TABLE OF CONTENTS. Essays - Financial Ratios, Dividends,

TABLE OF CONTENTS. INTRODUCTION. PROCEDURE. FINDINGS. 1.0 INVESTMENT RATIOS ? MEASURES OF EFFICIENCY. 1.1 Earnings per Share. 1.2 P/E Ratio or Price / Earnings Ratio 1.3 Dividend Yield. 1.4 Dividend Cover. 2.0 PRIMARY OPERATING RATIOS ? MEASURES OF EFFICIENCY. 2.1 Return on Capital Employed 2.2 Debtors Turnover Ratio 2.3 Creditors Turnover Ratio 2.4 Return on Shareholders' Fund 3.0 PRIMARY FINANCIAL RATIOS ? GEARING AND LIQUITY. 3.1 Gearing Ratio 3.2 Liquidity Ratio 3.2.1 Current Ratio 3.2.2 Quick or Acid Ratio 4.0 CASH FLOW CONCLUSION RECOMMENDATIONS APPENDICES BIBLIOGRAPHY ? REFERENCES INTRODUCTION It can be suggested that accounting consists of identifying, measuring and communicating business information to facilitate judgements and decision making for the further future. This specific report is pointed at investigate National Grid Group Plc's report and accounts in order to decide whether someone should invest or not in this company. Someone, who is able to analyse this company, must have its Annual Report for at least two years, which will help the person, because it contains basic components like the Profit and Loss Account, the Balance Sheet, the Cash Flow Statement and the Director's Report. PROCEDURE In order to guide you to understand about this specific company, I have used the Annual Review by following some steps: 1) To summarise the size, the structure and the profit of the company I have first check the balance sheet and the profit and loss accounts. 2) I have read very carefully the chairman's statement and the director's report, which helped me to understand better things about the company. 3) I have also calculated the trends and ratios. The performance data, P&L A/C, Balance Sheet, Ratios and Trends were obtain from the following sources: - Annual Review of National Grid Group of 1997-98. - Articles from Financial Times newspaper. - Books related to the subject. FINDINGS. 1.0 INVESTMENT RATIOS ? MEASURES OF EFFICIENCY. Investment ratios are the ratios used by the investors when deciding whether a share should be bought, sold or held. 1.1 Earnings per Share. Earnings per share (EPS) indicate the amount of profit after tax, interest and preference shares earned for each ordinary share. It is also more reliable for comparing the performance of any company because it can not be affected by the policy of the directors. Profit after tax + interest EPS = No. Of Ordinary shares The earnings per share of National Grid Group, excluding the exceptional profit relating to Energis, were 19.8 pence, compared with 24.3 pence in 1996/97. This reduction resulted from lower transmission profits following the implementation of the new price control. 1.2 Price Earnings Ratio. The Price Earnings Ratio (PE ratio) is a measure of market confidence in the shares of a company. Also the PER play a significant role not only in the company itself, but on the industry in which it operates and, of course, on the level of the stock market, which tends to rise more than reported profits when the business cycle swings up and to fall more than profits in a downturn. Arithmetically, the ratio measures the number of years it would take to repay the share's current value in earnings. It can be define like this: Market price per share Price Earnings Ratio = Earnings per share At 31 March 1998, NGG's share price was 353 pence compared with 209 pence at the start of the year, an increase of 68 per cent. The shares traded during the year within the range 206 pence to 353 pence. The market capitalisation of the Company at year-end was $5.2 billion. (The National Grid Group plc Annual Review 1997-98) 1.3 Dividend Yield. Dividend Yield expenses dividends as a proportion of the market value of total shares. They are also based on gross dividends per share, that is, on the dividends actually paid plus the associated tax credit. It can be defined like this: Dividend per share Dividend Yield = x 100 Market value per share On the 25th of November 1997, NGG announced that it was taking steps to improve the financial efficiency of the Group by returning excess capital to shareholders by way of a special dividend of 44.7 pence net per ordinary share. The special dividend, which represented approximately 15 per cent of the Group's market capitalisation at the close of business on the 24th of November 1997, amounted to ?786.6 million and was paid on the 17th of February of1998. On 5th of February 1998, the shareholders approved a share consolidation to reflect this return of value. As a consequence, 1,718 billion new ordinary shares of

Glandulas suprarrenales Essays - Free Essays, Term Papers

Glandulas suprarrenales Essays - Free Essays, Term Papers Glandulas suprarrenales Generalidades Organos pares, constan de 3 diferentes tejidos Corteza externa, controlada sobre todo por el sistema renina-angiotensina-aldosterona: que regula la liberacion de aldosterona, la cual afecta la homesotasia de sodio y potasio Corteza interna, controlada por el sistema hormona liberadora de coticotropina cortisol, que regula la respuesta fisiologica al estres mediante la liberacion de cortisol y tambien produce androgenos La medula, que forma parte del sistema nervioso simpatico y produce adrenalina Embriologia Cada glandula adrenal consiste en dos regiones diferentes: Corteza: deriva de las celulas mesenquimatosas unidas a la cavidad celomica en proximidad al pliegue urogenital. Puede distinguirsele desde los dos meses de gestacion. La corteza adrenal fetal aumenta de tamano con rapidez, llegando a ser mayor que el rinon hacia los cinco meses de gestacion, momento con el cual ya se distinge en dos zonas: Corteza externa definitiva: Zona glomerulosa (Externa), la cual expresa la enzima desmolasa (cataliza la primera reaccion en la sintesis de esteroides) y aldosterona sintetaza (Cataliza la reaccion de aldosterona) Zona fasciculada (Intermedia) que expresa desmolasa (catalizala reaccion final de la sintesis de cortisol y corticosterona). Zona reticular (Interna) Corteza externa fetal: se degenera con rapidez y al ano de edad ha desaparecido

