomery; Lee 167-190; Galor 1-10). In the industrialization and urbanization stage, or stage

Law of E-commerce Essay Example | Topics and Well Written Essays - 3000 words

Law of E-commerce - Essay Example With all arsenals pointed at streamlining electronic money institutions through legal, supervisory principles, the binding implementation provisions found quite a number of disparate legislative instruments that tended to hinder the functionality of the directives. The 2000 directives were the first attempts by the Union to harmonize EU e-money banking practices through legal frameworks (Vereecken, 2000). Unknown to the policy drafters was that the directives were headed for major legislative thrusts, which has since prompted the revision of e-Europe Action Plan on the same but with no tangible improvement as once anticipated. The provisions of the action plan of 2005 being the main EU e-money policy blueprint in this area was an updated version deliberated upon since 2000 (Penn, 2005). Indeed, the period of euphoria that characterized the adoption of the directive seemed to have died leaving the future of e-money regulatory legislations much less promising than never imagined. As a matter of fact, many new ideas never sprouted beyond their piloting stages. In essence, The EU e-Money directives were much more of wasted efforts than gainful strategies given that e-Money technology, to a grater extent, remains a figment of salesmen’s imaginations. Background of E-Money Regulations When e-money made a debut into the banking scene, almost all financial institutions in North America as well as the entire Europe took a noticeably stance well armed with different regulatory mechanisms. Rather than a ‘wait and see’ approach adopted by the United States, EU member states took immediate steps, to regulate e-money as soon as the technology appeared (European Commission, 2002). As early as 1994, EMI had recommended that only bank-issue e-money be legalized (EMI 1994; DeGeest 2001). The immediate established target as insinuated above comprised of standardizing measures with a wide spectrum of actions that included access to the Internet, as well as rais ing consumer confidence in IT-supported learning networks embodied in new electronic payment systems. Against a backdrop of concerns from different financial quarters, EU Commission pursued perspective was that proliferation of e-money without regulations could inhibit the proper functioning of the money market and stifle competition as well as innovation in the payment sector. What followed was a draft of directives on the same (EU Commission, 1998). Action Plans set out to achieve the objectives of the EU included numerous legislative measures. Among these were the Directive 2000/28/EC of the European Parliament in conjunction with the EU Council Directive 2000/12/EC touching on the conduct of business of credit institutions forming the first batch of e-Money Directives (EMI Directive, 2000a; 2000b). The second batch of e-Money Directives was the Directive 2000/46/EC from the same intuitions touching on prudential supervision of electronic money institutions (Long and Casanova, 20 02; 2003; EMI Directive, 200

Sexually Abused Child in Foster Care Setting | Case Study

Sexually Abused Child in Foster Care Setting | Case Study The sexually abused child in the foster setting Current researchers believe the majority of children entering the foster system have been traumatized physically and emotionally and now require care the foster system was not originally created address[1]. Additionally, foster children are reported to have â€Å"three to seven times as many acute and chronic health conditions, developmental delays and emotional adjustment problems† as their non-foster peers[2]. The care provided in foster care is of critical importance, as research emphasizes the remaking of an attachment based relationship, such as the foster parent-child relationship, is the focal emotional need during the foster experience[3]. When a child has been sexually abused, the care required is of paramount importance, however, a careful and comprehensive assessment of the child is required as childhood sexual abuse affects different children completely differently, displaying a range of symptoms or lack thereof[4]. Cicchetti and Toth[5] emphasize the individual di fferences that abuse has on individuals is most often based on the child’s level of functioning at the time of the sexual abuse, such that the sexual abuse and/or other forms of concurrent child abuse will be interpreted by one child differently from another. As the child matures, the abuse will also carry different meanings, therefore Cicchetti and Toth[6] tell us that [foster] caregivers must readily adapt to the changing issues the child is dealing with and manner in which he/she relates. This essay will present a brief case study followed by an examination of the foster parent skills, qualities and understanding needed to engage in a relationship with a child who has been sexually abused, critically reflecting on actions