Dutch and Aussies Formalise Visa Arrangement

It was 400 years ago that Dutch sailors first sighted Australian shores but left deterred by our rough exterior.

Today, however, rugged Australia appeals to the citizens of the Netherlands greatly. And just this year the spirit of a Dutchman-led Socceroos captured the attention of the world during their most successful World Cup campaign.

Arrangements between Australia and Netherlands that allow thousands of young Australian and Dutch holiday makers to work in each others countries were formalised at a ceremony today.

Australias Minister for Immigration and Multicultural Affairs, Amanda Vanstone, announced that the Ambassador for the Kingdom of the Netherlands and her depArtment had signed a Memorandum of Understanding celebrating 25 years of working holiday arrangements between Australia and the Netherlands .

The arrangement with the Netherlands is a win-win for young people from both our countries, Senator Vanstone said.

The boost provided to the Australian economy by young Dutch travellers is welcomed by both our tourism sector and employers.

Senator Vanstone said it was also appropriate that the MOU was signed during the 400 th anniversary of first contact between Australia and the Netherlands .

The Ambassador for the Kingdom of Netherlands, His Excellency Niek van Zutphen also praised the arrangements.

In this year of bilateral celebrations, it is very fitting that we try to encourage even more young people to visit each others countries, Ambassador van Zutphen said.

This will ensure that our strong bilateral relations will continue in the future,

The Netherlands is the third largest source of European short-term visitors to Australia. Each year about 60,000 Dutch tourists and 3,000 young Dutch working holiday makers visit Australia.

The Working Holiday Programme allows young people (aged from 18 to 30 years) from pArticipating countries to travel and experience different lifestyles and cultures and to work to subsidise their holiday.

- DepArtment of Immigration and Multicultural Affairs

Web site: http://www.nationalvisas.com.au
E-mail: webmaster@nationalvisas.com.au

Author:: Ryan Rebutica
Keywords:: australia travel,australia vacation,australia tourism,australian immigration,australia visa
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The Color Purple the Color of Race and Gender

The Color Purple deals with the blacks, females, and the poor rural population in the South during the beginning of the twentieth century .

The character of Celie is central to the female network; through Celie Walker has aimed to present a process of emancipation of a woman, body and soul, from the domination of men.

The novel is written in the form of letters. In using the epistolary style Walker is able to have her major character Celie express the impact of oppression on her spirit as well as her growing internal strength and final victory. This novel spans two generations of one poor rural black family , interweaving the personal with the flow of history; and the image of quilting is central to its concept and form. But in the Color Purple, the emphases are the oppression black woman experience in there relationships with black men (fathers, brothers, husbands, lovers) and the sisterhood they must share with each other in order to liberate themselves. As an image for these themes two sisters, Celie and Nettie, are the novel's focal characters. Their letters, Celie's to God, Nettie's to Celie and finally Celie's to Nettie, are the novel's form.

When Nettie escapes from her stepfather she comes to live with Celie and Albert. Because she rebukes Albert's amorous attentions, however she is forced to leave, and is not heard from for many years. Celie later discovers that Albert has been intercepting Nettie's letters from Africa where she has gone with a missionary couple, Samuel and Corrine who have adopted Celie's two children. Albert's unsuccessful attempts to expropriate or conceal Nettie's letters suggest again, Walker's intention to subvert male efforts to suppress black woman in life as well as letters. Over and over again , Celie accepts abuse and victimisation. When Harpo asks her what to do to control his wife Sofia, Celie, having internalised the principle of male domination, answers.

When Celie next sees Ha rpo, 'His face is a mess of bruises'. Sofia , then, becomes Celie's first model of resistance to sexual, and later, racial subjugation. Cheeky and rebellious Sofia is described as an 'amazon of a woman'. She scorns rigid Gender definitions and prefers fixing the leaky roof to fixing the evening dinner. Moreover as Harpo quickly learns , Sofia gives as good as she takes. 'All my life I had to fight,' Sofia explains to Celie, ' I had to fight my daddy. I had to fight brothers. I had to fight my cousins and my uncles. A girl child ain't safe in a family of men.' Not only does Sofia resist Harpo's attempts to impose submission, she is also jailed for 'sassing' the mayor's wife and knocking the mayor down when he slaps her for impudence.

Each of these relationships, however, forms the part of a vaster net work of communal relationships in which female bonding is the dominant connecting link. Challenging the hierarchal power relations exercised between men and women (and by implication, whites and blacks) are the relationships among the women based on co-operation and mutuality. Women share the children, the labor, and at times, the men. Ultimately it is the female bonding which restores the women to a sense of completeness and independence. The relationship between Celie and Shug, on the one hand, and between Celie and Nettie, on the other, exemplify the power and potential of this bonding.

Mary Anne has been writing for custom essay writing service for 5 years.You can ask her about college esays or dissertation writing service.

Author:: Mary Anne Winslow
Keywords:: Color, Purple, Race, Gender< /a>
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The United States is the Greatest Nation in Human History

Believe it or not there are actually some people in the world who do not believe that the United States is the greatest nation in human history. In fact, the other day I was challenged on this issue in an online Debate. The nice Arab lady who lives in Michigan said the United States was not the greatest nation and that there are greater nations in the Middle East. Well, it is nice to see that people who have come from other nations to live the United States of America see positive attributes of those places where they were born.

However, the United States of America is the greatest nation in human history and that cannot be Debated. When asked to explain this to the nice Arab lady who was busy criticizing the Bush administration and our nation I stated;

Well, our GDP is over 5 times second thru fifth place nations combined. Our Military is 10 times second place. Our middle class is 20 times second place. Our water is one of the cleanest. We have the most abundant resources, cleanest environment. Best chances for opportunity and upward mobility, etc.

Then I had to ask the nice Arab lady; Why do you ask? Have you encapsulated yourself in an enclosed environment and not gone around the country to see it? Well, I have and I have been to every city in the Nation over 10,000 population; so, I know. Anyone who purports otherwise is incorrect and has a skewed view on the world due to selective reading and media viewing. Consider this a 2006.

Lance Winslow

Author:: Lance Winslow
Keywords:: The United States is the Greatest Nation, Human History, arab lady, Debate
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Shakespeare's Art: Understanding 'King Lear'

Students of Shakespeare have spent a very great deal of time debating the meanings of Othello, King Lear, and Macbeth. The wealth of criticism of any one of his plays can be overwhelming to the casual student. I cite my own experience as a high school student struggling to write credible criticism of King Lear whilst juggling History, German, and General Studies reading and assignments. Students benefit from guidance concerning what it is best; at the very least to make best use of the time they have, opting perhaps to read the very best sources only.

Now Language, spoke or written, is entirely a reflection of individual experience. We speak and write words we have picked up, first from whom ever taught use to speak; later from those we talk to and from those books which we have read. Consciousl y or unconsciously, directly or indirectly, we also use Language to speak and write about our experiences.

Fiction writers use Language, no way in exception to this rule. However many planes they may have crossed using their imagination and knowledge, their fiction will be the product of their experiences. It is important then, for students of Literature to learn about a writers experiences how they lived, and what they read being the two points of focus in any such study of a writer. Secondary to reading the text apart from knowledge of the writer to consider Language in the abstract, it is necessary for students, searching for meaning, to consider texts with knowledge of their writers.

Considering fiction writers sources is a practice never more crucial than when studying Shakespeares plays. Firstly, it is a relatively easy exercise (and therefore good practice), as none of Shakespeares plays are entirely original. Secondly, it is important for most students studying Shakespeare to express their own opinions about the texts. Examiners, certainly of A-Levels, (so I am told), are interested in the thoughts of the candidate, and therefore do not look favorably on regurgitated criticism from leading Shakespeare scholars. Thirdly, knowing something of Shakespeare likely sources is immensely useful at opening paths to substantiated judgments on meaning; it can lead to a whole new level of understanding, from which it is even easier to appreciate bards genius.

The discourse to follow on Shakespeares sources for three of his best known tragedies is, I admit, a regurgitation of my last three years of studying English. I decided that treading familiar ground was most prudent at this stage in the life of Arguendo. I hope to build my own confidence as a writer, as I build your confidence as a reader. Not withstanding that these three tragedies are amongst Shakespeares most thought provoking plays, I hope that this essay will indeed provided knowledge to add to you enjoyment of them.

One of the problems or, depending on your perspective, one of the advantages of studying Shakespeare, is that relatively little is known about his life. In particular, scholars are uncertain when he wrote the majority of his plays and sonnets, which leaves, potentially, a substantial gap between Shakespeares intended meaning and our own understanding of his work.