Answer Questions Essay Example | Topics and Well Written Essays - 250 words - 2

Answer Questions - Essay Example Thirdly, servant leadership is a way of improving loyalty, diversity, and all-inclusive decision-making process. The workers feel indebted to hardworking leaders, which will lead to loyalty and hard work. Similarly, the workers will feel appreciated especially when they are engaged in decision-making. It is noted that there are two sets of servant leadership. In the first set, the employees are rewarded when they accomplish the set goals in the organization. This is a recurrent process, which enhances the productivity of the workers. This requires constant participation of both leaders and employees to evaluate the progress and performance (Nahavandi, 2006). This has been proven to record immense improvement at the work place. The constant communication and interaction enhances employee-leader relations. With such a relation, there will be positive changes at all the times. Secondly, there is the leadership style where leaders are obliged to intervene when there is a problem. In such times, the leaders involve the workers in looking for a prudent solution to the incumbent problem. With such processes, the workers feel engaged in the running of the organization. Personally, this leadership style should be appreciated in ensuring immense performance. In conclusion, servant-leadership style has been in use around the world with proven success. One of the fundamental benefits of this type of leadership is long-term outcomes, which are positive. It is an opinion that this can be used in enhancing organizational culture, which will improve the organization’s

Understanding management accounting and financial management Assignment

Understanding management accounting and financial management - Assignment Example For this expansion setting up new plant is essential for Flight high ventures plc to increase the capacity. The inception of new plant will require initial outlay of ?4m. Along with this, research and development department is taking another project of product development with two options A and B. In this report these two options are evaluated using different techniques. Two projects A and B both are mutually exclusive need to decide which project is more suitable for the Flight high ventures plc. Both the projects have initial capital investment which is shown in annexure as negative. Project B has initial investment of ?1210000 and project A has lower initial investment of ?968000. Lower initial investment does not signify that it is better to accept or reject because there is difference in economy of scale in those projects. Hence the effect is reflected in profit earning and in cash flows per year. These two projects are evaluated using four different techniques like payback meth od, accounting rate of return method (ARR), net present value (NPV) and internal rate of return (IRR) (Collier, 2003, 185-193). Payback for the project A is 2.5 years and for project B is 3.5 years. Hence project ‘A’ needs 4.5 years to get repaid by its cash flow and project ‘B’ needs 3.5 years. This pay back period depends on the amount of investment and size of cash inflow. If the project has higher cash inflow at the initial time of the tenure of the project then it will effect on the payback time to be lessened. This concept is an advantage to pay back process as the risk of payment through early payment is reduced in this process. Another few advantages are like easy to calculate, simple concept and consideration of cash not profit only. But this procedure of evaluation has major flaw of non consideration of time value of money. Payback concept does not consider the cash inflow out of the stipulated time which may be for infinite for some projects. Hen ce the project size and the time are not under consideration of this method. (Kay, 2011, p.108) Accounting rate of return of any project is based on the average accounting profit and average capital investment. Here profit is considered in the calculation instead of the cash flow. Profit is counted after excluding depreciation from the cash flow. This ARR calculation has similarity with other calculation for return on investment (ROI) and return on equity (ROE). Only dissimilarity is in denominator. In ARR the main benefit than payback is the consideration of the project life span. Simple in calculation of ARR is another advantage. The result of ARR can help to compare more than one project and also with other financial ratios. But main advantage is similar to payback is, not of considering the time value. Other disadvantages are like not considering the scale of the project and timing (Atrill and McLaney, 2006, p.329- 332). (Damodaran, 2002) In those above two methods risk is consi dered in the calculation but inflation and interest foregone factor is not considered. In the NPV and IRR method time value of money is applied in the calculation. In NPV calculation the absolute size of the project is accounted and also in the discounting factor consideration of calculation of the discounting rate is important (McGrath, 1998). Usually cost of capital is considered in this calculation but this is the main advantage of NPV method, because of the hardness in calculation of cost of capital (Brigham, Enrhardt, 2010, 383). IRR is positive for the projects with unknown discount rate but known cash flows. Like NPV, IRR also considers risk and time value of money. But IRR ignores the change in discount rate and also the gives multiple result for the cash flow with combination of inflow and out flow.

