Religious Influences on Stanley Spencers Art

Religious Influences on Stanley Spencers Art What influence did religion have on the work of Stanley Spencer and did this contribute the reference as a village innocent or avant garde genius? It is difficult to place Stanley Spencer into any of the ideological or theoretical movements of the period during which he painted his unique and deeply subjective paintings. By challenging the divinity of Christianity, and suggesting that Christianity could be seen and gathered from the everyday, Spencer challenges the hierarchy of the church, and of Christian orthodoxy in a way that was both deeply personal, and looked further toward a universality. However, Spencers views on Christianity were eccentric for the time. He believed in the last day as a time of orgiastic joy, and his views stood in sharp contradiction to the more standard and institutionalised views of Christianity being about monogamy and abstinence from sex. Thus, politically and religiously, Spencer stood in direct opposition to the religious views held in some esteem at the time, and this is shown by his explicit drawings that juxtapose sexual and religious imagery. In this sense Spencer was avant-garde, and chall enged the assumptions of the establishment in a direct and controversial way. But, also, Spencer was deeply traditional in his views. His paintings draw heavily on classical and Pre-Raphaelite traditions, which could have been seen as the result of his artistic education as a draughtsman and a traditional painter, and the subject matter of his paintings often centre around the world of the village in which he was born and raised the small home counties village of Cookham. In this essay I will look firstly at how Spencer represents his religion in his paintings, by looking at how Cookham is displayed as a metaphor for all kinds of divine and religious imagery. Secondly, I will look at Spencers opinions on sex and how this made his work controversial and seemingly avant-garde with its jarring connection with Christianity and religion in general. Thirdly, I will discuss Stanley Spencers subjectivity and interrogate whether Spencers outsider status on his contemporary art world made it possible for Stanley Spencer to fit into any easily defined genre or movement. Stanley Spencer uses a great deal of biblical imagery in his work, often with references to biblical events such as the resurrection of Christ or the last day, seen by Spencer not as a horrific world, but as a world defined and brought together by love and by sexual and orgiastic bliss. What is particularly unusual about Spencers paintings is the way in which he juxtaposes the two worlds of the everyday and the religious into a single painting the everyday world of Cookham, the village in which he was born, becomes rich with divine imagery and miraculous, religious Christian light. It could easily be suggested that Spencer was not anti-Christian, as many of his avant-garde contemporaries such as Matisse and Picasso were, but that he was almost as fervently anti-institutional. In Christ Carrying the Cross (1920), the image of Christ is jarringly juxtaposed with the bland and traditionally ordinary world of Cookham. Also, the appearance of Christ with his cross merely blends in with t he actions of other people there is another man, given equal compositional prominence as Christ, who is carrying two sets of ladders behind Jesus. The mixing together of ordinariness and extraordinariness is further highlighted by the house, where people lean out. The curtains that flap out of the windows give the appearance, but the appearance only, of wings, suggesting that the people in the house are angels. This juxtaposition could be seen as both philosophically radical Christ is rarely seen in art as an ordinary figure, or one that could be assigned ordinary characteristics and also, judging from the immediately quaint surroundings of Cookham, as inherently traditional. By using his surroundings of Cookham and by combining grandiose biblical imagery and the everyday, Stanley Spencer manages to be both a painter of the avant-garde tradition, yet also one that is firmly attached to the traditional methods of portraying biblical imagery. Kitty Hauser suggests that: Spencer has painted the curtains so that they seem like wings, transforming the figures into angels at the moment that Christ walks past. But these figures are not quite angels, any more than the curtains are angels wings. Instead, just at this moment, they are both human and divine.[1] Indeed, it is this mixture between sublime and mundane, between the everyday and the miraculous, that Spencer draws upon heavily in his uniquely personal work. In Spencers wartime paintings, the mixture between biblical and everyday are used to similar effect, suggesting to the onlooker that divinity and divine love is everywhere, so long as we have the strength to look for it. In Patient Suffering from Frostbite (1932), a large man is seen nursing a victim of the Great War: the pails carried by the ward orderly miraculously transform him into a ministering angel, as they take on the appearance of wings.[2] So, it could easily be read that, according to Spencer, the lessons to be learnt from Christianity are no t that of obedience and subservience, but are that heaven is possible in the everyday, that love and God are essential components of the reality in which we all live. In Reveille (1929), mosquito nets erected by the war workers could be easily seen as death-shrouds, angels wings or winged insects. Stanley Spencers interpretations of the paintings are also important, as his writings offer insight into the deeply subjective and personal layers of meaning which he draws upon in the paintings. He suggests that the characters on the right of Reveille are announcing the Armistice, and that the mosquito nets represent a kind of chrysalis, from which the people will emerge into a world dominated by peace and by love. According to Hauser, Spencer does this in order to show the interpenetration of heaven and earth, where ordinary objects combine and momentarily take on a numinous appearance, without losing anything of their ordinariness.