The best estimates for the dates that he wrote span several years. He must have written Macbeth sometime between 1603, the ascension of James I, and the first known performance of the play in 1611; King Lear within three years of the first court performance on December 1, 1606; according to a note in the First Quarto edition of 1608. Othello was written about two years before it was performed, apparently for the first time, by the Kings Men in the Banqueting house at Whitehall on November 1, 1604.

The approximate dates for the production of Shakespeares plays, scholars have largely derived from the apparent contextual details in the plays themselves. It is possible, then to consider and to use these dates in arguments about Shakespeares meaning. Context is an important source for many writers.

Shakespeares Context

this place is too cold for hell. --(Mac.2.3.13-14)

What can you say to draw a third more opulent than your sisters? --(Lr.1.1.80-81)

My blood begins my safer guides to rule, And passion having my best judgment collied, Assays to lead the way. --(Oth.2.3.186-188)

These three quotations have meaning set in the context of Shakespeares time. This higher level of meaning it is important to know something of the ideas and beliefs of Shakespeares England; not surprisingly, it is most important to be aware of the religious beliefs of the time. Perhaps the most fundamental of these was that the king was appointed by god; ruled with divine right. In France the belief in the divinity of the monarchy extended so far that the kings touch was believed to cure illness. In England, the theory of divine right was no less prevalent: Elizabethan propaganda emphasized the relationship between the monarch and the land. James I was, moreover, quite obsessed with the theory of Divine Right: hence one of the central themes of Shakespeares plays, written at about the time of Jamess ascension, is about the monarchs relationship with the land, about who has t he right to rule.

The Porter grumbles about the knocking at the gate: if a man were the porter of hells gate, he should have old turning the key. He asks: whos there in the Devils namein thother Devils name? and then declares But this place is too cold for hell. These comments are all ironic, as the audience must realize, given what has taken place in Macbeths castle. The Porter has become the keeper of hells gate, as he is the keeper of Macbeths castle. Macbeth is not only guilty of regicide, he is guilty of murdering a kinsman, as all Scottish thanes were relatives of the king. Shakespeare is ironic when he has the Porter say it is too cold to be Hell. The ninth circle of hell was reserved for those who betrayed their kinsmen. The guilty were frozen in ice for eternity as punishment for their crime.

After King Duncan is murdered (Mac.2.2) it is no coincidence that Shakespeare has characters in this scene, Macduff and Lennox, discuss the weather in the next scen e: the unruly night that has just passed. Shakespeare creates the impression that there were dark forces at work through mention of strange screams of death, and prophesying with accents terrible, of dire combustion and confused events. The weather is symbolic: because the king is murdered, Gods chosen is murdered, according to the theory of Divine Right, there is disorder in the kingdom; represented here by a storm. After renouncing his authority formerly King Lear finds that his kingship has truly been usurped by his daughters (Lr.3.2). He finds himself going slowly mad, in a storm, which has many characteristics similar to those featured in the storm alluded to in the scene after Duncans death (Mac.2.3.53-59): the verbs Lear uses to command the elements - blow, crack, rage, blow, spout till you have drenched our steeples - suggest this.

The answer to Lears love test is (Lr.1.1.86-92) becomes increasingly clear, considering Shakespeares handling of the relationship b etween the king and the kingdom. When he asks each of his daughters what they can say to win the largest portion of his kingdom the only correct, the only acceptable answer for a sixteenth century audience is Cordelias: nothing.

The Theory of Divine Right was one closely linked with that of the Great Chain of Being; the one very much determined the other. According to the Great Chain of Being, in society every man had a place, a social stratum, in which they ought to remain for their lives. The king was the highest authority in the chain; the highest authorities in the church and in the state, the archbishops and bishops, and the noblemen occupied the second strata, to the parish clergymen and gentry; down to the poorest man. Above everyone, however, was God. The kings role was to protect the kingdom in Gods name: hence the Theory of Divine Right. The law of primogeniture was thus very important in Shakespeares society, to keep the Great Chain in order; without endeavo ring to explain the feudal system, it suffices to say that land to remain united was to pass the eldest male child, or to the husband of the eldest daughter. Lear does not protect his kingdom by unburdening himself of his divinely appointed authority: he brings war and division; not only in Ancient Britain, but in his family. The subplot involving the Duke of Gloucester and his two sons further emphasizes the symbolic relationship between the king and the land that emulating that between the father and his children.

When studying Othello one of the important contextual details is that colored people were uncommon in Shakespeare's England: Christendom, Christian Europe, had been at war with Muslims for many centuries in and around the Holy Land, and increasingly in the Mediterranean, whereabouts the main drama of Othello is set to unfold: on Cyprus. The racial tensions gave way to superstitions and stereotyping: Othello apparently breaks the latter for all Shakespeare p resents him displaying composure and control over his emotions; marrying for love; proving successful and intelligent as a military leader. Yet, it is already clear that Othello is destabilized by Iago and reverting to racial type for a sixteenth century audience (Oth.2.3), by giving way to fists of passionate jealously of his wife; and moments of other intense and negative emotions, including anger, when he discovers his soldiers brawling.

Literally and metaphorically, Othellos blood begins to rule him when he is removed from the cultured and safe environment of Venice: Europe. At least this is what the 16th century audience would have surmised.

Some commentators have argued that Plinys Natural History, which Philemon Holland translated in 1601, probably provided the details that Shakespeare uses to enhance with a degree of authenticity Othellos exotic adventures and alien origin (consider the explanation that Othello gives to Desdemona about the origin of the h andkerchief that he gives to her).

However, Geoffrey Bullough has maintained that Shakespeare probably consulted John Porys translation of A Geographical Historie of Africa by Leo Africanus; in which there is a distinction drawn between the Moors of the northern and those from the southern regions of the country. Africanus also describes both groups of Moors as candid and unaffected but prone to jealousy. Shakespeares Othello appears to be quite a faithful rendering of this characterization. Othello is candid and unaffected while in Venice; so much so that he passes as a Venetian, as a European, sufficiently to have achieved prestige as a general. In his speech to Brabantio and the senators in Venice regarding his clandestine union with Desdemona, he is indeed candid and unaffected

It is apparent that Shakespeare was familiar with fifteenth century and sixteenth century accounts of the wars between Venice and Turkey, particularly the battle of Lepanto in 1571, in which the Venetians in alliance with the European Catholic states temporarily regained control of the island of Cyprus.

Being thus aware of the sources that Shakespeare is likely to have used for Othello, the perspective or meaning of the play is that much more clearly defined. The cause of Othellos madness is diagnosable; the symptoms are those behavioral characteristics of Moors, according to contemporary accounts. Once Othello leaves Venice, he becomes symbolically isolated from the positive influence of Christian European culture; Othellos nature begins to take hold of him. When Iago preys upon him, Othellos reversion to a racial stereotype is apparently dramatically increased.

The lesson for Shakespeares contemporaries is that Moors will only revert to erratic behavior if they are first isolated from the European society and second treated with contemptuous cruelty and abused because of their heritage and origin. Hardly a racist attitude within the contex t of his time; to be likened to Shakespeares apparent sympathy toward the villain, Shylock, in The Merchant of Venice. At the very least, Shakespeare offers Shylock the same chance that the likes of Iago, Edmund and Richard III have to justify their actions; and Shylocks is quite reasoned when he explains that Antonio has wronged him because:

SHYLOCK I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions, fed with the same food, hurt with the same means, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us do we not bleed? If you trick us do we not laugh? If you poison us do we not die? And if you wrong us shall we not revenge? If we are like you in the rest, we shall resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, rev enge. The villainy you teach me I will execute; and it shall go hard but I will better the instruction. --(3.1.51-64).

The suggestion that the Jew follows the example of the Christian establishes a hierarchy of sorts. With the Christian above the Jew; it places the Christian in a position of responsibility and culpability for the actions of his Jewish subordinates. The Jews follow the Christians example: when the Christian persecutes the Jew, the Jew will likewise persecute the Christian; as the Christians persecute Shylock, Shylock persecutes Antonio.

Shakespeares perspective is thus not anti-Semitic, relative to the context in which he lived as a Christian. He is critical of the treatment of the Jews more than he is condemning of the people or the faith. Considering that the Nazis in Germany promoted The Merchant of Venice as evidence that Shakespeare was anti-Semitic, the importance of considering Shakespeares sources and the context in which he was writing is practical, as well as of literary significance.