History of Nude Drawings in Art

History of Nude Drawings in Art Nudity vs. Nakedness The nude figure is the most volatile subject in the history of painting. The artists treatment of the nude dictates whether her gaze addresses the viewer with a coy obliqueness or a confrontational directness. The figure has the ability to condemn, invite, and often perform both simultaneously. Through the viewers inverted projection an immediate response to nudity, the nude figure attains the ability to undress us. The vulnerability and splendor of nudity is that in its elemental form, with no adornment or intention, it is looked upon with grace and beauty but the moment that it dallies on the line of effortful pleasure, it will be seen in the opposite light. Even today, certain nude photos, in the culturally appropriated context, are appreciated as art, whereas pornographic images are viewed tactlessly and cheaply. The reclining nudes contentiousness can be charted from Cabanels Venus to Manets Olympia through the writers Zola, Clark and Castagnary. They argue that it is the contex t that demarcates the crucial difference of acceptable and refutable works of nudity and explain that these artists, most notably, Manet, disobey traditional conformity by being able to belong to multiple facets of prostitution therefore, in essence, not belonging to any singular categorization. To preface my explication on Manets Olympia, Ill first give some background. Edouard Manet was born on January 29, 1832. He was well educated but showed a great liking toward drawing and the arts. His Uncle Charles Fournier encouraged Manets appreciation for the arts and often took him and his friend, Antonin Proust, on outings to the Louvre. In 1850 Manet entered the studio of Thomas Couture and studied there until 1856. During this time, Paris began its massive transformation of the city under the supervision of Baron Haussmann. Haussmanns revitalization affected the physical environment of Paris as well as the cultural and social atmosphere. Thousands of jobs were created, stores redesigned, and buildings torn down and redeveloped. All of this happened to try to make Paris the most beautiful and cultural city in the world. This idea of change might have prompted Manets decision to paint his Olympia so boldly naked. But I believe the answer lies in the artists lifelong ill-health; it was in fact Manet himself suffered the physical pain from which he suffered on a daily basis was the result of a syphilic virus contracted during one of his aforementioned youthful encounters, a misconception which haunted the artist throughout his life . Taking this point into consideration, one must therefore consider the psychological effects that Manets own feelings of guilt and regret concerning the cause of his illness, and consider the effects that it had upon his life and his work, and thus in turn the way in which those feelings influenced his view of women as a whole, but particularly those of ill-repute. Although he has been hailed as the first modern painter, Manet was inspired by the great tradition of artists like Giorgione, Titian, Velazquez and Raphael, whom the Pre-Raphaelites had rejected. For example, Olympia (1863) is undoubtedly based on Renaissance works and shows his re-examination of old masters where as traditionally, nude figures were always depicted in classical settings or as goddesses, details like the choker and shoes of the subject of this painting make it clear she is a contemporary courtesan. Also, she does not have the typical demure, slightly coy expression the public would expect, but instead looks straight out of the painting in a matter of fact, challenging manner which would be shocking and considered unacceptable at this time. This painting also shows Spanish influences, and was described by a critic as a crazy piece of Spanish madness; due to the way the figure seems to be asserting a powerful physical presence. This idea of a powerful female figure was possibly inspired by the Spanish ballet troop who performed at the Hippodrome in Paris starring a woman called Lola, depicted as a robust, red-blooded figure. In the Salon of 1863, Manets Olympia was criticized her unacceptable composition and directness of gaze while Cabanels Venus, later purchased by Napoleon III, was lauded for its refined eroticism. Castagnary epitomizes this idealized view of the nude in his account of 1863 when he uses the words dazzling, immaculate and naked beauty to describe the nude form of the goddess Venus. Castagnary also comments on Venuss harmonious pose and pure, well arranged contours. Cabanels Venus is perfectly, technically drawn- idealized, devoid of any blemish or body hair. She is sexually passive, characterless and more perfect than is humanly possible- which fitted with the accepted style of the time. According to Frances Borzello, Cabanel adheres to a strict set of conventions when he paints his Venus as historically, the reclining nude is painted in the guise of a classical goddess and tends to lie with her eyes turned from the spectator, half closed, or even closed (as in Cabanels piece), offerin g no obstacle to his free-ranging glances over her body she often stretches out in a landscape whose hummocks and valleys metaphorically echo her curves (hence the significance