taken with the child. For purposes of this paper, the child discussed is an adolescent who suffered repeated sexual abuse in an intra-familial setting. Issues relating specifically to infants, preschool or younger children victimized by sexual abuse and placed in a foster care setting are considered beyond the current scope of this essay. Additionally, issues pertaining to the legalities implicit in a childhood sexual abuse case, abuse by an extra-familial individual or issues pertaining to abduction and violence perpetrated upon a child in conjunction with sexual abuse are considered beyond the scope of this essay. Case study J is a 14-year-old female who was repeatedly sexually abused by her step-father from the age of five years. J’s mother was an alcoholic and unable to hold a job. J’s step-father threatened that he’d kill her mother and J if she told anyone. J remained silent for the first eight years, displaying a variety of emotional and physical problem that doctors and school officials put off to developmental disturbances. When J finally told her mother when she was 13 years-old, her mother said it was because J was such a pretty girl and to just go along with it because after all, he provided for them all and they’d be on the street otherwise. When J was called to the principal’s office for disruptive and aggressive behaviour towards a boy who made sexual advances to her in the hallway, J finally told her principal what was going on at home and family service and police officials were called in. J was removed from the home and placed in foster care. J was 15 by the time she was placed in this writer’s foster care. J exhibited many of the common mannerisms common to adolescent females victimized by intra-familial sexual abuse including adopting sexually promiscuous and extremely flirtatious behaviour with other males, engaging in self-injurious behaviour such as cutting coupled with distancing herself from trusting authority figures. Also noted by this writer were J’s frequent depressive episodes and affect. It was important to note, consistent with current research, that the British child welfare authority over two-thirds met current diagnostic criteria for at least one or more psychiatric disorders[7], emphasizing that older individuals in foster care have a higher rate of lifetime and past year psychiatric disorders, frequently onset prior to the initiation of the foster situation. Fostering J Consistent with research by Yancey[8] an appropriate combination of mentoring and role-modelling for J was an integral part of her fostering. Role modelling does not necessarily necessitate personal interaction, whereas mentoring also includes deliberate support, guidance and an effort to help shape the adolescent, as in the case of J where she had not developed the appropriate skills with which to weather difficult periods in her life or make sense of what had happened to her in real world terms[9]  and examine the skills, qualities and understanding needed to engage in a relationship with that child. J’s brain anatomy was modified by the repetitive abuse, accounting for much of her depression and other personality disorders[10] through the L-HPA axis impact[11]. Explaining this to J in terms she would understand was difficult as she was not overtly trusting of authority or parental figures; the information only seemed to fuel her rage at her role of helpless victim and further emphasize her own role in the abuse process rather than appropriate placement of blame externally on her step-father. Similarly, research highlights the persistence of depression and other emotional areas of dysfunction up to and extending beyond five years following childhood sexual abuse[12]. Given the goal of foster placement as the reunification of the family unit[13] occasional visitation with J’s mother caused greater depressive episodes and more dramatic episodes of self-injurious behaviour, which is consistent with the literature stating further abuser contact within five years can be used to predict higher levels of depression in the abused child[14]. Significant mentoring with J focused on building her sense of self-esteem and orienting her towards healing her own inner hurt child, mothering it in ways that were not provided to her in her critical early childhood years. For example, it was important to help J search for solutions and focus on how to overcome her current issues and for her to admit problems exist with her normal day to day actions. Rather than nurture her child’s mind questioning â€Å"why† did this happen to me, this writer had to stress that she is responsible for her own thoughts, feelings and behaviour at this point in her life and as it moves forward, that she can construct her own destiny, especially since she is within years of adulthood[15]. It was difficult explaining that her sexually aggressive behaviour was not considered normal, but an affect of her abuse[16] as she continued to seek the physical intimacy with a male as an expression of their love for her rather than simply sexual gratif