Impact Of Globalization On A Developed Economy Economics Essay

Impact Of Globalization On A Developed Economy Economics Essay Globalization is used to describe variety kinds of related but separate, political, sociological, economic and business phenomena. In general terms, globalization refers to the increasing global interdependence of national economies and development of worldwide business competition, activities, and markets (Stonehouse, 2005). The most common definition and the one which usually used in international business is economic globalization, which means an international integration of tendency, such as information, labor, technology, products and capital (Ball 2010). Multinational corporations (MNCs), which majority supported by the industrialized countries governments, and international financial organizations such as the International Monetary Fund (IMF), the World Trade Organization (WTO), the World Bank and the International Finance Corporation (IFC), are the foundational agents in economic globalization. In addition, an accelerative number of small and medium-sized enterprises are involved in global business operations as partners in this processing (Ahmad, 2001). This paper wills analysis the processing of economic globalization, listing the drivers with evaluating the values, and then assessing the impacts on a developed economy and a developing economy respectively. Drivers of globalization Globalization increased the interconnections of economic between countries. Accord to the theory of Ball (2010) and Cavusgil (2008), there are five major kinds of drivers: Political: government eliminates barriers to trade and foreign investment. International firms both exporting and building production facilities in different countries to open new markets. Much of the industries in formerly communist nations are privatization to participate in the global competition. Technological: Customers could learn more about foreign goods and have more right to choose by the advances communications technology. Small companies become competing global by using the internet and network computing, which also leads a large number of companies to make transactions with E-commercial systems. Market: As companies globalize, they also become global customs. When firms saturated the home markets, they begin to send branch companies into foreign markets. There are 84% of worlds largest companies expect that global markets will generate the majority of their growth in the next five years (Dow Jones survey Cited in Ball, 2010). Cost: Economies of scale reduce the unit cost by globalize product lines. These costs include production, development and inventory costs. The company can move production or other parts value chain to low-cost country by take local advantages. Competitive: Globalization leads intensity increasing competition for whole corporations all around the world. New companies, abundant from newly industrialized and developing countries, have entered global markets in automobiles, computers, and electronics in order to obtain more competitive edge. These drivers which are the dominant force for economic integration have variety impacts on different economics depend on the particular situation. Developing economy Positive impacts Globalization can enhance socioeconomic development in the developing economies. A large number of researches have estimated the impacts of globalization on the long-run growth of output and agree that international trade and globalization are important factors for a developing economy to build a positive economic system. They point out that higher globalization policies can leads countries to have higher Steady State Growth Rates (SSGR) (Rao, 2009). Focusing on the FDI inflows, more advanced technology and manager method involved in the developing countries could directly accelerate the local economic growing (Marques, 2009). The extent of financial flows seemed to supplement the developing economies shortages of capital and to encourage their investment in some aspects such as the construction of infrastructural facilities (Spence, 2010). Besides, globalization leads growth of international business and Increasing competitive in the developing countries. The general principle in globalization is that the most competitive one is the most efficient (Knight, 2008). As the WTO and other organizations have Impact on the construction sector in developing countries during globalization, which help developing countries economic to grow, by allowing competition to break down the inefficiencies of industries that were hidden behind various barriers to trade (Ball, 2010, p.20). In order to be more competitive in world markets, local corporations must obtain advanced commercial technology in the form of purchase of capital goods, direct investment, and the right to use the international companys skill or knowledge. This process of liberalization leads governments to acquire more capability of competition for markets, social utilities and services (Spence, 2010). Finally, globalization provides developing economy more and better jobs. According to the