[3] Thus, it is this interpenetration that, in a sense, makes Spencer extremely hard to define as an artist of that particular period. Although he took on many of the concepts of dominant post-impressionist artists (Gauguin is a stylistic influence, for instance, with his paintings of simple, round figures and the displacement of biblical themes onto a fairly ordinary world), he also pushed them further. Spencer could also be seen as being akin to Symbolism, by assigning everyday objects a greater meaning, but their actual purpose in the paintings for instance, the mosquito net is never not a mosquito net in Reveille can be interpreted as something more divine. Thus, Spencer is both a visionary in the sense that he approached, subjected and challenged the central issues of Christianity, the conflict between human and divine, but he also did so in a way that would challenge the viewer into interpreting the world around him differently. By refusing to place anything with actual divine properties into his work by simply taking Christ an d putting him in the context of an ordinary scene in Cookham; by taking the idiom of realist, war painting and organising it in such a manner that suggests biblical qualities, Spencer is in turn subverting the standard views of dominant ideologies as the avant-garde of the period sought to achieve, but also did so in a way that didnt threaten compromise his position as a British, village painter or indeed a painter of commercial landscapes that he used to make money from in order to continue painting his more artistically advanced work. In Shipbuilding on the Clyde (1946), Hauser suggests that: the various labours of welders, burners, riveters and riggers were choreographed by Spencer into a sequence of images in which the mundane tasks of the factory-worker take on an epic, almost religious aspect.[4] Indeed, the presence of the Inferno certainly can allude to Dante, and the ways in which all workers conjoin in harmony, tugging on a piece of sheet metal, suggests a certain unity i n human endeavour that, considering the nature of Spencers other work, could also arguably allude to a greater theme of universal love and harmony. In Spencers sexual period, he becomes more akin to the more controversial and challenging aspects of the avant-garde of the time, challenging assumptions about the institutions in which we live, albeit in a slightly less aggressive and extroverted manner than say, the Surrealists or the Futurists. But in his more overtly sexual (and visionary) work, he paints a unique and very idiosyncratic view of Christianity, more akin to the 1960s sexual revolution than to the traditional and stuffy world of religion and churches. Spencer failed to see how Christianity and monogamy needed to be intertwined, and believed that sexual ecstacy was a means of achieving heaven on earth. His visions of the last day were again juxtaposed onto the quaint and pastoral landscape of Cookham, and the orgiastic rites of the last day were catapulted onto the village green in Cookham. In A Village in Heaven (1937), the last day is seen as a time when all sexual and social difference will disappear and all will l ive under the world of God and of love. Everybody, people of all ages and social status engage in orgiastic bliss. All body types, ages, races, genders are combined. And the fact that it engages with religious themes makes it all the more controversial. Hauser suggests that: Spencer could not see why orthodox Christianity should be so puritanical about sex. At his most enthusiastic, he saw sex as an essential part of his religious vision.[5] Indeed, in his personal life, the bigamous relationship he indulged with both Hilda Carline and Patricia Preece got him into serious trouble with the establishment, and eventually forced him to break from the Tate Britain at the time. Sunflower and Dog Worship (1937), plays on the even more controversial themes of bestiality. Dogs lick men and men lick them back, suggesting a bestial play between the two. However, the transcendent quality of love and sex reach their metaphorical apex in Love Among the Nations (1935), as vehement an anti-war stat ement that has ever been imagined. In this painting, world leaders and people from different cultures and social groups engaged in orgies regardless of social background. Hauser suggests that: Love Among the Nations (1935) is an extraordinary image in which physical love breaks down the barriers between representatives of the nations of the world. Spencer himself is represented in the painting: two nubile half-naked Africans pull on the buttons of his tweed jacket, with amorous intent.[6] Thus his Christian vision of love transcends racial boundaries, and in turn suggest that he is not so much anti-Christian, but remains anti-institutional, in the sense that it was the structural corruption that caused war among nations, rather than the inherent flaws of humanity itself. This juxtaposes the radical view of his religion, and the uncompromising vision of religion and sex combined in his orgy scenes with his position as quaintly optimistic about human nature and about the nature of lov e that allows us to see him as an optimistic innocent caught amid religious dogma that dominates the essential message of Christianity namely that God is everywhere, and for everybody, that heaven on Earth is a possibility, and that this is to be achieved through the expression of love through sex and unrestricted copulation. Of course, this view remains controversial and radical even today, and, arguably this presents a view of Christianity more akin to Paganism than to the practically constructed versions of Christianity practised at the time and since. Stanley Spencer manages to juxtapose opposing views by presenting a vision that is so eccentric, that it is easy to regard him as an outsider in the art world. His vision of sex and religion, as placed in the everyday certainly labels him as an avant garde pioneer in some respects certainly his views were controversial at the time, especially considering his place as a villager, and the placing of his biblical narratives in the small town of Cookham. His religious views are reconciled to some extent by their idiosyncracies, and their glaring difference from orthodoxy, which may save him from any criticism regarding their political or ideological importance. Indeed, the innate subjectivity of the artists work tends to subvert the original message, as people tend to regard his paintings, and the optimistic light in which they are drawn, as harking back to the Romantic vision of the painter as recorder and of the medium of painting being more important than the actual subject matter. C ertainly, religion had an impact on the view that Spencer was a village innocent his placing of biblical scenes, along with the more conservatively executed landscapes, the dead paintings that he did for money, certainly describe the landscape of Cookham in quaint terms, and with an air of realism that other modernist painters tended to ignore. Hauser suggests that: Cosiness was what modernist painting all too often lacked.