Sociology and Good Facial Expressions Essay - 746 Words

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The Cost Of Education For Substandard Economy - 1477 Words

Bal was born in one of the small villages in Nepal with substandard economy. He had to struggle his way out of the confines of a suburb life in order to gain quality education. He had a modest childhood as he went to a small village school where quality education was almost impossible to get. Since, the cost of education was in equal terms with the quality of education he received, it was not a big burden for his family to pay his tuition. Later, when Bal reached high school, a slight degree of financial strain began to press on his family. Giving up to the financial pressure, Bal started to teach when he was a teenager when his family’s financial situation aggravated by the absence of his parents who were in a different place in search†¦show more content†¦I met a lot of people and was exposed to a new culture.† he mentioned and continued with a genuine shrug, â€Å"It prepared me for adventures in my life.† He went back to Nepal after a year in Japan. Bal, then got a full bright scholarship for his PHD and came to US. Full Bright is â€Å"the flagship international educational exchange program sponsored by the U.S. Government.†(http://us.fulbrightonline.org/about). Bal said, â€Å"This scholarship is what turned my world around. Had it not been for this scholarship, I would have ended up teaching at some college at Nepal with just a minimum wage.† This scholarship led him to an entirely different path in his life. One US dollar exchanges for 100 Nepalese Rupees, so, I was seemingly impossible for him to pay his cost of attendance here at US, but the scholarship made him aspire for more, gave him bigger future along with a chance to broaden his academic potential and most importantly helped harvest a talent that could have otherwise been wasted in some rural part of Nepal. Bal has embraced teaching as a part of his life now. It’s a wonderful journey made by a poor boy from a small village in Nepal. â€Å"It’s satisfying.† Bal says and pauses for a while to contemplate and starts, â€Å"As I look back at my life, I get a sense of how my life has been full of struggles and challenges and these scholarships have helped me make my way out of those struggles† Bal emphasizes that the scholarships make him work even harder because he knows that

Micro Business Economics Philip Morris

Question: Discuss about the Micro Business Economics by Philip Morris. Answer: (1) Cigarette Advertising The profit (payoff) of Philip Morris = $1 * 4 billion * [AP / (AP + AR)] AP The profit (payoff) of R. J. Reynolds = $1 * 4 billion * [AR / (AP + AR)] AR There are 4 levels of advertising: $200 million, $400 million, $600 million and $800 million. (a) The payoff matrix for this advertising game is: Reynolds Philip $200 million $400 million $600 million $800 million $200 million 1800 , 1800 1133.3 , 2266.7 800 , 2400 600 , 2400 $400 million 2266.67 , 1133.33 1600 , 1600 1200 , 1800 933.33 , 1866.67 $600 million 2400 , 800 1800 , 1200 1400 , 1400 1114.29 , 1485.71 $800 million 2400 , 600 1866.67 , 933.33 1485.71 , 1114.29 1200 , 1200 In the payoff matrix, the first component of each cell represents the payoff of Philip Morris and the second component represents the payoff of R.J. Reynolds. The payoffs are in terms of million dollars. (Varian, 2009) (b) There is only one Nash equilibria in the advertising game. It is when both Philip Morris and R.J. Reynolds are spending $800 million dollar each on advertising. It is the only outcome which is mutually beneficial to both and is hence Nash equilibria. The payoff to each is $1200 million under the Nash Equilibria. (Pindyck and Rubinfeld, 2009) (c) When it becomes infeasible for the cigarette companies to spend $800 million on advertising due to the government ban, the maximum advertising expense will be $600 million. The resulting payoff matrix is shown as follows: Reynolds Philip $200 million $400 million $600 million $200 million 1800 , 1800 1133.3 , 2266.7 800 , 2400 $400 million 2266.67 , 1133.33 1600 , 1600 1200 , 1800 $600 million 2400 , 800 1800 , 1200 1400 , 1400 The Nash equilibrium in the new advertising game is generated when both Philip Morris and R.J Reynolds spend $600 million on advertising. The payoff to each will be $1400 million. (Varian, 2009) Under the ban, the payoff of both Philip Morris and R.J Reynold is $1400 million. Hence, their payoff is increasing due to the ban. Thus, they are both better off from the ban. References: Pindyck, R. and Rubinfeld, D. (2009). Micreconomics. 7th ed. New Jersey: Prentice Hall. Varian, H. (2009). Intermediate Microeconomics: A Modern Approach. 8th ed. New York: W. W. Norton Company.