of the swelling sea Venus floats atop) . The Salon goers were used to seeing paintings with elaborate shades between light and dark, and because Manet covered up nearly all such shades, the critics could not see Olympia as a three dimensional figure, only as an arrangement of flat patterns. But this engaged the eye more, forcing it to assemble continuity from extremes of light and dark. Manet chose instead to paint bold brush strokes, implied shapes, strong simplified forms, and used simple colours. He allowed the viewer to see the paint itself as a part in the painting and to see the texture, and elements of colour. His work looked natural with no actual fixed composition. Olympia beyond doubt shows Manets determination to simplify. Manet highlights his subject with a thick, blackish outline that closes in o n her. As a result, all of these techniques forced the viewer to see Olympia not only as a naked woman, but also as patches of paint precisely laid on the surface of the canvas. Manets use of color in Olympia separates it from many of his other paintings. Olympias chest is very lit up making her the focus of the painting. This flattens the image of Olympia by extracting the roundness of her. Everything in this painting is either light or dark. The light and dark both make up two different planes, the foreground and the background. The white sheets, pillows, flower bouquet, and the servants dress are the entire foreground layer. The dark green curtains and rust like wallpaper make up the background. These two layers, however, are joined together with the servants dark face, the black cat, and Olympias black jewelry. Without these elements the foreground would look like it was just cut out and pasted down on a background. The contrast of colors within Manets painting appeals to the viewers senses. Emotional responses to the painting, such as purity, are caused by the white colors of the bed and the woman upon the sheets. Her white, pure skin tone relates to th e natural association with virgin purity. The darkness that surrounds the women upon the bed then relates to dark, harmful feelings that most relate to evil. The woman upon the bed inhibits the natural innocence of the painting. The flower that is placed within her hair contains colors of pink and red hues. These brighter colors of the painting bring a very strong interest to the womans head and facial features. There are other various color relationships within this painting as well. The different flowers seen in the bouquet can also be seen in the blanket Olympia is laying on. The dress of the servant matches that blanket also. The wall in the background coincides with the couch or bed that she is laying on. Overall the repetition of color allows the painting to flow smoothly. The use of color within the painting allows different perspectives based on feelings and emotions. The subject matter of this painting is both intriguing as well as artistic. The woman, Olympia, is portrayed in a very different way than most of paintings in that time period. Her naked body shows her physical beauty, but the way she is propped upon the bed gives the idea of her not having respect for her personal body. The reason for this is that other paintings of this time show women presenting themselves in a more graceful matter, stereotypically ladylike. Her complete nudity, with the exception of her bracelet, necklace, and shoes shows that she feels that accents are needed to make her beautiful. If the womans view of herself was different she would see herself and her body as a piece of art work within itself. Her jewelry, flower, and shoes show us she needs more to feel beauty outwardly. The bed beneath her gives the pretrial of laziness because it is unmade. Yet the lines of the sheets accent her body curves to give an even idea of shape. Some might view her as a sexual par tner to many men because of her willingness to be nude and the flowers that are being brought to her by the servant. The flowers symbolize Olympia being very lady-like, and proper. However she maintains a very impersonal relationship with the viewer because of her flat gaze. Camille Lemonnier states that in order for a nude to stay pure in art she must be made impersonal and this is what Cabanel does by draping the arm across Venuss face, obscuring it and allowing her just to peek out through half-closed eyelids and by ridding her body of imperfections (which explains the absence of pubic hair) that make her personalized, and therefore flawed. The view that comes across very strongly in Castagnarys account is that all artists that paint nudes should strive to create perfection. This is a very different view compared to both Zola and Clark. Cabanel also includes the group of flying cupids that accompany Venus on her journey (to finally stand erect and reveal herself to men as Castagnary puts it). They play the part of the necessary allegorical trappings that must be included in a traditional reclining nude, as the aim of the painter is to elevate his model to goddess status and present her idealized, modest form to the spectator to appreciate and admire in her immaculate beauty. By placing cupids in his painting it ensured that the spectator would know that this was Venus- not just a naked girl Cabanel got to model for him, a