[7] Certainly, Spencers work jars with the harsh and abstract world of modernist painters, insofar as he regarded his work as layered with a certain sense of personal meaning. Gormley suggests that: Spencers position is radical. If the modernist trajectory was concerned with the development of perceptual language that, in order to be objective and finally sublime, ended up by being anonymous, he stands for the absolute subjectivity of the artist as a point of view (recorder) and a point of experience.[8] Indeed, the subjectivity of Spencer allows him to reconcil e his role as a quaint village Romantic with the more avant-garde elements of his subject matter. Spencer tended to regard form less as a means for experimentation than most modernist painters tended to. For instance, the play with texture and form as seen in other modernist artists like Picasso have no role in Stanley Spencers artwork. In fact, judging from the last unfinished piece that he produced, and the bitpiece, painting-by-numbers style with which his work was being painted, his paintings seem more architectural than singular. His Church House project, which was something he was working on as a testament to his life with God, the relationships hed drawn between sex and religion, certainly provided Spencer with the ideal blueprint with which to direct his work, even if the grandiosity of the architectural vision tended to complicate and stifle his desire to experiment. Also, his need to make money from his landscapes tended to subvert his overall vision, and thus tends to put him more in the category of low art, or popular art, as opposed to the high art of modernism, which in turn, problematizes his connection with the avant-garde, and places him more in the tradition of Romantic or quasi-Impressionist painter. Overall, Stanley Spencer was a religious painter, insofar as his works are littered with references to biblical imagery, and took heavily from the Pre-Raphaelite and the classical modes of religious painters. Of course, this conservatism would definitely place him in the Neo-Classical school far away from the avant-garde of the time, and, at best, as a competent but essentially uninspired village painter. However, what is original about the paintings of Stanley Spencer was that he provided through his paintings and his writings, an insight into his unique world view, and speculated controversially that religion and orgiastic sexual practices neednt be kept separate. Both in his actual life and in his paintings, Spencer attempted to demonstrate his vision that monogamy neednt be synonymous with God, and also that the biblical vision of God and heaven was easily attainable, and available in the everyday world. In his selection of Cookham biblical paintings, Spencer synthesises biblica l imagery with everyday imagery, and this desire to perceive the transcendental and the heavenly in the everyday was a subject that he stuck at for his entire artistic career. Hauser suggests that: Spencers early paintings of biblical subjects still have the capacity to startle and enchant, fusing mythical narratives with specific and apparently unremarkable locations. [] This concatenation of biblical and local produces some strange effects.[9] Indeed it is this mixture, done in a subtle, rather than an ostentatious and baroque fashion, that makes Spencer unique, and it is his blending of normal events with divine events that gives these works their redemptive power. However, Spencers opinions on Christianity are fairly unorthodox, if not completely unique, and it is this uniquely religious angle that allows us to entertain certain notions that Spencer was avant-garde, and revolutionary. Certainly, Spencer failed to fit into any other genre or category of painter around at the time , and his seclusion as an artist, away from the establishment, certainly allowed him to entertain his highly subjective vision as an artist. Structurally, Spencers work remains quite conservative, and his later work especially reflects this conservatism, as he worked exclusively to construct The Church House. His work during the 1950s loses the intensity and the warmth of his previous work, and certainly there was an element whereby Spencer was simply painting by numbers rather than generating pieces based on actual inspiration or the desire to experiment. So, it is definitely the controversial religious content that tends to mark him as an avant-garde pioneer, but it is much. Certainly, to Spencer, Cookham and biblical imagery are interlaced, but it would be difficult to see his controversial religious views being popularly held in the small, conservative home county village where he drew inspiration for his work. Certainly, the village and the divine are intertwined in Spencers wo rk, and, arguably the rural quaintness of his free love concepts have granted his work a fresh popularity in later years. Although it is easy to see the avant-garde concepts behind his work, it is more difficult to reconcile the effects of religion on the notion that Spencer was a village innocent certainly, his sexual paintings of village green orgies seem anything but what is traditionally held as innocent. Bibliography Hauser, K., Stanley Spencer, Tate Publishing, London: 2001 MacCarthy, F., Stanley Spencer: An English Vision, Yale University Press, Washington DC: 1997 Tate Gallery Liverpool, Stanley Spencer: A Sort of Heaven, Tate Gallery, Liverpool: 1992 1 Footnotes [1] Hauser. K., Stanley Spencer, Tate Publishing, London: 2001, pp. 35-6 [2] ibid. p. 66 [3] ibid. [4] ibid. p. 69 [5] ibid. p. 44 [6] ibid. p. 50 [7] ibid. p. 29 [8] Gormley, A., Cookhams Present, from Stanley Spencer: A Sort of Heaven, Tate Gallery, London: 1992, p. 7 [9] Hausen K., p. 33