When the meaning is properly understood by means of contextual knowledge, the artwork gains in aesthetic value. The crimes of Macbeth, the weakness of Othello, the madness of King Lear, and the morals of The Merchant of Venice are clarified. The plays are more enjoyable; the morals are comprehensible, sympathetic, human, and considered. The message is clear and Shakespeares genius is polished; restored to all its glory.

Dr. Evans
April 24, 2005

Dr. Evans has a PhD in English Literature and an MA in History. She lives in New York City and is a freelance writer. Visit her web site at http://www.charlotte-evans.com for more information.

Author:: Charlotte Evans
Keywords:: Shakespeare, King Lear, Macbeth, Othello, Literature, English Literature, Language
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Dolores "DeeJazz" Jackson On The Move!

When Dolores DeeJazz Jackson sings, it's not surprising to see why her listeners are are dynamically captivated. DeeJazz delivers something unique: inspirational, message-rich lyrics, against the background of a beautiful and spiritual, jazz sound. Her voice is as readily remarkable to the human ear as it is definitively, distinctive. Particularly engaging, each one of her songs demonstrate her ability to easily hit a wide range of octaves. Her debut album, titled, A Musical Messenger, has the potential to inspire and transform lives for the greater.

Born in Michigan, USA, DeeJazz has spent most of her life in Detroit. Currently, she makes her home in North Carolina. As a college student, she was the recipient of thousands of dollars in scholarships. The singer/songwriter earned her B.A. in Advertising from University of Detroit, Mercy, and graduated Magna cum Laude.

I recently sat down and was honored with a rare, inside look of this amazing artist. Her CD, A Musical Messenger, has a generous, 14 tracks, and can be purchased at: http://www.Deejazz.com/

FranBriggs: Good Morning, DeeJazz. Thank you for meeting with me. And, congratulations on your spectacular accomplishment of masterfully blending jazz, inspirational, and spiritual music.

DeeJazz: Thank you so much, Fran. It is a pleasure to be with you.

FB:You produced your own album; was that a difficult decision?

DeeJazz: Producing my own album was not at all a difficult decision. It had been a dream of mine for a long time. I have been writing songs and playing them on the piano since I was 13. So, by the time I produced the album, I had quite a few years of writing and recording experience under my belt. But yes; there were times when I doubted by ability to do it by myself. After I completed several songs I presented them to some experienced producers for their opinions. One told me my production wasn't good enough and that I would need their help, I sensed their desire for control and, not to mention, compensation. Another told me my productions were great.

However, by this time confidence in my writing ability had matured to the point where I was feeling pretty secure. Nevertheless, I wanted the opinions of experienced writers/producers. I found out that they are people too.

I encourage anyone that loves real music to purchase this CD. I am confident that you will be uplifted. Musically, everything is there. Whether you're into up-tempo, ballads, introspection, inspirational, motivational, jazz, vocals, or instrumental, A Musical Messenger has it all!

- Michael L. Jones Producer/Director, Eye-On-U Productions, N. Hollywood, CA

FB: What are some of the most powerful truths you discovered about yourself after completing your fir st album?

DeeJazz: One of the most powerful things I discovered about myself after completing this CD was that I could actually fulfill my lifelong dream to be a composer. It was thrilling. Secondly, that I had something worthwhile to offer. For a long time I felt like a failure. After a failed marriage, I was struggling financially as a single parent of two small children and I had no direction for my future. Music was always a dream for me, but with little or no encouragement from my family, I felt discouraged. Completing this project taught me that I could accomplish what I put my mind to as long as I didn't let anything or anyone stop me.

FB: It's our understanding that you are an avid reader. How, and when did you acquire your love for reading? And, what books are you reading now?

DeeJazz: My love for reading started when I was kid when the bookmobile used to come to our neighborhood. I loved it! Growing up in Detroit --where not much was given to you and sometimes things were stolen from you -- I was so impressed that you could borrow books without paying for them. Actually, I'm still impressed by the library! I go every three weeks and sometimes more than that (laugh).

Right now I'm reading Dr. Maya Angelou's four-volume autobiography; also, a book titled, Word Smart. It teaches you how to improve your vocabulary. And, Seth Speaks. It's a new-thought phenomenon written in the early 70's by Jane Roberts, a woman who channeled a non-physical entity with some powerful spiritual information. I also just finished a great, great book called, The Disappearance of the Universe, by Gary R. Renard. It's an enlightening read mostly about the miracle of forgiveness. This book has changed my life.

FB: Dr. Maya Angelou -- a phenomenal woman. You actually met her, correct? Would you describe the experience?

DeeJazz: Yes. I met Dr. Angelou in August of this year. After hearing my CD she invited me to New York to sing for an open mic night at Ashford & Simpson's Sugar Bar. I saw her when she began walking down the aisle way. She appeared majestic in her red evening dress with escorts in front, and back of her. When she got close, she smiled and touched me on the shoulder. I felt like I had been touched by an angel. She was then taken to a private area where she would watch the show by monitor.

A little while later her assistant came to Hattie and I and guided us to her table. She shook our hands and was incredibly gracious and warm. She treated us like we were royalty. Amazing ... Hattie recited one of Dr. Angelou's quotes that had made an impression on her life and Dr. Angelou expounded on it eloquently adding even more insight. We felt blessed and honored to be in her presence. Afterward, I was told she commented on my performance saying it was, Delightfully impressive.

FB: What was it like collaborating with your sister, Hattie Mae Jackson-Pembrook, as she completed the com panion text for your album?

DeeJazz: Collaborating with my sister as she wrote the companion text, Messages to Awaken yourSelf, was a most exciting and rewarding time. When she was challenged around her abilities I would encourage and prod her along the way. I knew that she could do it and I reminded her how she had been my inspiration. When I was a teen, Hattie was a motivational speaker. I loved attending her speeches and I heard her say many times that she wanted to write a book. Well, the messages in my songs all came from books/classes and workshops she had exposed me to, so I knew this was the perfect opportunity for her to write her first book. After she completed a chapter, I would edit it to our mutual approval. We had minor clashes about which pictures to use, and occasionally she lamented: Another rewrite? But, we settled them quickly without much dissension.

FB:In the forward of Hattie's Book, Messages to Awaken yourSelf, you mention that you experien ced mental telepathy with a dog. Was it deliberate?

DeeJazz: Yes, it was deliberate. I don't know exactly how I discovered it, but I noticed the dog could hear me when I would think a command to him. It was a Great Dane. I told him to get up and come to me, and he did. Then I told him to go lay down, and he did. After doing this several times I was very surprised and decided I would show my little 9-year-old neighbor. I said, Watch this, I'll tell him to get up in my mind and he will. So, I did, and the dog responded. Then, I gave the mental command to lay down and he followed again. Needless to say, my little friend was highly impressed. However, mental telepathy as well as other so called extra-sensory perceptions, are common place when we remove the erroneous belief of ourselves as mere, human beings. At that time I had been faithfully practicing for three months a powerful technique of awakening called, The Pathway's, by Ken Keyes, Jr. His book is titled, Handbook to Higher Consciousness.

FB: Your album continues to receive raving reviews from the music industry. What kind of reception have you had from listeners?

DeeJazz: Frequently, people come to me after performances proclaiming they were deeply moved or helped in some way. I have been referred to as anointed and people have expressed gratitude that I have followed my divine calling. I've heard people say they have been helped through relationship problems, recovery from drug and alcohol addiction as well as money and health issues by my songs. Recently a woman in church told me that she was dealing with a situation that she had expected to benefit her life tremendously when suddenly it came to a disappointing close. She felt bad but then quickly decided to look for the good in the situation. Instantly, one of my songs, Darkest B4 the Dawn, began playing in her head and she started singing it. She said she knew it was a message from God. I've been told my songs are the rapeutic, uplifting, timeless, and one never gets tired of listening. I am deeply honored by their comments and give credit where it is due, to the Most High.

FB:How long have you been writing, arranging and producing your own music? Is it as challenging as it is fun?

DeeJazz: I started writing poems when I was around 10 years old and I began putting music to them at 13. I would play the music on the family piano as I sang the songs. Sometimes I would make up instrumental songs and play them with intense passion. I didn't know at the time but it was a way for me to release tension.

Writing music has been challenging, but mostly it's been fun. I had two music classes in my life. But I found the literal writing and reading of musical notes tedious and too technical to contain my interest. I play and write by ear. I hear the songs in my head and then play what I hear. I feel the most important thing to learn about songwriting is structure. For example; verse, chorus, verse, chorus, bridge, chorus, ... etc. There are several structures but most songs follow the same basic structure. Once I learned song structure it became easier because I knew where to put what. What I love most about song writing is hearing it grow from what I heard in my head, to what I hear outside of it.