ication[17], still replaying her step-father’s verbal expressions of his love for her, how attractive she was, etc. Given J’s level of problems with attachment relationships, it was instrumental working with her coming from the transactional analysis framework emphasizing relations needs both current and in the archaic ego, emphasizing J’s need for security and protection experienced within a relationship[18]. One of the most difficult issues relative to providing care for J was to nurture her commitment to positive change, as considered a fundamental principle of transactional analysis based integrative therapy[19] as J demonstrated oppositional and defiant behaviours on a regular basis. J’s continual behaviour issues emphasized the need for working with her as a role model and mentor rather than being directly confrontational with her regarding her dysfunctional behaviour or inappropriate thinking. This emphasized keeping control of J’s life in her hands, considered by research as critical for survivors of sexual abuse[20]. Research demonstrates that combining therapy in the foster setting can reduce stress for the child and caregiver, increase the development of positive attachment relationships and corresponds with an increase in positive behavioural change[21]. While the interaction with J was a positive, albeit difficult one, upon reflection, however, one major change would have been to mutually establish J’s goals for growth into an integrated and intact adult. This would have helped establish a foundation and framework for working together. Bibliography Alfaro, Jose, Fein, Edith, Fine, Paul, Halfon, Neal, Irwin, Martin, Nickman, Steven, Pilowsky, Daniel K., Rosenfeld, Alvin A., Saletsky, Ronald, Simms, Mark D. Thorpe, Marilyn. Foster Care: An Update. Journal of the American Academy of Child and Adolescent Psychiatry, 1997. Auslander, Wendy F., McMillen, J. Curtis, Munson, Michelle R., Ollie, Marcia T., Scott, Lionel D., Spitznagel, Edward L. Zima, Bonnie, T. Prevalence of Psychiatric Disorders Among Older Youths in the Foster Care System. Journal of the Academy of Child and Adolescent Psychiatry, 2005. Baird, Frank. A Narrative Context for Conversations with Adult Survivors of Childhood Sexual Abuse. Progress – Family Systems Research and Therapy, 1996. Black, James E., Haight, Wendy L. Kagle, Jill Doner. Understanding and Supporting Parent-Child Relationships during Foster Care Visits: Attachment theory and Research. Social Work, 2003. Chamberlain, Patricia, Fisher, Philip A., Gunnar, Megan R. Reid, John B. Preventive Intervention for Maltreated Children: Impact on Children’s Behaviour, Neuroendocrine Activity, and Foster Parent Functioning. Journal of the American Academy of Child and Adolescent Psychiatry, 2000. Cicchetti, Diane Toth, Sheree L. A Developmental Psychopathology Perspective on Child Abuse and Neglect. Journal of the American Academy of Child and Adolescent Psychiatry, 1995. Erskine, Richard G. A Gestalt Therapy Approach to Shame and Self-Righteousness: Theory and Methods. The British Gestalt Journal, 1995. Green, Arthur H. Child Sexual Abuse: Immediate and Long-Term Effects and Intervention. Journal of the American Academy of Child and Adolescent Psychiatry, 1993. Oates, R. Kim, O’Toole, Brian L., Swanston, Heather Tebbutt, Jennifer. Five Years after Child Sexual Abuse: Persisting Dysfunction and Problems of Prediction. Journal of the Academy of Child and Adolescent Psychiatry, 1997. O’Reilly-Knapp, Marye Erskine, Richard G. Core Concepts of an Integrative Transactional Analysis. Transactional Journal, 2003. Temple, Susannah. Transactional Analysis Philosophy, Principles and Practice. Temple Index of Functional Fluency, 2006. Retrieved from: http://www.functionalfluency.com/articles_resources/Philosophy_Principles_Practice.pdf Cited 10 September 2007. Yancey, Antoinette, K. Building Positive Self-Image in Adolescents in Foster Care. Adolescence, 1998. Footnotes [1] J. Alfaro, E. Fein, P. Fine, N. Halfon, M. Irwin, S. Nickman, D. J. Pilowsky, A. A. Rosenfeld, R. Saletzky, M. D. Sims M. Thorpe, Foster Care: AN Update, Journal of the Academy of Child and Adolescent Psychiatry. [2] Alfaro et al. [3] Alfaro et al. [4] A. H. Green. Child Sexual Abuse: Immediate and Long-Term Effects and Intervention. Journal of the American Academy of Child and Adolescent Psychiatry, 1993. [5] D. Cicchetti S. L. Toth. A developmental psychopathology perspective on child abuse and neglect. Journal of the American Academy of Child and Adolescent Psychiatry, 1995. [6] Cicchetti Toth. [7] W. F. Auslander, J. C. McMillen, M. R. Munson, M. T. Ollie, L. D. Scott, E. L. Spitznagel B. T. Zima. Prevalence of Psychiatric Disorders among Older Youths in the Foster Care System. Journal of the American Academy of Child and Adolescent Psychiatry. [8] A. K. Yancey. Building Positive Self-Image in Adolescents in Foster Care. Adolescence, 1998. [9] Yancey. [10] J. E. Black, W. L. Haight J. D. Kagle. Understanding and Supporting Parent-Child Relationships during Foster Care Visits: Attachment Theory and Research. Social