“Student Involvement in Quality Enhancement in Higher Education”

Paper on the Topic Of â€Å"Student Involvement in Quality Enhancement in Higher Education† Prof. S. B. Vanjari ABSTRACT This Paper has been conducted the study of student’s participation in improving and maintaining the quality of education in higher education. The paper shows that student's participation in Quality enhancement plays very important role in enhancement in the standardization of the institution education at higher level. That role also important for planning, organization, communication, co-ordination and evaluation seemed to be an average level. Introduction and BackgroundHigher education and training institutions and quality assurance agencies operating in India are required to establish quality assurance procedures for the purposes of further improving and maintaining the quality of education and training which is provided by higher education and training institutions. The involvement of students in the established quality assurance procedures is an e ssential element of such procedures. The requirement to involve students in quality assurance activities relating to programs and awards is further stated in the Standards and Guidelines for Quality Assurance in the indian Higher Education Area.Institutional and agency quality reviews which have taken place in higher education and training institutions over recent years have considered the issue of student involvement in quality assurance procedures. While such reviews have found that students are involved in most quality reviews undertaken in the Indian higher education system, the limited extent of student involvement at all stages of quality assurance procedures has been noted. A number of reports have recommended that Indian institutions need to ensure that students have the pportunity to provide regular feedback on all modules, programs and services, that student bodies and students in general become progressively more aware of quality review processes and that they are involve d systematically in quality assurance and enhancement initiatives. Common Principles for Student Involvement in Quality Enhancement Internal quality assurance: Quality Assurance Policy ? The institution enshrines the value of student participation in quality assurance activities at module, program, unit, department, college, faculty and institution level. The policy, associated procedures and calendar for reviews have formal status and are publicly available, actively communicated and known within the institution. ? The institution designs its student representation system to provide opportunities for student engagement in decision-making and quality management arrangements. These opportunities are enshrined and clearly set out in a Enhancement Handbook, Student Handbook or equivalent document and are actively communicated. As part of the institution’s development and implementation of a strategy for the continuous enhancement of quality, a policy and associated procedures fo r the assurance of the quality and standards of their program and awards have been established, setting out a role for students as partners in quality assurance. ? Common Principles for Student Involvement in Quality Assurance/Quality Enhancement Quality Assurance Procedures ? Students are represented at all fora that contribute to quality processes at the institution. ? In addition to formal feedback, informal feedback should also be sought and captured (e. g. eedback from individuals, focus groups etc. ) ? Students participate in internal quality reviews at module, program, unit, department, college, faculty and institution level as appropriate. Student Feedback on Modules, Program and Services ? Coherent and systematic student feedback mechanisms are in place for all modules, program and services. ? Student feedback on modules, program and services is analysed and such feedback is an explicit input to the quality assurance process at the institution. ? Outcomes of student feedbac k are reported back to students along with an action plan to address any issues raised.External quality assurance: External Quality Reviews ? Students are invited to participate in external quality reviews to ensure that the review covers issues of primary concern to learners. ? The external panel of experts includes an individual who represents a learner perspective. Principles for the involvement of students in reviews of quality assurance agencies ? Students and/or student representative bodies are invited to participate in the key stages of reviews of quality assurance agencies. ? The external panel of experts includes persons with a learner perspective. Common Principles for Student Involvement in Quality EnhancementSelection, training and recognition of students involved in Internal, External and Agency Quality Reviews ? The institution and quality assurance agencies work in partnership with student representative bodies to: ? Set out criteria for selecting students to partici pate in quality reviews. The criteria are clearly articulated and made publicly available. ? Put in place a transparent and fair process for selecting students. ? Provide appropriate training and support for students selected to participate in reviews. ? Recognize participation of students in quality assurance activities. Conclusion:Student participation plays a very vital role in quality enhancement of higher education level. Proper planning should be design for the student participation in an all student concern activities in the institution. Then it will become strength of institution as well as higher education REFERENCES:- http://www. iheqn. ie/standards/default. asp Arunkumar, R. Sharma. (2001). Financial management . Atlantic publications. Best, J. W & Khan, JV (1983)7th edition. Education Research an Introduction Newark, Longman N. C. T. E (1978) ‘Teacher education curriculum' a frame work, New Delhi:NCERT.