FB: Who are the individuals that you recognize as your mentors?

DeeJazz: Just recently, Maya Angelou has become one of my mentors. After hearing my CD she took an interest in me -- and I in her. I am learning so much from reading her autobiography. She is an extraordinary woman. She overcame many obstacles, one after another and still, she rose. I am learning from her example.

I have always liked reading biographies of other songwriters/artists and using them as inspiration. I've read about Barry White, Patti Labelle, Barry Gordy, Queen Latifa, Dolly Parton and others.

FB: The lyrics in your song titled, This Gift of Mine, include:

< p>Every day is blessing

A gift to us with love

But we must heed

The call to succeed,

That's our gift to God

FB:What would you say to the individual who is struggling with hearing -- or seeing -- their call to succeed?

DeeJazz: I feel we all have a calling, so to speak, for our lives. There is something that you were born to do. Hattie states in her book that Michael Jordan says he was born to play basketball. That might sound frivolous to some, but as anyone can attest to, Michael Jordan's astounding athletic skill is nothing short of miraculous and would most likely be considered a divine gift. If a person is struggling with discovering their call to succeed, it is probably because it's the thing they've always dreamed of, but are most afraid to do.

FB: In her book and on her website, Hattie shares a touching story on her website about her longing for not only a sister -- but a companion. Could you summarize it for us?

DeeJazz : I guess it was supernatural but some part of her was waiting for me. She was graduating from high school when I was born and she truly loved me unconditionally. Growing up I cannot recall one time that she raised her voice to me or made me feel bad about anything. We have always been mentally and spiritually close, sharing our love of ideas, self-help information and spirituality. Now, this CD/Book project is becoming more successful than we initially anticipated. We are in the process of preparing ourselves for whatever it brings.

FB: Tell us about your current and forthcoming projects.

DeeJazz: Hattie and I are in the planning stages of a nationwide tour. We'll be doing a full stage production/concert. I will sing with a live band/orchestra including background singers. And, at times, it will be accompanied by interpretive dancers/actors. Hattie will expound with spiritual insights during extended instrumental sections of the songs. Also, we will do workshops consisting of her speaking and my singing. The participants get lots of hands-on awakening experiences using tools and methods we have used and that have worked in our own lives. We're also planning another CD/book combo.

FB: That sounds like a magnificent production... In reference to your use of awakening experiences, would you say that in our natural state we are simply unaware of, or do we intentionally suppress the Greatness within us?

DeeJazz: In our truly natural state, we are awake. Awake within our Spiritual Oneness with everything and everyONE. However, in our unnatural state, which is nearly everyone's daily experience, we most definitely suppress the Greatness within us. How many of us suppress acceptance, understanding and forgiveness in everyday situations? Most of us, most of the time.

Awakening requires a decision. A decision that says the way we have been living, is not working. A decision that if we, meaning, If I don't accept the respons ibility to change it, who will? In our workshops we seek to inspire an awakening experience in the participants so they can have a personal encounter or a remembrance of what it feels like to be awake.

FB: Is there anything you would like to add before we go?

DeeJazz: Lately, I've been experiencing intense gratitude. The information that I am being guided to is literally changing my life experience. The powerful ideas and methods that I learn and practice are what I convey in my songs in an effort to help people wake up to their innate divinity. We are spiritual beings and until we wake up to this fact, we will remain asleep and will not experience our true reality, which is love.

FB: Thank you, DeeJazz for taking the time to share. I certainly enjoyed my time with you.

DeeJazz: Thank you, Fran for allowing me this wonderful opportunity to share.

On assignment with eMediaCampaigns!, Fran Briggs interviewed Dolores DeeJazz Jackson in October, 200 5.

DeeJazz can be contacted at:
e-mail: Deejazz111@yahoo.com
website: http://www.Deejazz.com/

Hattie Mae Jackson-Pembrook may be contacted at:
e-mail: hmpembrook@yahoo.com
website: http://www.hattiemae.com/

Fran Briggs is an author, peak performance coach and motivational speaker. She is also the Director of Operations at eMediaCampaigns! and the President of The Fran Briggs Companies, an organization dedicated to the personal and professional development of individuals and groups around the globe. The company's personal development website offers a free, exciting twice-monthly newsletter designed to help individuals live a happier, healthier and wealthier life. Please visit http://www.franbriggs.com for more information.

Author:: Fran Briggs
Keywords:: DeeJazz, Dolores Jackson, Hattie Mae Pembrook, Inspirational Jazz music, Maya Angelou
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Renaissance and Baroque

Renaissance and Baroque are the two most known eras in the history of art. They are so different and yet so similar. In this article I will examine Renaissance and Baroque and will compare and contrast them.

Man loves to be entertained, to be stimulated, to be challenged. It is such characteristics that make the creative arts a medium to be cherished. Throughout history, art and its fellow medians of architecture and structure, culture and visual entertainment have shaped and reflected our world. We look back upon by gone eras and through photographs of cultural dress codes, buildings and great artworks, we try to imagine ourselves living and breathing like the 'stills in the photographs' and paintings did all those years ago. Art is a reflection of the times, it is not just paint splashed on canvas, but also meretriciously detailed architecture and sculpture that mirrors social discourse, prosperity and technological advancements. But art was and always will be a me ans of representation, of capturing a moment, of displaying in all its naked glory an emotional foray into human nature. Not what man knows, but what man feels, concerns art. All else is science. The period from the 14th century through to the 18th century was littered with artwork that bore trademarks of both controversy and culture, as a result of the changing traditions, cultural trends and technology.

The Renaissance period, French for rebirth started in isolated pockets of Italy before spreading throughout Europe. It directly reflected the changing economic scope and cultural ideals of the European population, that arose in the 14th Century. People began to exhibit wealth on a more grandiose scale. Buildings began to reflect their rich owners, people began to dress more astute and 'emotionless' art was evident through portraiture as individuals clamoured to have a keepsake or snapshot of their own wealth. It became an age of spectacle, yet devoid of emotion. Indiv iduals were driven by wealth and the divide between rich and poor in communities were exposed like a gaping wound. Due to the creation of such inventions as the printing press, books and education became high priority among the 'middle class'. What was once the domain and privileged of those higher in 'modernic hierarchy' became more accessible and in high demand. Books were no longer few but many, and as result the economy boomed.

Perhaps the biggest trademark of the renaissance era, thought to have become evident in the late 15th century, were the architectural brilliance and precision of its buildings. No longer did man feel the overwhelming concern to reflect its architecture through the need to be closer to the heavens and god through religious and spiral buildings, for men revelled now in their own newfound brilliance. Buildings were construed through spatial perfection and mathematical grid to create a sense of perfection through an 'ideal city' perspective. 'Vi ew of an ideal city', by an unknown Central Italian artist, portrays such perfect construction and perspective. Even the canvas itself is seemingly proportioned and balanced in regards to the subject itself. A snapshot of the renaissance period is prominently reflected by the painting through its spacious consumption of the canvas and its lack of human subject matter, as it quaintly exists quite perfectly, yet cold and uninhabited in clear, precise paint strokes. This ideal city and man's wonderous progressions in technology were rudely disrupted by the black plague, a disease that affected over half of the European population, throughout the early Renaissance period of 1350 to 1450. The economy dipped due to loss of trade and interest and once again the world was plunged into incomprehensible depression as the gaping hole between the poor and the rich once again widened.

As a reflection of the ever changing demography, ideals, culture and human uprising, the Baroque e ra of painting and scopic emerged in the 17th century as a unique, evoking and at times controversial way of looking at and presenting objects. The term 'Baroque' is often applied to any form of artwork, representing either time or place, that bears the trademarks of ambiguous representation, feverous movement and emotional bearing and intensity. The word 'Baroque' was possibly derived from a Portuguese word for a misshapen Pearl, and until recently it was used predominantly as a synonym for 'grotesque' or 'absurd'. Although such a label bears strong weight, the Baroque era had lasting power and appeal and to this day it still remains a constant presence worthy of study and analytical expressionism.

Baroque was chiefly represented through its founding artists creations. This is where Renaissance and Baroque differentiate to some extent. Work that distinguishes the Baroque period is 'stylistically complex, even contradictory' whilst Renaissance forms of art were mathema tically precise in their use of vanishing points and grids and often reflected man's prominence in technology and 'public standing'. Expression and emotion are key elements that are both constants and present in Baroque artwork or evoked from the viewer. The form of art didn't necessarily challenge previous ideals, it created an alternative and represented the somewhat suppressed view of the world that many shared during such times of changing disparity in the greater communities health and prosperity. It represented boldly the fantastical views, the darkest desires, it faced the truths and defaced the ideal of 'the presence world' through its ambiguous adjoining of the spiritual and physical worlds.