Work, 2003. [11] P. Chamberlain, P. A. Fisher, M. R. Gunnar J. B. Reid. Preventive Intervention for Maltreated Preschool Children: Impact on Children’s Behavior, Neuroendocrine Activity, and Foster Parent Functioning. Journal of the American Academy of Child and Adolescent Psychiatry, 2000. The limbic-hypothalamic-pituitary-adrenal axis shows different responses on maltreated children, disabling their ability to regulate their emotions appropriately following the developmental disruption. [12] R. K. Oates, B. L. O’Toole, H. Swanston J. Tebbutt. Five Years after Child Sexual Abuse: Persisting Dysfunction and Problems of Prediction. Journal of the American Academy of Child and Adolescent Psychiatry, 1997. [13] Black, Haight Kagle. [14] Oates et al. [15] S. Temple. Transactional Analysis Philosophy, Principles and Practice. Temple Index of Functional Fluency. Retrieved from http://www.functionalfluency.com/articles_resources/Philosophy_Principles_Practice, 2006. [16] A. H. Green. Child Sexual Abuse: Immediate and Long-Term Effects and Intervention. Journal of the American Academy of Child and Adolescent Psychiatry, 1993. [17] Green. [18] M. O’Reilly-Knapp R. G. Erskine. Core Concepts of an Integrative Transactional Analysis. Institute for Integrative Psychotherapy. Retrieved from: http://www.integrativetherapy.com/en/articles.php?id=40. [19] O’Reilly-Knapp Erskine. [20] F. Bard. A Narrative Context for Conversations with Adult Survivors of Childhood Sexual Abuse. Progress – Family Systems Research and Therapy, 1996. [21] Chamberlain et al.

Manet and Paris De Refuses

Edouard Manet lived an intriguing life significantly changing world history, especially in the arts. In the 19th century, Salon De Paris hosted a yearly public exhibition of artists paintings approved by the board. Edouard Manet’s controversial and unexpected paintings became the biggest challenge and publicity for the salon, probably not in the way the Paris Des Salon would have chosen. All artists displaying exhibitions sanctioned by the show were required to paint within the standards and codes of conduct set by the French Art Academy; Academie des Beaux-Arts. Any artists refusing to follow educational guidelines were rejected from showing their paintings. Their work had to abide by the educational standards taught in the French school to show paintings in the Salon De Paris exhibition. Edouard Manet was not very accommodating to tradition, a rebellion for being discharged from the Navy. In 1862, the Salon De Paris rejected Edouard Manet’s painting, Luncheon on the Grass. This rejection started a series of events marking a turning point in the history of art. Manet’s and other young French artists who admired the impressionists art style challenged the salon’s decisions. Napoleon 111 opened an exhibition allowing the salon’s rejects to display their art. The event which was separate from Salon De Paris was named Salon des Refuses, meaning the salons rejects. At this time, it was not considered a high honor to have works displayed in the Salon des Refuses. Today, the artists who had their work showcase in the Salon des Refuses have the same notoriety and respect as artists who’s work was accepted by the Salon des Paris. Manets paintings were very pleasing, aesthetic, but were prevented from accepted by the public. It was the times they lived in. When they did reach the public, his paintings received harsh, vicious criticism. Manets paintings directly went against the erroneous purpose and rigid rules of academic art teachings. The academy had problems accepting Manets technique and subject matter, often portraying women with no clothes, two men in landscape or outdoor settings. All of his paintings were fully colored, not having any shadows in the pictures. The 1862 Salon Des Refuses lead to the Avant-Garde, which simply means testing the traditional rules or pushing beyond the boundaries. The rejection of Luncheon on the Grass, the opening of the Salon des Refuses and the Avant-Garde lead the movement of art world into Impressionism. Edouard Manet’s rebellion against military, education and politically correct standards through his paintings made more contributions than any one person ever did from any point in history. Manet and Salon Des Refuses Introduction: Edouard Manet was a French artists famous for inventing the entire impression era during his very short lived life, dying at only 50 years old. After his discharged from the military, he devoted his entire life to art. Through his art career, he inspired historical changes influencing all aspects of the artworld. Significant changes inspired by Manet influenced music, drama, theatre dance and paintings. In his brief lifetime, the impression class, the avant-garde and Salon des Refusal became fully developed legitimate organizations upon challenging Salon de Paris's rejection of his painting. Impressionism; According to the study of Manets style, impressionism is heavily associated with color. Manet is the mastermind behind the impressionism era. Manet’s breaking traditions began