Narrative of Quinceanera - 910 Words

From a Little Girl to A Young Woman Linda Rosario English 1A Professor Abra Mcdowell July 14, 2010 From a Little Girl to a Young Woman . The day of my Quinceanera started early. I had just turned 15 and it was the birthday I had always dreamed of. I was always a dama in other Quinceanera’s, but now it was time for my own celebration. In Mexican culture, a dama is just like a bridesmaid. I had 14 of my closest friends as my dama’s to be a part of my â€Å"court of honor†. All 14 girls wore beautiful hot pink dresses and had polished hairstyles. The girls looked like beautiful dolls. When my mother was a little girl she had two Quinceanera’s. One celebration took place in Mexico and the other here in California. Looking back at my†¦show more content†¦Somehow, I managed to keep a smile on my face as if I had no fears. The ceremony included Bible verses and singing. I received six gifts from my aunts and uncles: a Bible, a bouquet of flowers, a ring, a bracelet, a rosary and a tiara. Each of them was blessed by the father. Each gift I received held a meaning: closeness with fa mily and with God, and the passage to womanhood. Later that day, the celebration continued with a party at Eagles Banquet Hall. As the festivities started, I was so happy about the night to come. My court of honor was introduced as they led me into the celebration. We started out the night by performing a traditional Quinceanera march. It was a choreographed routine that we practiced for five months leading up to that day. My father came out with tears in his eyes and softly removed my ballerina slippers from my feet and replaced them with a pair of woman’s heels. With tears in his eyes, he grasped and hugged me so tight it was as if he didn’t want to let me go. My father and I started to dance the traditional father daughter dance. As the song was coming to the end, my father whispered in my ear, â€Å" You’re a beautiful young woman, but you will always be my baby girl.† At that moment, tears filled my eyes and I realized how much love my father had for me. I will always remember that moment for the rest of my life. My birthday was celebrated with a wedding style cake and 15 candles marking my age. It was 15 different tiers with 5Show MoreRelatedWomen Empowerment : Cisneros s Woman Hollering Creek942 Words   |  4 PagesWOMEN EMPOWERMENT Cisneros’s â€Å"Woman Hollering Creek† The lion s share of Woman Hollering Creek is described in the third-individual omniscient voice. The narrative voice that depicts Cleofilas life in Mexico, her dad and siblings, the ladies companions With whom she tattled in her town, talks in longer more melodious sentences than the story voice that portrays her life and musings in Seguin, Texas. The opening sentence peruses: The day Don Serafin gave Juan Pedro Martinez Sanchez consent to

Alien Registration Records

Alien registration records are an excellent source of family history information on U.S. immigrants who were not naturalized citizens. Record Type Immigration/Citizenship Location United States Time Period 1917 to 1918 and 1940 to 1944 Alien Registration Records Aliens (non-citizen residents) living in the United States were asked during two different historical periods to register with the U.S. Government. World War I Alien Registration Records Following the beginning of United States involvement in World War I, all resident aliens who had not been naturalized were required, as a security measure, to register with the U.S. Marshal nearest their place of residence. A failure to register risked internment or possible deportation. This registration occurred between November 1917 and April 1918. WWII Alien Registration Records, 1940-1944 The Alien Registration Act of 1940 (also known as the Smith Act) required the fingerprinting and registration of any alienage 14 and older living within or entering the United States. These records were completed from August 1, 1940, to March 31, 1944, and document over 5 million non-citizen residents of the United States during this period. Learning From Alien Registration Records 1917-1918: The following information was generally collected: Full name (including maiden name for females)Current residence and length of residencePlace of birthSpouse’s name and residenceChildren’s names, sex, and years of birthParents’ names (including maiden name for mother), birthdates, and birthplacesNames, dates of birth, and current residence of siblingsWhether any male relatives serving in the military for/against USWhether registered for selective draftPrevious military or government serviceDate of immigration, name of vessel and port of arrivalWhether naturalized in another countryWhether reported/registered with a consul since 1 June 1914Whether applied for naturalization or took out first papers; if yes, when and whereWhether ever taken an oath of allegiance other than to the United StatesWhether ever arrested or detained on any chargeWhether held a permit to enter a forbidden areaSignaturePhotographDescription of registrantFull set of fingerprints 1940-1944: The two-page Alien Registration Form (AR-2) asked for the following information: NameName at time of entry to the USOther names usedAddressDate and place of birthCitizenship/NationalityGenderMarital statusRaceHeight WeightHair Eye ColorDate, port, vessel, and class of admission of last arrival in USDate of the first arrival in USNumber of years in the USUsual occupationPresent occupationName, address, and business of present employerMembership in clubs, organizations or societiesDates and nature of military or naval serviceWhether citizenship papers were filed and if so the date, place, and courtNumber of relatives living in the USArrest record, including date, place, and dispositionWhether or not affiliated with a foreign governmentSignatureFingerprintNot all registrants provided all information. Where To Get Alien Registration Records WWI Alien Registration files are scattered, and the majority are no longer extant. Existing files can often be found in state archives and similar repositories. Existing WWI alien registration records for Kansas; Phoenix, Arizona (partial); and St. Paul, Minnesota can be searched online. Other alien registration records are available in offline repositories, such as the 1918 Minnesota Alien Registration records at the Iron Range Research Center in Chisholm, MN. Check with your local or state genealogical society to learn what WWI alien registration records might be available for your area of interest. WWII Alien Registration (AR-2) files are available on microfilm from U.S. Citizenship and Immigration Services (USCIS) and can be obtained through a Genealogy Immigration Records Request. Unless you have the actual alien registration number from an alien registration card in your familys possession, or from a passenger list or naturalization document, you will want to begin by requesting a Genealogy Index Search. Important Alien Registration Forms AR-2 are only available for A-numbers 1 million to 5 980 116, A6 100 000 to 6 132 126, A7 000 000 to 7 043 999, and A7 500 000 to 7 759 142. If the subject of your request was born less than 100 years before the date of your request, you are generally required to provide documentary proof of death with your request. This might include a death certificate, a printed obituary, a photograph of the tombstone, or other document demonstrating that the subject of your request is deceased. Please submit copies of these documents, not originals, as they will not be returned. Cost Alien registration records (AR-2 forms) requested from USCIS cost $20.00, including shipping and photocopies. A genealogy index search is an additional $20.00. Please check the USCIS Genealogy Program for the most current pricing information. What to Expect No two Alien Registration Records are alike, nor are specific answers or documents guaranteed to be in each case file. Not all aliens answered every question. The turn-around time to receive these records averages about three to five months, so prepare to be patient.