Such merging of worlds and ideals is represented stunningly in Tiepolo's apocalyptic depiction Apollo and the four Continents. The chaotic, fantastical and somewhat illusionary scene painted upon a ceiling combines the spectacle of the renaissance architectural era with ba roque trademarks of dramatic contrast and eccentricity. The painting appears layered, like a 3D image, and the eye is drawn to certain points in the painting rather than a vanishing point or a central point in the artwork. Heavy detail around the outside of the painting creates the illusion of framing, contrasting colour creates the sense of the sky and heavens and prominent human figures among seemingly chaotic yet relevant splashes of colour create the sense of unrest and movement. It is this trait that leaves the viewers gaze infixed on art of the Baroque era, it forces you to observe, to take notice, to decipher meaning and form. This particular work could be viewed as jigsaw pieces that somehow come together so that no matter what angle it is viewed upon it forms a picture, an event, a suggestion of reality that somehow all intertwine to form a busy, interesting and incomprehensible event. Tiepolo presents 'independent pieces which nevertheless fuse into a harmonic hole '. It is such terms as 'could be viewed' and 'seemingly' that belies the importance of Baroque art and set it apart from so many other regimes of its time. It does what art should, it stirs emotion, it takes the viewer away from reality for an undecided term of time for any one of many reasons depending on its viewer, it takes us on a journey.

All art generates meaning and feeling. Baroque and the Renaissance eras contrast dramatically in both their ideals and their own standing in terms of representation. Baroques heavily art induced presence was achieved through 'human emotions painting on canvas' and its suggestive rather than accurate brush strokes which were, however, brilliant in their application and affect. It delved into the unknown, the spiritual world and attempted to capture a snapshot of emotion. Renaissance art reflected mans stern nature and desire to produce perfection, it was seen as emotionless yet a tribute to our mathematical genius and symmetrical concepts. It represented the 'ideal world' through application of precision in 'human skill painting on canvas' and attempted to create an eternal structural world to capture a snapshot of mans perfection.

Mary Anne Winslow is a member of Essay Writing Service counselling department team and a dissertation Writing consultant. Contact her to get free counselling on custom essay Writing.

Author:: Mary Anne Winslow
Keywords:: article submission, Articles, Writers, Writing, Publishing, Ezine, Email marketing, Email newsletter, Email
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Conflict Between Reason and Custom in Shakespeare's Hamlet Part Two

The King's reaction to the play convinces Hamlet of the truth of what the Ghost related to him, O, good Horatio, I'll take the ghost's word for a thousand pound (Ham.3.2.280-281). Hamlet is happy and excited to have evidence of the King's guilt, which almost leads him to killing Claudius directly after the play when Hamlet comes across him unexpectedly. But, once again, Hamlet is impeded by his reason. Hamlet determines that killing Claudius while in prayer would be hire and salary, not revenge (Ham.3.3.79). Therefore Hamlet decides to wait until he can catch Claudius in an act which would have no relish of salvation in't (Ham.3.3.92).

Hamlet gets this chance, or so he believes, shortly afterwards in the Queen's closet when he mistakes Polonius for the King and kills him. The appearance of the Ghost shortly after this could be interpreted to recall Hamlet to custom. Hamlet is trying to reason with his mother by showing her the sinfulness of her acts: if damned custom have not braz'd [your heart so/That it be proof and bulwark against sense when the Ghost appears (Ham.3.4.37-38). The Ghost tells Hamlet he has come to whet thy almost blunted purpose (Ham.3.4.111). The purpose the Ghost speaks of may well be Hamlet's intention to not think of anything else except avenging his father.

That Hamlet is torn between his reason and his call to fulfilling custom can be seen in his conversation with Horatio:

Give me that man That is not passion's slave, and I will wear him In my heart's core, ay, in my heart of heart, As I do thee. (Ham.3.2.71-73)

Hamlet clearly admires Horatio as a man of reason, and values his judgment. This is emphasized again when Hamlet seeks Horatio's approval of his plot against Claudius, is't not perfect conscience/To quit him with this arm? (Ham.5.2.67-68). Horatio evades the question by changing the subject. This shows that Horatio cannot agree with Hamlet, but he makes no effort to restrain Hamlet from doing what he believes he must.

As a man unaccustomed to adherence to the madness of social customs, Hamlet is paralyzed because he can't be sure of what is the proper way to act to obtain revenge. This is the reason for the mimetic models exhibited in the characters of Fortinbras and Laertes (Girard 173). When Hamlet sees the army of Fortinbras pass by on their way to Poland, he learns from the Captain that it is possible for a man to fight and die over something trivial; in this case a patch of ground that the Captain would not pay five ducats for (Ham.4.4.18, 20).

After seeing this army, Hamlet vows, from this time forth/My thoughts be bloody or be nothing worth (Ham.4.4.65-66). His forging of the letter that sends Rosencrantz and Guilderstern to their death evidences that Hamlet is serious about conforming to custom and leaving reason behind. Hamlet no longer requires proof of complicity; he can't be sure that Rosencrantz and Guilderstern knew Hamlet would b e put to death in England, but their deaths are not near [his conscience (Ham.5.2.58).

Hamlet finds an even better model in the person of Laertes, because their circumstances are similar: For by the image of my cause I see/The portraiture of his (Ham.5.2.77-78). Laertes is traditional; he can perform with the utmost sincerity all the actions his social milieu demands (Girard 173). When Hamlet watches Laertes' behavior at Ophelia's funeral, he demands of him to show me what thou't do and he will do't also (Ham.5.1.269, 272). Now that Hamlet understands the proper actions in adhering to customs, he decides that he, too, would act according to the demands of society (Girard 173).

When the fencing match is proposed to Hamlet, he suspects there may be danger, but dismisses it as no matter (Ham.5.2.209). Horatio counsels him to obey his mind if it dislike anything; that is, to obey his reason over the custom of fencing, but Hamlet proceeds with the match (Ham.5.2.213).

Fully aware that Laertes is bound by custom to avenge his father, Hamlet tries to explain how the error came about. Hamlet says that it was not he that wronged Laertes, but rather his madness, his adherence to custom that caused the mistaken killing of Polonius (Ham.5.2.233). Laertes responds that in his terms of honor he stands aloof and will no reconcilement (Ham.5.2.243-244). Laertes proceeds with the conspiracy, but has one moment of doubt. He says to himself, And yet it is almost against my conscience (Ham.5.2.300). He continues though after Hamlet mocks his fencing ability, which insults his honor.

The conclusion of the play shows the madness of the custom of revenge, which does not end until everybody is dead. According to the dictates of society, one murder leads to another, which causes another, and another. There is no reason or sense to it; it is all madness. Hamlet entreats Horatio to live and to report his cause aright (Ham.5.2.344). Horatio underta kes this task to report his story lest more mischance/On plots and errors happen (Ham.5.2.399-400). Horatio clearly sees the futility of the custom of revenge, and wishes to avert the madness by promoting reason.

Bibliography

Eliot, T.S. Hamlet's Problems. Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1990. 43-46.

Girard, Ren. Hamlet's Dull Revenge. Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1990. 166-185.

Shakespeare, William. Hamlet. The Arden Shakespeare. Ed. Harold Jenkins. London: Thomson Learning, 2000. 165-419.

Mary Arnold is an author on http://www .Writing.Com/ which is a site for Creative Writing.

Her writing portfolio may be viewed at http://www.Writing.com/authors/ja77521

Author:: Mary Arnold
Keywords:: Hamlet, Shakespeare
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Lay Vicheka's 30 Quotes For August 2005

1. Unless you know who you are, you can't proceed further.

2. Any existent product is stArted with aspiration.

3. Every path has its end and will be totally broken one day, educational path has no termination and will always demand betterments from day to day.

4. StArt your new life, by wondering, what is the purpose of my life.

5. Never forget your past, but be always obsessive with your aspiring future.

6. Be genuinely honest with your self, then you will still be satisfied though today is your final day.

7. Be ambitious, but in your own way, not another's way.

8. If one thing makes you regretful, there ar e countless more things, near and far, longing for your fulfillment.

9. Fulfill as much as possible for this life, because you don't know that whether next life exists or not. Whether next life elitists or not is not important, because life and death has its own motive.

10. For self-actualization, self-independence is not adequate; you need to be financially sovereign.

11. If you think you are good and others think that you are good, you don't need to boast about yourself, let the others boast about you, then you have no mistakes.