the impression age, but the impressionism era was marked when Monet created a painting called Sunrise. â€Å"The term impressionism was coined to describe the work of certain painters who professed to record the impression which they have received from the object studied. At close range, the picture appeared confused and intelligible; it was necessary to stand some distance away from it in order to discover what it was all about† (Forest, 1913, Page 584). Realism painters are very formal artists, concealing any individuality, uniqueness, identity or personality within the messages or storytelling in their artwork. The purpose of realism paintings are to retell historical events from the past. Up until Manets invention of the impression stage, artists created artwork to keep history alive, and relay the same historical messages in multiple different interpretations. Impressionism is a resemblance of the contrast between today’s Ballet dance vs Hip hop. The art does not have to follow narrow based rules and may be an expression of the individual to please the audience. Art is not required to be a reinvention of sentimental or historical meaning to serve a purpose, or target an audience. Art can be aesthetically pleasing. Aesthetic art work does not reinvent history, it makes history while keeping up with the current trends, Impression or aesthetic usually appeals to a younger generation, perhaps more common, everyday people. This type of art in music, dance, theatre is usually taken at face value, or for what it is. Impressionist’s artists paint in the here and now. They are not concerned about the future, or the past. Both an impressionists and realism artist create a piece of art or paint a picture of the same beach. Each artist would use different colors, shadowing methods, brush stroke techniques. Both beach paintings would show clouds in the sky. The picture painted by the impressionists would have shorter, broken up clouds, resembling exactly what the viewer would see if they went to that beach when the artist painted it. The impression artist goes to the place where he or she can see what they are painting or drawing. The realism artists paints outdoor scenery while they are in the studio. The clouds, sun, waves symbolizes a historical story. Impressionists uses brighter colors, place strong emphasis on natural outdoor lighting and the actual surroundings. Realism artists took pride in people staying spell bound by their work, to get the hidden meanings portrayed through symbology. Artists wants to take its audience into a deeper level, consuming their attention, leaving them with something they will remember, or even change their life. Artists intend on making lasting impressions on its audience. The salon wanted to maintain a certain status level of its customers. â€Å"Although Edouard Manet studied for six years with Thomas Couture, his painting style was primarily influenced by studying the old masters in the Musee de Louvre in Paris, particularly the works of Spanish painters, Bartolome Esteban Murillo, Jusepe de Ribera and most important Diego Velazquez† (Kramer, 2002). Today, it stands no secret Manet greatly admired Velazquez. The art traditions set by Manet was inspired by Velazquez. The Salon De Paris and the Academie des Beaux-Arts: The Salon De Paris was a highly prestigious well respected event organized by the Academie des Beaux-Arts. The Salon De Paris was made up of a board of highly qualified judges who analyzed paintings submitted by artists. The salon first concern was to ensure all paintings displayed in the show satisfied all requirements set by the French art academy. The academy wanted to retain a certain level of customers. The Salon De Paris, working closely with the Academie des Beaux-Arts had an obligation to honor Napoleon 111 regulations. Napoleon 111 was a French emperor having full rein of the school. When the salon rejected Edouard Manet’s Luncheon on the Grass, the salons authority was immediately questioned. The rejection of this painting, inspired Manet to go through a process beginning a series of events that permanently changed art. Manets impression paintings were new, introduced the unfamiliar. The Avant-guard is all about breaking boundaries, pushing limitations. Many musicians, singers and George Bush Jr and his cabinet are accused of pushing boundaries, only a compliment to them. Traditional paintings, or paintings following the academic standards retold history, suppressing their own ideas. The salon or the art academy tested artists imaginations and creativity. Artists were discouraged from inventing or painting any stories or ideas, or pictures just for an image of the picture itself. Artists were required to paint what already existed, or did at one time or another. Although they were retelling history, they faced the challenge of inventing original ways to tell the same story repeated thousands times through previous paintings, theatre, music and writings. If an artist was talented, had a great imagination, and was inspired strong enough by historical