comparative advantage theory, trade and FDI should take advantage of the plentiful labor in developing economy and so trigger a trend of specialization in domestic labor-intensive activities and, ultimately, an expansion in local employment (Rugman, 2009, p.5). FDIs cause positive employment impacts both directly and indirectly through job creation by suppliers and retailers; they also produce a tertiary employment effect by generating additional incomes and thereby increasing aggregate demand (Lall, 2004, p.75). Spiezia (2004, p.154) measures the exported and imported of labor-intensities and non-traded goods, and concludes that in 21 out of 39 sampled developing countries an increase in the volume of trade resulted in an increase in employment. He also finds that the impact of FDI on employment could increases per-capita income in general. In addition, globalization could decrease poverty. Indeed, the majority of developing countries, particularly fast-globalizing countries such as India, China, and Vietnam, experienced a significant decrease in the proportion of their population which is living below the poverty line. The World Development Indicators shows that the proportion of extreme poverty people in China fell from 56 to 31 percent between 1981 and 1999. In contrast, that countries rejected globalization, Including Myanmar, Sierra Leone and Ukraine are always the most impoverished countries in the world (Ball, 2010). Negative impacts The major negative impact on developing countries is globalization will lead a developing economy to greater volatility with reducing economic growth in short-time, particularly in the capital markets. The financial linkages of developing countries with the worldwide economic system have significantly increased in recent decades (Prasad, 2003). With the financial globalization, the proliferation of financial crises among developing economies are often viewed as a natural consequence of the growing pains (Prasad, 2003). The Asian financial crisis, thousands of firms went bankrupt during the recession in developing countries. As the global financial market continue to be unpredictable, opening up to capital markets can exacerbate such existing domestic distortions and lead to catastrophic consequences (Aizenman, 2002, p.4319). The expanding foreign-owned corporations in local economy came to be viewed as a threat to autonomy by a large number of governments with the reduction of tariffs and the elimination of quantitative restrictions. The economic strength of large companies is even larger than the local governments in many developing countries. For instant, the annual revenue of Wal-Mart is higher than the GDP of Poland, Israel and Greece (Cavusgil, 2008). The MNCs can lobby the government or sponsored the selection in order to benefit from changing the local economies and social structures (Knight, 2008). They can also affect the legislative process, benefit from government agencies. Besides, the MNCs also threat the survival of domestic firms due to the low competitiveness of domestic enterprises (Langmore, 2004). As a result, some traditional customs and industries are disappearing. Hoang (2006) argues that globalization leads to exploitation of labor in the developing countries due to the developed countries take the advantage of cheap labor. As all these foreign investment in the developing countries are pursuit of profits, some experts argue that a large number of MNCs employing child labor and paying slave wages. These sweatshops also provide miserable working conditions in Dongguan, China and Africa (Stonehouse, 2004). According to the theory of Beine (2008), globalization leads to brain drain in developing countries. It has opened country easily for free movement of labors, especially experts and professionals. This problem is mostly in developing countries such as India, China and Africa where some of the qualified personnel immigrate to developed countries to get jobs due to poor economic conditions and lack of good financial policies in their motherland. Developed economy Positive impacts Globalization is much better for developed economic growth. On average, countries that globalized more, the experienced growth rates could be higher, especially true for actual economic integration in developed countries with the liberalization on trade and capital. There is also evidence, that cross-border information flows promote growth (Drehera 2006, p.1080). Besides, with a fully integrated market of services, labor, capital and goods, increased internationalization leads to larger income and sales, which in leads to greater profit potential especially in exploiting emerging markets (Sledge, 2006). The multinational firms from developed nations realize much performance benefits from globalization and pay more sales tax to their government. Globalization also accelerates the MNCs to expansion with more performance. Firms always organize their value-adding actives according to availability of land resource, labor cost levels, skills, and capital quality, they could benefit from much lower unit cost levels and often get huger quality manufacturing