12. Be always alert! Making your life as serious as doing a huge investment.

13. Looking around you! There is nothing that is made of funny endeavor, but all are the products of serious hardship. So should your life be product-oriented or nothingness-oriented? You might be mature enough to answer this question.

14. You are contradicting the law if you stop fulfilling yourself, while you still eat three times per day, drink enough water, enjoy daily snack, and have adequate sleep.

15. Your hope must prevail, as you are entitled to have today and tomorrow

16. Be sympathetic to your surrounding living entities, then you will be satisfied with who you are and what you have accomplished.

17. Write you own constitution, and firmly respect it from cradle to crave. And hold it even in the last minute of your life.

18. There are many forms of Entertainment, but not all Entertainment is intelligent. Some Entertainments are stupid. You decide yourself, which Entertainment is intelligent and which is stupid.

19. Do not expect to have everything, you will have it when you don't have to think about it.

20. Take serious approaches to every daily routine and solution.

21. You innately preserve the right to tell lie, but you are fully accountable for its repercussion.

22. You are lucky to live until today, since just a minute ago you was not accidentally murdered. Learn how to use you luck for another luck.

23. Always bear in mind that, every complication stArts with simplicity, every civilization stArts with simple thought.

24. Take some times alone every day to think of your surrounding.

25. Human being must firmly hold dignity in both life and death.

26. The most important of education is understanding

27. No one will be able to convince that you are the loser, if you thought you are the winner within your self.

28. No one at all that can distinguish between right and wrong, fact and fiction, it is within you to judge it.

29. No one is totally better than another, because philosopher can't play football

30. Take philosophical approach to everything.

Lay Vicheka is the freelance writer and translator for the most celebrated translation agency in Cambodia. He was born November 10, 1983 in Phnom Penh, the heArt of Cambodia. He is now the final year student of law with great interest and interferences in politics, history, psychology, culture and other humanity field. Contact: 855 11 268 445 or vichekalay@yahoo.com

Author:: Vicheka Lay
Keywords:: Philosophical quotes
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Mythology and Parables in Modern Communication Part 2

There is a big adjustment coming in terms of our Human and Spiritual evolution, where Mythology and Parables will again play a vital role in the process. As mentioned in part 1, when our usual systems of information discernment fail us you we I will turn back to something familiar and old.

Myths are as old as the dawn of man. They predate human history because the latter is only a recent event. Recorded history began just a few thousand years ago and there are at least 100,000 Earth years with human civilization involved yet to be accounted for. All of them as rich, I believe, as those we can currently look into through our history books. Prior to that, it was the Oral Tradition that kept subsequent generations informed. Oddly enough, some of those Oral Traditions are still alive today in certain cultures (Egypt for example) where this missing 100,000 years of human history is available.

So where is this all taking us, this excursion into Myths and Pa rables? To where we stand right now, at the doorstep of this new era, the dawn of another epoch, the launching point of the new Millennium. At present we can only guess at what is coming next, and how fast it is moving toward us. But it is a fact; change is on the way. Some would argue that it is already here. Right now! Because Change, transition and transformation are endless cycles. They beat their way to our doorstep and march through our lives. They are as inevitable as the seasons. In relation to repeating cycles of change for us humans, we are in one now. The Millennium has already begun.

And what is more important during such turbulent times than Faith? Faith, Spirituality and Self-Confidence are tested during such times. If weve only been flirting with the advancing new knowledge and subsequent changes making their way toward us, then wed better get on board quickly because were in for the ride of our life. One that we could not anticipate before.

Now that were on the doorstep of this Change, this Great Leap Forward, why bring up a tired old subject like Mythology and its companion, Parables? And that is a very good question. Why should we reach back into the mists of time, of pre-history, for something that is supposed to help us leap forward into this new Century and Millennium? Why indeed?

As mentioned earlier, historically, in times of turmoil and chaos, Myths were called upon to help explain events, to provide a forum for discussion, to advance the idea that we, the human race, were indeed ready for the advancing change. And here is the Mucker in all of this. The fact is: We bring change upon ourselves. Then we scramble about to try and make sense of it. Yes, We, the human Race, drive change! And long before we formally understood this process, we had Myths and Parables about it. We always had Myths announcing and/or standing, at the vanguard of a New Era. They were and still are the gatekeepe rs and shepherds for the future. They told us what was coming over the next horizon and what we needed to do to get through this inevitable challenge. Myths and Parables not only helped us prepare, they helped us execute the changes and adjustments that are always necessary to the success of such a process.

How are we to prepare for this rapidly advancing Millennium and the Changes we are bringing upon ourselves? We have to reach into our Souls now for the sustenance that we need. There, hidden inside, behind all those roles, addictions and fears we show the world, is the Energy, the Vitality, and the Inspiration that is to take us through our great leap forward. There inside is the Heart that rings the Bell that awakens us to our true destiny. It is no accident that we are here now, at this time in our history. And it is no accident that a great variety of warning Bells are sounding. Its up to each and every one of us to tie into our Individual Myths and activ ate them for the coming Millennium. We are at that doorstep now. It falls to each of us to step on through.

So, how do we apply Mythology and Parables to our modern life? Is there a formula or pattern to follow?

Jesus Christ, among others, implored us to listen to ourselves inside our Hearts. Plato and a number of his fellow Greek philosophers advised: Know Thyself. Shakespeare wrote in Hamlet: To Thine Own Self be True. And over the years of our recorded history, many other prophets and teachers repeated the same advice. This very guidance comes to us again through modern day psychologists, psychiatrists, artists and spiritual advisors.

But even before the above mentioned proponents had their say, Mythology was there promoting the very same advisement. In fact, many modern day proponents of getting to know your self refer back to certain Myths to underline their point. Freud did it. So did Carl Jung, along with numerous others over the last centur y. Myths are still guideposts to the Modern Era. Theyre just not so visible anymore and theyve suffered from the bad press of being a synonym for fiction.

Joseph Campbell, an anthropological researcher from the latter part of the 20th century showed us how Myths and Parables crossed cultural boundaries and were recycled through succeeding generations. He pointed out, for example, how the Hero Myth appeared in most ancient cultures and has survived through untold generations into the present, to be recycled again. Where do we find them today? In our movies for starters, television, comics, books, and music.

Carl Jung spoke of the Collective Unconscious, which in mythical lore was related to Psyche, a Goddess, whose function it was to inform humans on their condition and plight. She too was instrumental in teaching us how to know ourselves better. Hence, modern Psychology is derived from this source and owes its very name to a Mythical Goddess from Antiquity!< /p>

Psychology, which is my field, is about getting to know yourself, using the tools of the trade testing psychotherapy counseling clinical investigations and so on. Pop Psychology is about getting to know yourself for $15.95 over a weekend Nuff said! Getting to know ourselves isnt going to happen that easily or economically. My own experience, both personal and professional, is that this process is a lifetime commitment with every step having its own challenges and rewards.

Back to the bigger picture now, what we are witnessing here, as this new Millennium gets rolling, is transformation or getting to know ourselves on a grand scale. Already we are being told about it. Economic structures, Social structures, Religious structures and therefore, Personal structures are going to change dramatically. Like it or not, its already underway. The New Age sections of bookstores are full of such references; and these also cross over into Pop Psychology, Para-Psyc hology, Philosophy and Religion. Just check out your favorite bookstore.

Looking at all of these sections in todays bookstores begs the question: Why is such a plethora of mythically based reference material being thrown at us right now? To announce the advance of the New Era is the answer! It is here and weve got to deal with it. Like it or not, our current structures wont accommodate it. We need different reference points to guide us through this transitional period. Guideposts that can override the limits of modern terminology; that can trace their roots back through the mists time and can consistently be relied upon like the needle in a magnetic compass; always pointing in the same direction towards the Self, the True North and Center of our Personality.

It is To Thine Own Self be True over and over again. Right here, right now, that is the Sine Qua Non of our Era. We cannot move forward as individuals and a species without this most important centra l resource. Our Self is our guide to our personal creativity, our life purpose and the Divine. And this True Self will take us to the very core of our Being Our Soul! That is where we are headed and what defines the current challenge.