Gene Therapy And Human Genetic Engineering - 1646 Words

â€Å"Although we are all members of a single species, we differ from one another in such visible traits as the color of our skin and the shape of our noses, and in biochemical factors such as our blood types and our susceptibility to certain diseases† (Sheridan College Institute of Technology and Advanced Learning, 2013, p. 34). To understand human physical development and evolution one has to understand biological anthropology as the focus on humans as biological organisms. Biological anthropologist conduct research, and form techniques of modern molecular biology to learn about human variation and how it relates to different environment humans lived in as well as their conditions. Genetics is the study of heredity and variation in living organisms. biological Anthropology looks at how biological traits from one generation to the next get passed along. The article describes gene therapy and human genetic engineering as an evolution indicating that by allowing tools such as gene therapy we underestimate the amount of influence it may have on our species. The gene therapy has helped human species develop and understand more about viruses and and certain diseases that have developed and evolved throughout evolution. Genetics also helps understand what humans have in common and what distinctive from other species. â€Å"Biological adaptations is the process in which humans, as both individuals and groups, develop biological characteristics that relate to environmental conditions†Show MoreRelatedGenetic Engineering : Designer Babies1687 Words   |  7 PagesBackground History Genetic engineering is the modification of the genes to be able to change the characteristics of the person. â€Å"Designer babies† is when the parents choose the genetic information of the child, while in embryo. The genetic engineering will occur hand in hand with in vitro fertilization. For â€Å"designer babies† to actually be created, the parents need a donor with the genes the parents want inserted in their child. Whereas, genetic therapy is the changing of the person’s genes after they haveRead MoreThe Benefits of Genetic Engineering Essay1459 Words   |  6 Pagesanother controversy broke out, do humans have the right to make life? Most of the concern comes from the fear of control over the production and development of human beings. But, those who are against cloning would most likely look the other way if they needed gene therapy after receiving a grim diagnosis. There are many aspects of genetic engineering and to thoroughly understand it looking int o each is absolutely necessary. In order to understand genetic engineering, the key terms in this controversyRead MoreGenetic Engineering Research Paper1341 Words   |  6 Pagesto mix and match characteristics among unrelated creatures by moving genes from one creature to another. This is called â€Å"genetic engineering.† Genetic Engineering is prematurely applied to food production. There are estimates that food output must increase by 60 percent over the next 25 years to keep up with demand. Thus, the result of scientist genetically altering plants for more consumption. The two most common methods for gene transfer are biological and electromechanical. â€Å"Early experiments allRead MoreGenetic Engineering : Technology, Equipment, And Experimentation Essay1678 Words   |  7 Pagesindividual. This process is known as genetic engineering. The aim of genetic engineering is to add new genes that have not been found in the individual. This could involve changing a base pa ir A-T or C-G in the DNA. In order to do this, scientists need to alter an existing gene in an organism s genome to make it express at a higher level. The genome is the full set of DNA, including all of the genes that the organism originally has. Each genome contains genetic information needed in order to createRead MoreGenetic Engineering : A New Technology1311 Words   |  6 PagesGenetic Engineering Genetic engineering is a new technology that is not utilized to its full potential. Often called modern biotechnology, genetic engineering can bring humanity into a better medical and agricultural age. Genetic engineering is an important scientific breakthrough because by altering DNA, scientists can improve food, create organs for transplant, and prevent certain diseases and birth defects. The field of genetic engineering has developed very quickly due to the greater understandingRead More Genetic Engineering: Our Key to a Better World Essay1128 Words   |  5 Pages What is genetic engineering one might ask and why is there so much moral controversy surrounding the topic? Genetic engineering as defined by Pete Moore, is the name given to a wide variety of techniques that have one thing in common: they all allow the biologist to take a gene from one cell and insert it into another (SS1). Such techniques included in genetic engineering (both good and bad) are, genetic screening both during the fetal stage and later in life, gene therapy, sex selectionRead MoreGene Therapy : An Experimental Stage1252 Words   |  6 Pagescliche seen throughout modern day society, new advancements of science might be proving otherwise. Gene therapy is a new technique that allows physicians to alter one’s genetic code, effectively treating and preventing disease. Though still in an experimental stage, gene therapy has been successful in treating a variety of diseases including cancer and neurodegenerative disorders. The benefits of gene therapy are clear to the scientific community, while the limits to place on the practice are ambiguousRead MoreEssay about The Human Genome Project1274 Words   |  6 Pagesâ€Å"Genetic engineering is, at best, a debatable branch of science. For some, it is the wave of the future: a method for perfecting the human genome, discarding flaws from infants before they are born and ensuring they live longer, healthier lives. For others, it is an abomination: a method of circumventing what nature gave you, and wholly unnatural. Which one is right?