events, he was capable of creating orginal fascinating works which portrayed the same meaning. All artist before the impression era had to create their art to retell biblical and traditional stories. Any individual messages from the artists had to be within the traditional social standards passed on through many generations. The Salon Des Refuses: The Salon Des Refuses rejected Manets painting, Luncheon on the Grass, because the subject matter was considered indecent. Manet painted an out of shape naked woman having a picnic on the grass with two fully clothed men. Artists have used artist’s models, a naked person who sits in a pose for the artists to paint, since the beginning of art. In the realism stages, or if the naked model symbolized a historical time event, it was considered art. Naked models painted in a realistic setting were considered pornography content. The rejection of Luncheon on the Grass and Whistler’s, A White Girl, drew lots of complaints from the public and the French artists who supported Manet’s style. Napoleon made the decision to allow a public exhibition of the salons rejects. The event was separate from the Salon De Paris. The salon repeatedly rejected Manets paintings, yet he kept submitting paintings in the same aesthetic style. Many art historians argue Manets rejections were intentional. â€Å"Many scholars contend that Manets 1863 masterpieces Dejeuner sur l Herbe, Breakfast in the Grass and Olympia set the stage for modern evolution of modern art and the 1907 creation of Picasso’s Demoiselle D Avignon. Was this intentional? Artists and art historian Anderson believe it was, arguing that the French painter wished to challenge academic paradigms pertaining to both style and the substance of artworks submitted to the Paris Salon Jury† ( Lajos, 2005). Submission of artwork rejected over and over, and resubmission making no compromise to alter paintings to conform to academic standards indicates Manet had altered motives for submitting his work. A generous inheritance from his father allowed Manet the financial independence to break these traditional rules, and paint mainly for his own enjoyment. Of course, the reason behind repeated submissions to the salon, if any, can only be left to individual opinions. The salons refusal to accept his paintings are narrowed down to one issue; The prestigious Salon des Paris and the academy had no way of foretelling publics reactions to acceptance of art that have not been tested. It was a political risk for the salon. Through most of Manets life, he was ridiculed, criticized, received harsh psychological attacks from the public. The attitude of the people says much more about people in general than Manets paintings. People rejecting Manets paintings wrote books about his artwork. Any painting, no matter how unappealing, does not have the ability to leave the gallery and harm these people who were so angry with the paintings. People are obsessed with the things they hate. One critic wrote a book about the impressionist artists titled â€Å"In Praise of Cosmetics. † Her theory was that Manets use of color with several paintings featuring naked women reflected prostitutes. Cosmetics are viewed as artificial, something a woman uses to seduce a man. This is seldom true, but cosmetics are often viewed in this light. The salon certainly did not want to offend activists involved in women’s rights movement, who concluded Manets paintings branded women as prostitutes. The content or the objects Manet drew was found objectionable by the salon. Many of his paintings showed a woman with no clothes with two men, outdoors. This is what the public was concerned about, not the coloring content, although it was used as a reason for rejection. They did not want to bring attention or focus to the naked women. Manet could argue that art used naked women in the renaissance ages. Other analysts interpret Manets paintings as a rebellion surfacing from his discharge from the military. He is leaving no room in his interpretations through the use repeatedly criticized color, light and atmosphere, he is protesting against anything standing for tradition, military or academic. He is telling everyone he is not following the current rules for art, and has no intentions to do so, he is still going to produce paintings by his own rules. Manet could never see himself wearing his uniform through a painting. He expressed respect and admiration for the uniform, but could not actually picture himself in the uniform. Manet had respect for the salon and the academy, but just could see himself in the academy. Through the art work and relationship with the Salon des Refusal, or Salon des Paris, he was living out his life experience with the military discharge. (Wright 2004). The more the public ridiculed Manet, the more controversial his paintings became. This was intentional. After a while of being ridiculed, mocked and harassed, the target begins to do whatever it takes to kept the reactions going. If anything, they are talking about his paintings the most. Whatever people hate, is