when take a location advantages during globalization (Stonehouse, 2004). For instant, IT outsourcing could cut operational costs and stay competitive especially it leads to a 24-hour functioning of firms (Marques, 2009). Furthermore, during increasing expansion, the subsidiaries of foreign companies are becoming important roles in the industrial and economic life in many developed economies. As growing rapidly in Foreign Direct Investment and exporting in the developed countries, globalization has a positive effect on Industrial competitiveness (IC) (Zhang, 2010), which also means that MNCs could get more industrial productivity by increasing integration with the global economy through FDI and trade. The MNCs also can benefit from a diversification of risk by invest in variety kinds of nations. Furthermore, by setting labor-intensive and heavy industry into in developing countries and regions, developed economics put pressure on the local capital markets to  upgrade. MNEs form developed countries are becoming increasingly knowledge-intensive rather than labor-intensive (Narula, 2000). MNEs increase international competitiveness with continuous innovation in high-tech researches and production new high-tech products. Developed countries are shifting their industrial structure to tertiary-industry during globalization. For instance, U.S. has set information technology, aerospace technology, defense and biotechnology industries as its pillar industry (Hecker, 1999). Economic globalization also creates more conditions for transnational flow of high-skilled labor. The important determinants for the migration decision of individuals are economic factors. As rapid rates of economic development, which based on high technology industrialization, more and more MNCs demand for imported high-skilled labor (Skeldon, 2005). So developed countries attract a large number of foreign talents to immigrate in and make important contributions to their economics. As human resources have become the most important factor in competition, developed nations could acquire more productivity (Beine, 2008). Negative impacts Globalization could increase the unemployment rate and widen the gap between rich and poor in the developed countries. The major threat obvious from globalization is that trade with the Third World, which provides cheaper labor, will undermine the wages of less-skilled workers, and even leads to their intense unemployment, such as in Western Europe. From economic theory, which provides clear evidences for the situation that trade can increase the rewards of skilled workers while reducing the pay of the unskilled workers when they are facing international competition, importing skilled labor tend to displace unskilled workers (Irwin 2000). Rodrik (1997) fears that those who can adapt to economic change, such as capital owners, skilled labor, and experts, will increasingly edge out those who cannot, such as unskilled and semi-skilled workers. Mckay (2004) points out that the gap between rich and poor could be accelerated because of the increasing redundancy of low-skilled people. Similar as developing economics, globalization leads developed nations more interdependent. That means the developed economies suffer more from economic disruptions as the risks become more global. Globalization encourages free trade, which involves an increased cash flow, and then the redistribution of capital could become more liquidity. As Bagai(2010) argues that there are more widely risks than before due to the financial markets and institutions have more capability to disperse than past. Furthermore, the increasing financial innovation by developed countries leads the financial managers more possibility to underestimate the risks. The subprime crisis illuminates are errors of omission due to the financial managers ignore the regulatory discipline (Spence, 2010). Conclusion (2176 words) Globalization has became one of the most controversial political and economic issues recently. As Marx said globalization process is inevitable as progressive and praiseworthy (Jellisse,2009, p.35). However, globalization is a dual-edged sword. With MNCs set their workforce from overseas to obtain inexpensive labor, developing countries obtain higher employment rate, thus improving their economies and living standard. But it has also thrown up new challenges like growing volatility in financial market and brain drain. As regard the developed economics, globalization accelerates the MNCs to expansion and industrial upgrade and shift. Because the globalization process is leading by developed countries, although it leads to increase the unemployment rate, developed countries gain more benefits from international trade and investment such as take local advantages and shift their industrial structures. In all, as globalization can be managed by governments cooperating global, expanding tr ade by collectively reducing barriers and working together to fulfill the optimization of resource distribution, both developed and developing countries can deploy to reduce poverty and raise living standard at last (Stonehouse, 2004 ).