mistake Manet makes with his Olympia. The fact that Manet copied his model, in Zolas words, just as she was caused much shock and outrage among the crowd at the salon of 1863. Manet disrupted the convention that the reclining nude should in no way cause embarrassment to the viewer. He caused a scandal by posing his model as a modern woman (with no allusions to her being a goddess) who stared boldly back at the spectator, challenging and discomforting. In Zolas account of Manets Olympia he focuses on the technical merits of the painting and highlights the new style that Manet was painting in, saying that everything is simplified and that if you wish to construct reality you must step back a bit, he believes Manet had performed a miracle. This view differs highly from Castagnarys, as in his account of Cabanels Venus he stresses the fact that Cabanel is a skilful draughtsman and much emphasis is placed on creating a technically correct painting. However it is my view that Venus in Cabanels work doesnt sit as comfortably in her setting as Manets Olympia does in hers. To me Venus appears stuck on to the crest of the wave- as if Cabanel had sketched his model first and added the background in later, working it around his model and not actually incorporating her into the scene very effectively. However, despite Manets miracle brushwork and his courteous nod to Titians Venus of Urbino people found the painting offensive. We can clearly distinguish Olympia as being a courtesan and this is what I believe caused the public react in a hostile manner towards it. She is adorned with many of the trappings that would have been familiar to them as they would have been able to tell she was a prostitute- her pink flower placed on the side of her head, her black ribbon around her neck and slipper dangling from her foot. A black maid offers flowers to her- no doubt sent by one of her clients, also whereas Titians Venus delicately covers her sex, Olympias flexed hand firmly protects hers, as if to refuse to let the viewers eye roam freely over her. This, accompanied with her calm, almost insolent glare further adds to the feeling of discomfort the visitors to the salon must have felt. There were many prostitutes around at this time that chose ancient names for themselves (like for example Olympia and Aphrodite) and numerous members of the nobility kept open mistresses. It was normal to go about your business and family life during the day then mix with women like Olympia at night. These high class men would have attended the Salon with their families and been confronted with something from their other life- a prostitute. The fact that she was a prostitute elevated to goddess status many people thought was unacceptable. Countless felt that this kind of image didnt fit in the setting of a respectable salon. Its because of this fact that Zola states that Manets work is more real than any other- when other painters correct nature (as Cabanel does in his work) they lie why not tell the truth? He says that Olympia is a girl of our own times whom we have met in the streets. Manet incorporated the present with the classical in a way that had never been seen before, it was a comment on society but more importantly he wanted to capture his subject as she really was. Titian turned his model into a goddess, whereas Manet turned Titians goddess back into a simple woman. Here we see the differences in Castagnary and Zolas opinion. Its my impression that Castagnary advocated that nudes should be objects of perfection to be viewed as a way of deepening our appreciation of beauty, whereas Zola stresses the importance of telling the truth and painting from real life, to create a comment on society. However Clark takes a different stance on the nude altogether and argues that the nudes purpose is to stir erotic feelings within us- if it fails in this objective he believes the artist has created bad art. Clark says this is the obvious point of the nude, and that however abstract, it shouldnt fail to arouse in us some vestige of erotic feeling. Manets Olympia certainly does this and so do countless other artists versions of the nude. Artists like Giorgione and Ingres show how the nude can be erotic in the traditional sense and artists such as Henry Moore, Modigliani, Picasso and Egon Schiele have explored new ways of portraying the nude- set free by Manets rebellion in 1863. However I do not wholly agree with Clarks view that the nude should always be erotic as I think that the nude evoke other feelings besides this. For example Egon Schiele can emit the feeling that is conveyed to me is one of intense vulnerability and this is something Clarke doesnt explore at all. To be nude/naked is to be stripped of our clothes, laid bare for all to see with nothing to hide us. It is true to say also that many nude paintings are too erotic- to the point where as a spectator you feel more like a v oyeur. Lucien Freuds painting Naked Girl Asleep for example, shocks me whenever I look at it, as do any of his paintings. However it is true to say that in the period we are living in we have been desensitized, which makes me believe that my reaction to Freuds work is similar to the salon goers of Manets day, to his Olympia. Its my opinion that the subject in Naked Girl Asleep is placed centrally