† (Bird). Naturally, genetics is the scientific study of inherited variations in the DNA strand. This topic sparked curiosity amongRead MoreGenetic Engineering: Brave New World1012 Words   |  5 PagesGenetic engineering has been around for many years and is widely used all over the planet. Many people don’t realize that genetic engineering is part of their daily lives and diet. Today, almost 70 percent of processed foods from a grocery store were genetically engineered. Genetic engineering can be in plants, foods, animals, and even humans. Although debates about genetic engineering still exist, many people have accepted due to the health benefits of gene therapy. The lack of knowledge has alwaysRead MoreHow Genetic Engineering Should Not Be Researched For Ethical Reasons1452 Words   |  6 PagesJoshua Romo Mrs. Ford English 6 29 January 2015 Changing Genes Jim s mother stared into her son s eyes, grasping her husband s hand tightly as the doctor delivered the life-changing news. All the mother wanted was for Jim to be normal, but as the doctor explained the boy’s condition, she began to fear he may not be normal after all. The son was diagnosed with Sickle Cell Anemia, a genetic disorder that affects the shape of red blood cells. Without treatment, Jim would have a high chance of dying

Frankenstein- a Victim of Society Free Essays

â€Å"If you judge people, you have no time to love them. † -Mother Teresa In the novel, Frankenstein, the monster does not belong in society because of many factors, but if the monster was created in present time, he would still be criticized by society. Today, people are judged by humanity the same way they were in the past. We will write a custom essay sample on Frankenstein- a Victim of Society or any similar topic only for you Order Now Even as the world is drastically changing, society remains the same. The monster in Frankenstein does not suit society primarily because of his appearance, but also because he has no friends or family to guide him into becoming accepted. Victor Frankenstein unintentionally creates a monster while trying to establish an elixir of life. When the monster is brought to life, Victor initially sees him as beautiful, but then the sight of him became sickening and repulsive. Victor says, â€Å"His limbs were in proportion, and I had selected his features as beautiful†¦ the beauty of the dream vanished, and the breathless horror and disgust filled my heart† (56). Victor is the only family the monster has. He is the father and creator of this being but cannot fathom the idea of his creation. Victor has nightmares about the monster and becomes extremely ill over his invention. Victor rejects the monster, leaving him to go out and discover the world on his own. â€Å"I sought to avoid the wretch whom I feared every turning of the street would present to my view†¦ My heart palpitated with the sickness of fear. †(58) This is the first indication of how the rest of society will treat the monster. The monster’s appearance is the main reason he is not approved by society. I had hardly placed my foot within the door before the children shrieked, and one woman fainted†¦ some fled, some attacked me†¦Ã¢â‚¬  (101). The monster has no inclination as to why the village reacts this way until he sees a reflection of himself. He even describes himself as repulsive in appearance. The monster began to observe the De Lacey family. They have exactly what he wants: relationships full of love and kindness which symbolize acceptance. He longs for a companion to tal k to and enjoy life with. After a couple of months, he realizes the family is poor. He begins to help by cutting and collecting wood for them, but he stays out of sight. He does this so they will realize that he is a good person and not just a horrifying monster. After discovering that the father is blind, he prepares a plan to gain himself a place in society. One day, when the rest of the family is gone, the monster goes into the De Lacey home to socialize with the father. He succeeds in developing a short relationship, but as soon as the family returns they are frightened and attack him, without allowing the monster to explain anything about his existence. Even the loving and caring family that he has done so much for does not accept him, solely because of his appearance. â€Å"He [Felix] dashed me to the ground and struck me violently with a stick† (129). Society today is much the same as it was in the past. People have trouble finding acceptance because of the color of their skin, the clothes they wear, or the language they speak. If the monster was created today, he would have the same amount of difficulties finding acceptance as he did during the time period of Frankenstein. In the article, â€Å"Political and Cultural Cross-Dressingâ€Å", Flavio Risech talks about how different countries each demand a different way of presenting oneself. Risech is a Cuban that crossed the border to live in the United States. The cultures are extremely different between the two. He has to change his appearance to try to fit in because the Cubans do not believe he is Cuban based on his skin color, apparel, and behavior. â€Å"It is the combination of the complexion, the clothing, and the foreigner’s demeanor which triggers the Cubans’ perception of me as other† (432). In Cuba, accents assist in characterizing a person as Cuban, but Risech is also told that he does not speak with a Cuban accent. â€Å"Then an acquaintance in Havana tells me I speak Spanish with a Puerto Rican accent† (432). Risech is incapable of finding acceptance in his native land, even though he knows he belongs. In the article, â€Å"From Outside, Inâ€Å", Barbara Mellix explains how language in African American culture helps define a person. When she is with her kinfolk