Maurice Turmel PHD is an Author, Speaker and Performing Songwriter. His site features Self-Help books, Inspiring Music, Stories, Reflections and Poetry that can help YOU discover how truly great YOU are. The WebSite is dedicated to that end. It also features his collection of articles, reflections and stories as teaching tools, and his latest Ebook, The Voice, a Spiritual Sci-Fi novel. It will introduce YOU to all the basic concepts that characterize The Healthy Life, both Spiritually and Psychologically. http://www.mauriceturmel.com

Author:: Maurice Turmel
Keywords:: Inspiration, Motivation, Psychology, Mythology, Parables, Communication, personal & spiritual growth
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The Different Styles of Inuit Sculptures

At first, all Inuit soapstone Sculptures from the Arctic may look alike. However, there are variances in Artistic styles among the different Inuit Art producing communities. Although all communities produce Inuit Sculptures featuring both animal and human subjects, some seem to do more animals while others do more people figures. Some communities make their subjects appear quite realistic with lots of high detail while in others, a more crude and primitive look is preferred. There are Inuit Sculptures that have a highly polished finishes and some that are the complete opposite where they are left dull and unpolished.

Some areas specialize in producing small scale miniatures much like the Artwork by their ancestors who first came into contact with white men. Inuit Sculpture can range from quite conservative to bold or even wildly outrageous. Scenes can be playful like a piece depicting two Inuit children playing or with a sense of humor like a walrus waving. On the other end, transformation and shamanic pieces can look disturbing or even frightening to some. Hunting scenes can portray the gory realities of life and death in nature.

One thing that all Inuit Sculptures have in common is that they show the fact that Inuit people have deep connections with their family life, their natural surroundings and spiritual beliefs. It is interesting to observe that even if some Inuit Artists have converted to Christianity as their religion, they may still include Inuit spirituality and legends as a big pArt of their lives. This is portrayed in some of their Inuit Sculpture and other Artwork.

The differences in Artistic style are pArtly due to the different types of stone and other materials available in each community as well as regional preferences. Of cours e there can be outside influences when Inuit Artists travel from community to community. This is pArticularly the case with larger growing communities like Iqaluit which has seen an influx of Inuit from other pArts of Nunavut ever since becoming its capital. One can find a variety and blending of Inuit Art styles here. A longer version of this Article which describes the different styles of Inuit Sculptures from different Canadian Arctic regions can be found at the Free Spirit Gallery website.

Clint Leung is owner of Free Spirit Gallery http://www.FreeSpiritGallery.ca, an online gallery specializing in Inuit Eskimo and Northwest Native American Art including carvings, Sculpture and prints. Free Spirit Gallery has numerous information resource Articles with photos of authentic Inuit and Native Ind ian Art as well as free eCards.

Author:: Clint Leung
Keywords:: Inuit, Art, Sculpture, Sculptures, Canadian, Arctic
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Painting Philosophy of Peruvian Artist

Life

I paint with an emphasis on expressing LIFE (the spirit and the soul) which is the expression of my love for the natural world and its creatures. From the heArt of my Incan cultural comes my love and respect for nature. I honor my love of nature and man by Painting with a balance of rhythm, harmony, and movement. This is the tradition of my people the Incans Indians of Peru, and the Chinese Philosophers which I studied at the Central Institute of Fine Arts of China. Thus, when I paint, the animals have a voice, the spirit of nature speaks, and man travels in harmony with nature and God.

Use of Color & Patterns

I render an emot ional tone of the rhythm of the Incan Indian life through my vibrant use of color. I use bright and radiant combinations of reds, turquoises, purples, and oranges, which characterize the textiles and ceramics of the Peruvian Andean. It is believed that the colors appease the spirits so that they will be happy and will not bring forth darkness. I employ simple swirling patterns to transmit a sense of the peace and harmony that radiate from the Incan Indians close interrelation to the land. It is this sense of the sacredness in nature that comes from deep within my works.

Calligraphy

What has fascinated me about traditional Chinese Painting when I studied it was the use of colors and lines from calligraphy. Calligraphy in Chinese tradition expresses feelings, harmony, rhythm, movement and balance. The Chinese say, Lets see how you write to see how you paint! If you do not write calligraphy, you dont paint. The Aztec, Mayans and Incans (symbolic writers) say the same in their philosophy, to write is like Painting and Painting is like writing. Thus from the writing come the discipline and precision of the trained Artist, along with the rhythm, harmony, and movement that expresses the fragile side of human life and nature as they exist in a delicate harmonious balance.

Feng Shui

I stay true to the Chinese ancient philosophy of nature, Feng Shui in most of my Paintings. Feng Shui is mainly concerned with understanding the relationships between nature and ourselves so that we might live in harmony within our environment. Feng Shui is related to the very sensible notion that living with rather than against nature benefits both humans and our environment. Most of my Paintings honor the traditions of Feng Shui.

Materials Used

My western Paintings d emonstrate the themes, stripes, techniques and the use of natural colors and inks. I paint with natural inks, water colors, acrylics, and oils on rice paper, cotton paper and canvas.

My eastern Paintings use techniques and materials that span several dynasties, such as the Song, Tang, Yuan, Ming, and Qing. They are painted on rice paper, different color silks using natural Chinese inks and colors.

Copyright: 2004 by Ernesto Apomayta

Publishing Guidelines: You may publish my Article in your newsletter, on your web site, or in your print publication provided you include the resource box at the end. Notification would be appreciated but is not required.

About The Author

Ernesto Apomayta

Born and raised in Puno, Peru, Ernesto Apomayta was identified as an Artistic prodigy at the tender age of five. As a boy, Apomayta was first influenced and inspired by the natural marvels surrounding the humble home he shared with his family. In close proximity to shimmering Lake Titicaca, the striking beauty of the Andes and the awe-inspiring Incan ruins of his ancestors, Apomayta was spiritually compelled to express his wonder visually through his paintbrush. A direct ancestor of the legendary photographer, MArtin Chambi, Apomayta derived inspiration from the same native influences and his legacy that encouraged Apomayta to fulfill his own Artistic destiny.

To view many of Ernesto Apomaytas pieces of Artwork please visit www.apomaytaArt.com for full information on Mr. Apomayta.

apomayta@hotmail.com

Author:: Ernesto Apomayta
Keywords:: Painting, Art Painting, Painting technique, Ar t
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Italian Architects In Bangkok Monuments To Their Artistry

Italian architects in Bangkok, Annibale Rigotti and MarioTamagno have created magnificent landmarks in the city, a throne hall, two palaces, an old Catholic church of Portuguese origin, a memorial library for a Danish Protestant and the building housing the seat of government, Government House.

The two architects came to work in Bangkok at the turn of the 20th century during the reign of King Rama V, when the king decided to build a new palace complex in Dusit Garden. Their work in Bangkok during the Fifth and Sixth Reigns was to leave an indelible impression for years to come.

Turin is a city known for Fiat, Ferrari, Lamborghini, Maserati, fashion design and its School of Architecture. Annibale Rigotti, (1870 1968) graduated from this school and was responsible for several buildings in Turin as well as a railway station in Turkey and two theaters in Bulgaria.

When Siam Commercial Bank stArted business in 1906; Rigotti was commissioned to design the first branch in Talad Noi near the Chao Phraya River. Completed in 1910, this beautiful building was the venue for the centenary celebrations of the oldest bank in Thailand on 30 January 2006.

In 1906, Bang Khun Prom Palace was built for Prince Nakorn Sawan or Prince Paribatra, the 33th son of King Rama V. The palace, near the King Rama VIII Bridge, now houses the Bank of Thailand Museum and displays the old Thai currency. Another Italian architect in Bangkok, Mario Tamagno was responsible for this palace.

The two Italian architects in Bangkok, Rigotti and Tamagno teamed up in 1907 to produce a masterpiece, the Ananda Samakhom Throne Hall in the Royal Plaza. This majestic domed structure was completed in 1915 in the reign of King Rama VI.

The second piece of palace architecture by Tamagno was the Su an Kularb Residential Hall and Throne Hall in Dusit Garden, the residence of Prince Asdang Dejavudh, a son of King Rama V.

Tamagno continued with the Hua Lampong Railway Station in 1910, a familiar Bangkok landmark near Chinatown. The station was completed in 1912 and became the rail terminal for trains from all over Thailand.

In 1913 King Rama VI (1910 1925) ordered the rebuilding of the Santa Cruz Church. The old Portuguese church was first built in 1770 and again in 1835. The 1913 structure, with its characteristic dome and dcor, bears the mark of the talented pair of Rigotti and Tamagno.

When Jennie Neilson Hayes, a Danish Protestant missionary doing charitable work in Thailand, died in 1920 her husband devoted a library in her memory. Opened in 1922, the Neilson Hayes Library in Surawongse Road, next to the British Club, is another of Mario Tamagno's creations.

Baan Norasingh, the family home of General Chao Phraya Ram Rakhop, is the work of An nibale Rigotti in 1923. Virtually a palace on 11 acres of land, the home was requisitioned by the Thai government after the June 1932 coup.