on the canvas so that it forces you to look at her (much like how Manet made the focal point of his painting, Olympias eyes where she challenges you to engage with her). Everything in Freuds piece seems too stark and amplified, the rib cage juts out and the skin tone of the girl has an almost death like quality. Funnily enough this view is very similar to comments made by critics of Manets time about Olympias dirty flesh. I think it is very important to remind ourselves therefore of the period that each of these extracts were written in, as both Castagnary and Zolas account come from 1863, whereas the extract from Clarks book was written in 1956 and therefore what society found acceptable as art had changed quite dramatically. For centuries the reclining nude had been constrained by rules and conventions. After 1900 a reclining nude could be fractured by cubism or dissolved by abstraction painters were able to depict the previously unemitable. The nudes are no longer passive like Cabanels Venus but force you to interact with them, as did Manets Olympia. However, I do agree with Clarkes point that a nude should be erotic, but I dont believe that is its only purpose. I also agree with his point that if it does not evoke any feeling then it is bad art and I think this is true to says of all art in every genre. I believe a painting has to make you feel something whether its a bad feeling or a good one, as then it is creating a response- this is what I believe good art does. For me I get more out of looking at Manets Olympia than I do looking at Cabanels Venus as I feel there is more to engage with in the painting- the black servant presenting a bouquet of flowers, the cat arching its back and the mystery this creates. Is the cat arching his back and hissing because an unexpected person has just walked into Olympias room? Has Olympia sat up straighter, placed her hand coyly over her pubic area and met an unannounced guest with accusing, challenging eyes? Are we, as the spectator, in the position of someone bursting in? Is it us she chall enges, looking out as we look in? Cabanels painting in contrast fills me with none of these questions apart from the fact that I want to know why it is that Cabanel thought it acceptable to plonk Venus on top of the wave; I feel that she and the background do not fit together at all. Saying this I wouldnt say that Cabanels Venus was completely devoid of any erotic overtones, as I believe the way she gazes out at the spectator through half closed eyes is, in a way, inviting. I think the main thing that irritates me about this painting though is her passivity, almost as if she cant be bothered to really acknowledge you. She seems resigned to the fact that she is there as an object of desire and just accepts it. Whereas Olympia is much more aware of her sexuality and is in control of it- this to me, living in a post-feminist era is a lot more interesting and I feel I can identify with the painting more. In conclusion I believe that each of the writers attitudes towards the nude in the three extracts is valid and interesting. I can see Castagnarys point that the nude should be perfect as it can be an object of beauty, but this is an idealized view of how a woman should be. This view is still prevalent today in the culture we live in, where we are bombarded with images of perfect (often airbrushed models) on a daily basis. The idea of what perfection is may have changed but the concept has not. I believe that Zolas opinion that painters should tell the truth is correct in reference to painting the nude, as I agree with showing the body as it is, complete with every blemish as Picasso said if it is pure (as Venus is in Cabanels painting) it is not art . I also agree with Clark to some extent when he says that a nudes purpose is to be erotic, but I do not believe that this is its only purpose. The nude can evoke all sorts of feelings within the viewer- feelings of pity, of empathy, of a mazement, or of appreciation of our human bodies. To be nude is to revert back to the way we were in the beginning. Bibliography CLARK, T.J.- Olympias Choice, The Painting Of Modern Life- Princeton- 1984- p. 212, p.214 BORZELLO, Frances- Nude Awakening- The Guardian Online- 2009 (Found athttp://arts.guardian.co.uk/features/story/0,11710,824240,00.html) CLARK, Kenneth- The Nude- A Study Of Ideal Art- John Murray- London- 1956; repr 1957- p. 6

Habeas Corpus: The Ultimate Writ of Liberty Essay

In time of war, many quick and unpopular decisions are inevitable. The decisions the President has to make must be in the best interest of the country, and of the world. Although war is unpopular with many people, it is unavoidable in certain circumstances. During wartime, many American people want known enemy combatants to have their rights upheld while being detained. Unfortunately, this is not always feasible. One has to understand that the taking of the liberty of a handful of people to save the lives of thousands, or even millions of people is an unavoidable act. When a citizen of a foreign country, or a citizen of America, who has turned to terrorism, goes to war with America, the rights given to American citizens by the Constitution should be denied. Wartime is never pleasant and it has the potential to causes the destruction of billions