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AMERICAN CULTURE Visual and performing arts 3. Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste.Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American peopl e. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous.Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II.But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals.What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future.While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, a re less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers.In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms.These critics often relied less on aesthetic judgments than on social measures and wer e eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past.In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded mate rials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts.The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence.American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administra tion, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances.Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism.Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the inn ovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women).Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each art ist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity.The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement.Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American M idwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp.Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence.Cornell's boxes exemplify th e modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s.Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtens tein's large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art.These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and popular art.Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol's pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break fre e of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship.Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography.Photography is probably the most democratic modern art form because it can be, and is, practiced by most Ameri cans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art.In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photogra phers earned their living as portraitists or photojournalists, not as artists.One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique.Adams's elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photo graphed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a hotographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power.Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied i n the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish.The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially.The decora tive arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. 4. Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century.These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country.Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States.In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine e stablished the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well.By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras.Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935).Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano.During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a m ovie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera.By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America's greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse.In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting.He brought the art of classical music to the public, especially through his â€Å"Young People's Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences.New York City, the American center for art performances, experienced an artistic expl osion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet.As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional p roductions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s.Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico.American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America's most durable music form. Starting in the 1960 s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme.This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold.At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts. . Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products.In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous.Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II.But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals.What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future.While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers.In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on criti cs and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics ften relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were establis hed in the past.In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts.The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence.American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances.Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, man y painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism.Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women).Color, shape, and movement dominated the canvases of abstract expressio nists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity.The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of t he abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement.Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp.Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement an d an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence.Cornell's boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art move ment that began in the 1950s.Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtenstein's large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art.These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and opular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol's pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship.Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative proces s. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products.Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters.They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographi c art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man.Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Instit ute).He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adams's elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers.Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a photographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of th e period.In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph.Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazi nes. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography.Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. . Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of America n culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama.The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country.The American performing arts also blended Latin American influences beginning in th e 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent.Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using i nnovative musical styles, moved to the United States in 1939.German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples.Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans.He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera.By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America's greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse.In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting.He brought the art of classical music to the public, especially through his â€Å"Young People's Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musi cal tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences.New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet.As the variety of performanc es expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s.Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensi ve knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico.American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America's most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme.This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds ha ve become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold.At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts.

Contexts that Motivate Learning

Motivational learning can be broken into four contexts. Those contexts are: Practical, Personal, Experiential, and Idealistic. First, the practical context of learning would be learning something because you know in advance it will benefit you. Second, the personal context of learning would be learning something because you want to do it for yourself to accomplish an important goal. Third, the experiential context of learning would be learning something because of past experiences. Finally, the idealistic context of learning would be learning something because you want to explore ideas, theories and concepts to experience the discovery of something new. There are four main contexts that motivate people to learn and everyone has their own reasons. Personal Context of Motivation I decided to return to school for personal reasons. Returning to school is something that I have thought of doing for a very long time. I guess you could just say that I have been very lazy and procrastinated for a long time. I tried to go to college right out of high school but it did not work out. I don’t think I was quite prepared to make that big step. I was headed down the wrong path and decided it was time to do something with my life. I knew it would help me to grow as a person. I now find myself in sort of the same situation. I’ve been a cashier for 18yr and now I work hard every day loading a Goodwill trailer to support my kids I know that without a collage education that most likely will not happen. I also want to be a positive influence to my children and show him how important education is. I want to be a good influence to my son and daughter but most of all I want to better myself as a person. Plus most of all I know in 4 to 5 yr. my fibromyalgia will not be getting any better. By that time my R. A. in my back will be getting bad, I still have 8 yrs. left to support my little girl. I know I can’t do it working on the back of the trailer but maybe be hide a desk for Goodwill I can as a human resource manager

A Socialized Platform Of Social Media - 1306 Words

A Socialized Platform In the world today, we as a society have contoured our lifestyle in order to grow more accepting of socialized platforms. With the simple help of different networking tools and various applications, people have been able to develop an online persona. The way one presents themselves through social media may differ from how they are portrayed in a public setting. Internet sites like Facebook, Twitter, and Instagram have acted as a tool for self-expression and individuality. Although social media has proven to be very effective, it has also condoned a more detached and artificial lifestyle for some. Through the use of social media, people have grown more insecure, distracted, and have worsened their social anxiety. On a majority of social media networks, users are able to post images of themselves. These images often convey a message about the user, and can ultimately be a representation of their self-worth. With the help of filters and other photo enhancing tools, people are able to develop a more appealing image of themselves. Instead of allowing people to accept their natural image, they are provided with devices that completely alter their look. As a result, people who often glamorize themselves online feel unsatisfied in reality. This is due to the fact that many have set a standard for themselves based on a particular image. Instead of accepting basic flaws, and imperfections, many people feel obligated to develop a quintessential photo. ChristineShow MoreRelatedGender Socialization : The Real World1442 Words   |  6 Pagesfamily, schools, peers, and media, gender socialization is emphasized and made very real in the world today. The definition of gender in the sociology textbook, The Real World: An Introduction to Sociology, is â€Å"the physical, behavioral, and personality traits that a group considers normal for its male and female members† (Ferris and Stein 243). 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