she must use improper English so the rest of her family can understand. With friends or relatives, that are less close, she speaks a mixture of proper and improper English. In public and among strangers, proper English is the requirement. â€Å"There were implicit and explicit principles that guided our way of life and shaped our relationships with one another and the people outside† (390). Both of these articles are perfect representations of how the monster would fit into society today. The monster struggles with acceptance because of his appearance and inability to explain himself. Risech has trouble fitting in because of his disposition and accent, and Mellix has to be conscious about the way she speaks around certain people to be sure she is welcome in each group. Frankenstein, â€Å"Political and Cultural Cross-Dressingâ€Å", and â€Å"From Outside, In† represent how society â€Å"judges a book by its cover†, both today and in the past. The monster is inadequate for humankind because of his looks, which causes him to have no companions to cure his inexplicable pain of loneliness. â€Å"In the end, people should be judged by their actions, since in the end, it was actions that defined everyone. † -Nicholas Sparks How to cite Frankenstein- a Victim of Society, Essay examples

Impact of Europeans on Native Americans free essay sample

Change in a New World Like many countries who have been invaded by a foreign power, Native Americans are also regarded to have been subjected to significant change. When the Europeans first arrived in the late 1400s, they brought with them the intent of not only exploring to find India, but also to find gold and much more wealth. The Europeans made a mistake in their navigation causing them not to arrive in India, but rather what they referred to as the New World. The Europeans had stumbled upon the Native Peoples that occupied that place. The Native Peoples were soon to become verpowered and eventually become slaves of the Europeans. With the Europeans now being part of the Native world, they eventually left a significant impact, an impact that affected them influentially, ethnocentrically, and population-wise. One of the ways the Europeans left a cultural impact on the Native Americans is that they decreased the population significantly. We will write a custom essay sample on Impact of Europeans on Native Americans or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page One of the ways that the Europeans decreased the Native population was through the spread of foreign diseases. Some of the diseases they spread were small pox, influenza, and measles. The Native Americans had no immunity whatsoever when those diseases plagued them so it lead to terrible suffering then eventually death. Another cause in the decrease in the Native Peoples population was the displacement of many Native Americans. An example of displacement would be the Indian Removal Act of 1830. Although this event took place a while after Europeans the arrived in the New World, it was still influenced later on after the colonizing of America. This led to the killing of many Native Americans in similar events that took place if they were not compliant with ew laws that were implemented after the colonizing of America. These are Just some of the ways on how the Europeans left a cultural impact by decreasing the Native population. On a much more psychological aspect of European impact on the Native Peoples was through ethnocentrism. The meaning of ethnocentrism is Judging another cultures values based on ones understanding. The Europeans use of ethnocentrism led to one of the greatest misconceptions today: the use of the word Indian. When the Europeans arrived and saw the Natives, they called them Indians. We already know that this was known to be historically incorrect, but the term was used so frequently, mostly everyone start to say it. It was used passively so much out of context, that even the Native Americans started to refer to themselves as Indian. This also led to why so many people today call Native Americans, Indi ans. Another aspect of ethnocentrism came from the Native Peoples themselves. The Europeans had once asked the Hopi, what a certain tribe was called. The Hopi had referred to that tribe as Navajo, or thieves, a Hopi term. The Europeans began calling that tribe Navajo as well. Again, the term was used so often, that eventually, the tribe started to call themselves Navajo, even though that was not what they called themselves. Later, all the tribes were given names, calling themselves by those names, then having all the other tribes doing the exact same thing. These are a few example of how Europeans also had cultural influences on the Native Americans. One of the cultural influences on the Native Americans was based on religion. The Europeans ecided that they wanted the Native Americans to be taught about religion through the use of the bible, which the Natives had not have heard of before, so they began to teach the Native Americans about their religion. Some of the Native Americans began to take interest so when they learned, they would pass on the teachings to the other Natives. Another influence of Europeans was through the use of assimilation. The Europeans noted down the Natives were savages, but once they had started to act like civilized people they called those Noble Savages. This happened because the Native Americans took it upon themselves to start behaving like the Europeans did, and took up many European styles like when it came to clothing. These are Just some examples of European influences on their culture. Ultimately, Europeans left a very significant impact on the Native American culture. Because of the European invasion on the Native land, Native Americans began to change their traditional ways for interest and or compliance. These impacts started to leave an impact that America-today, would also be part of.