The Holy Trinity and The Isenheim Altarpiece Essay Example For Students

The Holy Trinity and The Isenheim Altarpiece Essay The Holy Trinity by Masaccio was done approximately 1428. It is a superb example of Masaccios use of space and perspective. It consists of two levels of unequal height. Christ is represented on the top half, in a coffered, barrel-vaulted chapel. On one side of him is the Virgin Mary, and on the other, St. John. Christ himself is supported by God the Father, and the Dove of the Holy Spirit rests on Christs halo. In front of the pilasters that enframe the chapel kneel the donors husband and wife. Underneath the altar a masonry insert in the painted composition is a tomb. Inside the tomb is a skeleton, which may represent Adam. The vanishing point is at the center of the masonry altar, because this is the eye level of the spectator, who looks up at the Trinity and down at the tomb. The vanishing point, five feet above the floor level, pulls both views together. By doing this, an illusion of an actual structure is created. The interior volume of this structure is an tension of the space that the person looking at the work is standing in. The adjustment of the spectator to the pictured space is one of the first steps in the development of illusionistic painting. Illusionistic painting fascinated many artists of the Renaissance and Baroque periods. The proportions in this painting are so numerically exact that one can actually calculate the numerical dimensions of the chapel in the background. The span of the painted vault is seven feet, and the depth is nine feet. Thus, he achieves not only successful illusion, but a rational, metrical coherence that, by maintaining the mathematical proportions of the surface design, is responsible for the unity and harmony of this monumental composition. Two principal interests are summed up by The Holy Trinity: Realism based on observation, and the application of mathematics to pictorial organization. All of the figures are fully clothed, except for that of Christ himself. He is, however, wearing a robe around his waist. The figure is real; it is a good example of a human body. The rest of the figures, who are clothed, are wearing robes. The drapery contains heavy folds and creases, which increases the effect of shadows. The human form in its entirety is not seen under the drapery; only a vague representation of it is seen. It is not at all like the wet-drapery of Classical antiquity. Massacio places the forms symmetrically in the composition. Each has its own weight and mass, unlike earlier Renaissance works. The fresco is calm, and creates a sad mood. The mood is furthered by the darkness of the work, and the heavy shadows cast. Grunewalds The Isenheim Altarpiece is an oil painting on wood, completed in 1515. The altar is composed of a carved wooden shrine with two pairs of movable panels, one directly in back of the other. The outermost scene is the Crucifixion; on the inside there are two others. On the two sides,  two saints are represented St. Sebastian on the left, and St. Anthony on the right. Together, these saints established the theme of disease and healing that is reinforced by the inner paintings. On the bottom of the panel, when opened, it appears that Christs legs were amputated; possibly an allusion to ergotism, a disease treated in the hospital where the altarpiece was kept. An image of the terrible suffering of Christ is in the middle. The suffering body hangs against the dark background, which falls all the way to the earth. The flesh is discolored by decomposition and is studded with the thorns of the lash. His blackening feet twist in agony, as do his arms. His head is to one side, and his fingers appear as crooked spikes. The shuddering tautness of Christs nerves is expressed through the positions of his fingers. Up to this point, no other artist has ever produced such an image of pain. The sharp, angular shapes of anguish appear in the figures of the swooning Virgin and St. John, and in the shrill delirium of the Magdalene. On the other side, John the Baptist, a gaunt form, points a finger at the body of the dead Christ. .u7624ec07bbfa2fa9ca65a54f74e43c57 , .u7624ec07bbfa2fa9ca65a54f74e43c57 .postImageUrl , .u7624ec07bbfa2fa9ca65a54f74e43c57 .centered-text-area { min-height: 80px; position: relative; } .u7624ec07bbfa2fa9ca65a54f74e43c57 , .u7624ec07bbfa2fa9ca65a54f74e43c57:hover , .u7624ec07bbfa2fa9ca65a54f74e43c57:visited , .u7624ec07bbfa2fa9ca65a54f74e43c57:active { border:0!important; } .u7624ec07bbfa2fa9ca65a54f74e43c57 .clearfix:after { content: ""; display: table; clear: both; } .u7624ec07bbfa2fa9ca65a54f74e43c57 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7624ec07bbfa2fa9ca65a54f74e43c57:active , .u7624ec07bbfa2fa9ca65a54f74e43c57:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7624ec07bbfa2fa9ca65a54f74e43c57 .centered-text-area { width: 100%; position: relative ; } .u7624ec07bbfa2fa9ca65a54f74e43c57 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7624ec07bbfa2fa9ca65a54f74e43c57 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7624ec07bbfa2fa9ca65a54f74e43c57 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7624ec07bbfa2fa9ca65a54f74e43c57:hover .ctaButton { background-color: #34495E!important; } .u7624ec07bbfa2fa9ca65a54f74e43c57 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7624ec07bbfa2fa9ca65a54f74e43c57 .u7624ec07bbfa2fa9ca65a54f74e43c57-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7624ec07bbfa2fa9ca65a54f74e43c57:after { content: ""; display: block; clear: both; } READ: Painting Styles EssayEven though death and suffering are dominant in the altarpiece, there are symbols of hope: The river behind St. John, which represents baptism, and the wine-red sky which symbolizes the blood of Christ. Through these bols, a hope of salvation is offered to the viewer. The use of space is ambiguous in some places: All of the forms are at the same general depth in the painting. However, none of the forms are tangled, or intertwining. Therefore, the space is not badly used. Once again, all of the forms except for that of Christ are fully clothed. Christ is again wearing a small robe around his waist. The other forms are depicted superbly. Their bodies are not lost behind the drapery which they wear, yet they are not seen exactly either. The folds are more delicate, which create a calmer mood. Christs description was already given. The forms are three dimensional, and also have weight. They clearly take up space, and where they are is clearly defined. As in The Holy Trinity, the composition is generally symmetrical, centered around the body of Christ. It is a frightful composition, because of the events taking place. Expression is shown on all of the figures, who grieve Christs death. Overall, the two works are very similar. Masaccio, however, was more interested in the mathematical aspects of painting than Grunewald. Both works are superb, and have their own distinct qualities.