the one thing that has them enslaved. Everyone is obsessed with whatever it is they hate or despise. Salon Des Paris Biggest Change: Salon Des Paris became the center of everyone’s concerns when its opposing event, Salon Des Refuses 1863 occurred. The Salon Des Refuses received publicity because of what it did not accept. (Wynford, 1904). The Salon Des Paris had a long term relationship with Manet. In 1859, Manet sent his first painting to the salon, The Absinth Drinker, the salon rejected it. The next two paintings, a double portrait of his mother and father and the Spanish Guitar was not only accepted by the salon, but highly honored. From here on out, the Salon and Manet continuously rebelled against each other. The only other honor the Salon would give Manet was a year before his death. In 1861, the salon refused another submission by Manet; Music at the Tuileries. Music at the Tuileries was more than just another painting for Manet. He set a new trend called en plein air, which the recently rejected painting was to be a trademark or signature of Manets original painting style. (1904) En plein air, translating to, in plain air, is the standard technique used by impression artists. Impression artists are famous for painting landscapes and outdoor painting. They paint from outside the studio. The realism artists painted landscapes and outdoor paintings. They used neutral, down to earth tones, grey, shades and colors. Impressionists use colors closer to giving actual visualization of the outdoor brightness. The background of their paintings actually set the coloring, usually daylight or moonlight, overlooking the entire picture. The impression artists did not paint many small details. The impressionists painted with what they imagined the audience saw when looking at the picture at first glance. The paintings make an impression at first glance. And needless to say, en plein air painting trend broke all traditional rules of painting. Manet replaced shadows, greys, blacks and other neutral colors with bright colors. All of the space on the canvas was filled with vivid contrasting colors. The Salon des Refuses in 1863 was a one time event. In 1865, the Salon des Paris discouraging another Salon des Refuses allowed all artists to display their exhibitions. They had another surprise. Manet shocked them once again with his painting, The Olympia. The very next exhibition, the Salon nonapologetically, nonsympathetically, without much consideration refused Manets paintings. (1904) Conclusion: At the very end of Manets life and career, his artwork and contributions were accepted, and honored. Edourd Manet 1832-83) was a French artists famous for inventing the entire impression era, during his very short lived life, died at only 50 years old, he inspired historical through his art career in all aspects of the art world. Significant changes inspired by Manet influenced music, drama, theatre dance and paintings. In his brief lifetime, the impression class, the Avant-garde and Salon des Refusal became fully developed legitimate organizations when he challenged the Salon des Paris's rejection of his paintings. The Salon des Paris did rejected works to uphold a certain class of people. Educated people attracted to art look beyond the visual aspects, are taken into the storytelling of the art work to derive deeper meanings out of it. Aesthetics and Impressionism art, according to the art analyst of that time were going to attract people who take art at face value, such as viewing a nude person as porn, or some other inappropriate sexual interpretation. These types of people have little money, younger crowd and will find great humor in breaking into the gallery â€Å"just to get a naked picture. † The salon probably considered this possibility when rejecting Manets works. However, Manet would not have stood out like he does today if he did not receive continuous rejections from the Salon. Creating sexual artwork falling into grey areas is the fastest way for an artists to become famous. Famous means everyone is talking about that artists more than other artists. Many historians point to incredibly believable supporting evidence that Manet purposely seeked repeated rejections from the salon. The one time he made his mark in history, was not when he convinced Napoleon 111 to hold an exhibition of the salons rejects, but probably when he submitted a painting of the Olympia the year after the salon allowed an open exhibition, preventing another Salon des Refusal. Some professionals studying Manet and the Salon Des Refusal argue his secretive rebellion for his military discharge surfaced through his paintings. Manets works that were refused by the public and the salon worked for him. The salon could have came with any reason for continuous rejections, the technique or subject content. Manet was always seeking controversy, not every rejected painting from the salon was by accident. He created an entirely new art era, called the impressionism stage. Today, his rejected artworks hangs in the most prestigious of the art galleries.