This grand building became Government House with the offices of the Prime Minister and the Cabinet. Kings, Presidents and captains of industry have graced the reception halls.

Annibale Rigotti and Mario Tamagno, two Italian architects in Bangkok for almost a quArter of a century, have left behind a rich heritage and splendid monuments to their Artistry.

The Italian architects in Bangkok first appeared in Tour Bangkok Legacies a historical travel site on people, places and events that left their m ark in the landscape of Bangkok. The author Eric Lim, a free-lance writer, lives in Bangkok Thailand.

Author:: Eric Lim
Keywords:: Italian architects in Bangkok, Annibale Rigotti, Mario Tamagno, Ananta Samakhom Throne Hall
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Rules of Noble Succession

Let me first say that the rules of noble Succession, as they apply to a specific noble family, can normally not be changed. They are determined either by:

1) the rules of Succession laid down in the letter patent which was given to the family member who was first ennobled (for patent Nobility)

or

2) the rules of Succession in use at the time and the place where the family was first recognised as noble (for original Nobility)

It follows that in the case of patent Nobility the rules of Succession could only be changed by the conferring authority, the reigning Monarch or his or hers successors (if the constitution would allow for such changes).

In the case of the original Nobility in my opinion the rules of Succession cannot ever be changed, not even by a successor of the reigning Monarch who once recognised the family as noble, because the rules of Succession we re in most cases not at the Monarch's disposition to change. Hence, for all practical purposes and certainly for the study of Genealogy, we may assume that noble families are bound by certain rules of Succession that must be adhered to.

When we discuss Succession, we should define whether we mean the Succession to the Nobility (that is, which family members in the next generation will inherit the name, the arms and the quality of continuing t he family line), and the Succession to the headship of a noble family. As implied by the title, in this article I will mainly discuss the Succession of Nobility in the general and collective sense.

Noble Succession is either agnatic or cognatic. In my Genealogy book Find Your Noble Ancestors!, I have defined those terms as follows: Agnatic Succession: Succession to the Nobility ... continues only on the spear (male) side, from father to son. Cognatic Succession: in many countries this was the original form of Succession among the ancient Nobility, meaning the Nobility ... continued on both the spear (male) and distaff (female) side in parallel lines.

The vast majority of all noble families have agnatic < a href='http://www.amazon.com/rss/tag/Succession/new?tag=day2soft-20'title= 'Succession: Newly tagged products at Amazon.com' target='_blank' style='font-size: large'>Succession, meaning both sons and daughters of a noble father are noble, but only the grandchildren of the sons (and not of the daughters) are noble. Certainly in most families created noble by means of a letter patent issued by a Monarch, this is by far the most common rule of Succession.

Cognatic Succession is, for practical genealogical purposes, only relevant in a few cases where it can be shown that this was indeed the original form of no ble Succession of the family, and there is an unbroken chain of Succession from these (ancient) times down till today.

If we were to discuss the Succession to the headship of a family, it would be necessary to distinguish between the two variants of cognatic Succession, true and false. True cognatic Succession means the firstborn child, whether a son or a daughter, has the best claims. False cognatic Succession would mean any son would inherit before a daughter regardless if he was younger, but in the absence of sons the oldest daughter would have the best claims.

The kingdom of Sweden today has, according to its constitution, true cognatic Succession, that is the firstborn child of the Monarch has the b est claims to the Succession to the Throne. Some other Monarchies also have this system.

If, for genealogical purposes, you want to find out if a certain noble family as agnatic or cognatic Succession, you need to either look at the letter patent by which the family was created noble, or, in the case of the original Nobility, establish the terms and conditions for noble Succession in use at the time and place where the family was first recogn ised as noble. In most cases, the family members living today will be able to tell you which form of Succession they have.

Jan-Olov von Wowern lives in Stockholm, Sweden, and is the head of the Swedish branch of the von Wowern family, dating back to its founder who was born around 1090 and made a Marquis in 1141. He is active in European charitable and nobiliary work. Visit his page at http://www.findyournobleancestors.com and download a FREE chapter from his book.

Author:: Jan-Olov Von Wowern
Keywords:: Genealogy, family search, Nobility, Succession,
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Cosmic Cow

The cow is a mother to mankind whom we should love,respect and protect. Her milk is the life blood for many species, including humans. Her dung provides fuel and bricks for millions of rural families across Asia . Her urine is medicine for the sick. When she dies her skin provides us warmth and protection through clothing.

In Astrology, the cow or bull is the symbol of the sign Taurus, a sign representing earth, nature and all its bounties. In Vedic Astrology, the cow's many wonderful qualities are emphasized through the various nakshatras. She is one of the universal mothers represented by the constellation Krittika. Her unlimited resourcefulness is associated with the constellation Rohini, whose symbol, 'an oxen cart pulling a fresh harvest' highlights the fertility aspect of both the earth and the cow. Bhooma Devi or Mother Earth is symbolised as a cow in the Vedic tradition, as just like the earth, the cow is an endless giver of resources and nourishment.

The cow's nourishing aspect is associated with the constellation Pushya, which has a cow's milk giving udder as its main symbol and is a constellation related to motherhood and dependability. The cow's patient and gentle nature is associated with the constellation Uttara bhadrapada,which has cow as its sexual animal.

In the Vedic pantheon of gods, the bull or cow is the vehicle of Lord Siva, and a symbol of strength and endurance. Vishnu's avatar form of Krishna, took the incarnation of a cowherd who enchanted Cows and other living beings with his flute playing. His association with Cows highlighted the importance of protecting and respecting the earth and its creatures. In the Vedas, one can find the story of the divine cow Kamadhenu, the wish fulfilling cow who is the dear treasure of the seven celestial sages. She emerged from the churning of the celestial ocean, along with many other treasures including the divine nectar of immortality, amrita . As she is greatly desired for her endless gifts and bounty she remains under the care and protection of the sages. In all ancient cultures Cows have played an important role in helping man understand his duty and relationship to the natural environment.

It is a great tragedy that in today's world, Cows and other highly sentient beings, are the undeserving victim of barbarous tortures and all manner of atrocities in the name of satisfying man's palate and greedy nature. It is a reflection of the current world cycle Kali Yuga (an age where ignorance and darkness reign), that the most gentlest and innocent of creatures are put through the worst treatment imagineable in the most mindless manner. This sort of ignorance breeds more ignorance and creates much negative karma for the individual and collective.

The darker forces controlling the planet have deliberately conditioned humans into believing that meat is an essential part of dietary survival, and by over breeding Cows in large numbers, have succeeded in destroying much of the earth's fertile land in order to feed these genetically & hormonally tampered creatures; land which could otherwise be used to grow crops that increase the worlds food supply a thousand fold.

There is no good reason why humans should eat meat. The physical constitution of humans is much more similar to herbivore mammals than carnivores. Eating meat produces a whole range of detrimental effects. At the most basic level it harms our physical health, but much more complex and subtle damage happens on the mental, emotional and spiritual planes. There is enough information and proof on the subject, if one takes the time to look.

With today's high tech global transatlantic communications, vegetarian food sources of every type are available to anyone just about anywhere on the planet. There is enough agricultural knowledge and technology to grow crops in areas that suffer from extreme climates or other ha zardous conditions.

Humans have ability to access a basic level of compassion inside themselves, which they clearly express in regard to their household pets, but not to Cows, pigs, sheep, chicken etc. who are equally sensitive and feel the same levels of pain and fear as the domestic dog or cat.

No great feats of heroism or sacrifice are required to contribute to the enlightenment of the planet. Just by making simple changes in our every day living routine like discriminating what / what not to eat, can have significant and far reaching impact on the future destiny and wellbeing of all.

Oja Spirit is based in Britain and aims to enhance greater public awareness of Jyotish. It is owned & managed by Veno. Veno also runs OSFA LTD (Orion School & Foundation for Astrology with Prash Trive di, the world's leading expert on Jyotish and Vedic science.

Veno's education in Jyotish began in 1992. She has learnt Jyotish from many sources but her most valued education has been her last five years of intensive study under Prash Trivedi. She has been a practising Jyotishi (astrologe r) since 1994.

She co-published her first book Sun, The Cosmic Powerhousein 2003 with Sagar Publications, India and has illustrated a pioneering work about nakshatras by Prash titled The 27 Celestial Portals due for release early 2005.

Veno has appeared on BBC radio and London Television with Prash to highlight the importance of introducing Jyotish to the west.

Author:: Veno Trivedi
Keywords:: Cows, Vegetarianism, Vedas, Veno, vedic astrology, Jyotish,
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