of dollars’ worth of property. However, the loss of life is much more devastating than the loss of property. During war, there are law ful enemy combatants captured by the opposing force and held for information or as bargaining tools. These lawful enemy combatants are known are prisoners of war (POW). If the enemy combatant whom is captured is not entitled to prisoner of war status because he or she does not meet the definition of a lawful combatant as established by the Third Geneva Convention, the prisoner is known as an unlawful enemy combatant (EC). In 2001, when President George W. Bush declared war on terrorism, the war was not against a country but against a particular group. Under the rules of the Third Geneva Convention, terrorists captured during the war on terrorism do not fit the criteria to be labeled a POW. Therefore, these combatants are considered unlawful enemy combatants not bound by the protection of the Third Geneva Convention. Since the war on terror started in 2011, there have been a number of lawsuits filed against  the American Government claiming the detainees at Guantanamo Bay were havi ng their rights to Habeas Corpus violated. A Writ of Habeas Corpus instructs a government, police, or anyone who is detaining an individual from his or her liberty, to immediately bring the accused before the court so the legality of the detention may be examined (A brief history of habeas corpus, 2005). However, President Bush declared the detainees as unlawful enemy combatants, thusly denying their right to Habeas Corpus. In the United States Constitution under Article One, Section 9, clause 2, it reads, â€Å"The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion, the public safety may require it.† (Transcript of Constitution of the United States, 1787). The fundamental right given to detainees by the United States Constitution, also known as Writ of Habeas Corpus, is nothing new to the world. The origins of Habeas Corpus can be dated back to British common law (Schultz, 2011). The Habeas Corpus Act was passed by British Parliament in 1679 and is said to have origins of Anglo-Saxon descent dating back to the middle ages (A brief history of habeas corpus, 2005). According to Sir William Blackstone, the first use of Habeas Corpus can be dated back to 1305. However, there were other Writs with the same influence being used in the twelfth century, which precedes the Magna Carta in 1215 (A brief history of habeas corpus, 2005). Habeas Corpus was first established in the United States by statute in the Judiciary Act of 1789. This lawful Writ applied only to detainees in custody by officials of the Executive Branch of the federal government, and not to those held by state governments. However, Article One, Section 9, clause 2 does not give the right to detainees to exercise their right to the Writ of Habeas Corpus; rather it instructs Congress against suspending a person’s right unless it is in a case of rebellion, invasion, or public safety. Therefore, in America, if a person is being detained and they do not feel the detention is legal, the detainee has the right to file a Writ of Habeas Corpus. There have been only two instances when the President found it necessary to suspend the Habeas Corpus Act in light of civil rights (Robinson, 2011). In the early days of the United States Civil War, President Abraham Lincoln suspended Writs of Habeas Corpus on April 27, 1861. President Lincoln felt it was necessary to suspend Habeas Corpus along the railroad line between Philadelphia and Washington. Eventually, in  the fall of 1862, President Lincoln suspended Habeas Corpus nationwide (Robinson, 2011). In recent history, President George W. Bush suspended Writs of Habeas Corpus for the enemy combatants held at Guantanamo Bay by signing into law the Military Commissions Act of 2006. Both Presidents came under fire for their decisions. However, Lincoln’s was taking the right of Habeas Corpus away from American citizens while Bush took the right away from non-American citizens or citizens who were in rebellion against the United States. One of the biggest arguments is whether enemy combatants have the right to file a Writ of Habeas Corpus in a federal court. Although Habeas Corpus is a fundamental right given to the American people in the Constitution, the terrorist attacks of September 11, 2001 brought new theories to the forefront. The Bush Administration’s choice to detain enemy combatants at Guantanamo Bay without trial tested the latitude and assurance of this constitutional right. The Bush Administration established long ago their view that foreign terrorists are not entitled to American basic rights (Justice and Gitmo; The high court’s decision to weigh habeas corpus for detainees is a step toward restoring trampled freedoms, 2007). The Supreme Court heard the case Boumediene v. Bush and made a ruling on this case on June 12, 2008. Boumediene v. Bush was a Writ of Habeas Corpus filed in a civilian court of the United States on behalf of Lakhdar Boumediene. Boumediene was a naturalized citizen of Bosnia and Herzegovina being held as an enemy combatant by the United States at Guantanamo Bay. When the ruling came down f rom the Supreme Court, it was a five to four with the majority holding the detainees at Guantanamo Bay did have the right to file Writs of Habeas Corpus under the United States Constitution. There were three factors taken into consideration when determining the final decision: the citizenship and status, along with the adequacy of the process that status was determined, the sites where apprehension and detention took place, and the obstacles in resolving the detainees right to the Writ (Boumediene v. Bush, 2008). The Supreme Court ruled the United States, by virtue of its jurisdiction and control over Guantanamo Bay, the country maintains de facto sovereignty over the territory, while Cuba retained ultimate sovereignty over the territory. Therefore, the aliens detained at Guantanamo Bay were enemy combatants and were entitled to the Writ of Habeas Corpus (Boumediene v. Bush, 2008). This ruling reversed the lower court’s decision, which  stated that constitutional rights do not extend to the detainees at Guantanamo Bay. Associate Justice Kennedy wrote the opinion of the court, with Justices Stevens, Souter, Ginsburg, and Breyer joining. Justice Souter also filed a concurring opinion with Justice Ginsburg, and Breyer joining. However, Chief Justice Roberts filed a dissenting opinion with Scalia, Thomas, and Alito joining. Justice Scalia also filed a dissenting opinion with Roberts, Thomas and Alito joining. In Chief Justice Robert’s dissenting, he states the Boumediene v. Bush case should have not even made it to the Supreme Court for a ruling on Habeas Corpus until the lower court first decided if the detainees had a legal right to file in a United States Court (Boumediene v. Bush, 2008). In a time of war, the president is given an overwhelming amount of latitude in making decisions. One enormous decision that has to be made is the taking of liberty from an individual. With the understanding that thousands to millions of lives could be saved by taking the liberty of a handful of people, it is, at times, an unavoidable act. Constitutional rights should become voided when an act of terror is unleashed on United States soil by either a foreign citizen or a citizen of America. Being able to commit a terrorist act and then hide under the protection of the civil liberties of another country is nothing more than an act of a coward. References A brief history of Habeas Corpus. (2005, March 09). Retrieved November 04, 2012, from BBC News: http://news.bbc.co.uk/2/hi/uk_news/magazine/4329839.stm Boumediene v. Bush, No. 06–1195 (Supreme Court of the United States June 12, 2008). Justice and Gitmo; The high court’s decision to weigh Habeas Corpus for detainees is a step toward restoring trampled freedoms. (2007, July 08). Los Angeles Times, p. M.2. Retrieved from http://search.proquest.com/docview/422272051?accountid=32521 on November 05, 2012 Robinson, K. (2011, June 26). Historians won’t convict Lincoln for suspension of Habeas Corpus. McClatchy – Tribune Business News. Retrieved from http://search.proquest.com/docview/873651368?accountid=32521 Schultz, D. (2011, July). Habeas Corpus after 9/11: confronting America’s new global detention system. Choice, 48(11), pp. 2190-2191. Retrieved November 05, 2012 from http://search.proquest.com/docview/877038974?accountid=32521 Transcript of Constitution of the United States. (1787). Retrieved from Our Documents: http://www.ourdocuments.gov/doc.php?doc=9&page=transcript

Superhero, a moral example

What images will come into your mind when you are thinking about Superhero? People usually image superheroes as men that with extraordinary powers. And they are secret identity that would like to protect other people from dangerous but never ask for reward. Superheroes are famous to people since Superman debuted in 1978. Today, millions of dollars has spent on Superhero movie in Hollywood because more and more people become a superhero fan to identify with the heroes, sharing not only their special powers, but also their adventure stories.In the Hollywood movies, a superhero usually is a white man with extraordinary powers and abilities that beyond normal human beings. Superheroes devote themselves to fighting crime or evil without expectation of reward. The superheroes usually consider as the moral code, however, different people hold different attitudes toward superheroes that some people do not agree that superheroes are moral examples. They believe that superheroes are a kind of selfless heroism but they have done so by their self-interest. And superheroes usually break laws in their actions which are against our society.Moreover, a lot of people seem to think that superheroes will use their super power to destroy our world in the future. Thus, superheroes cannot be considered as moral examples. Even though self-interest influences superheroes’ heroism, superheroes are moral examples because their actions are lead to be greater good than evil. People usually doubt about a superhero like superman is a kind of selfless heroism but he has done so by â€Å"acting in his own self-interest† (Waid, 10). Superman acts this because his natural instincts, so we can argue that superheroes do this because their self-interest make them like to do this.Loeb and Morris point out that, some people think about Superheroes and their actives that â€Å"they do it because they like to do it† (13). However, Waid point out that â€Å"in helping others, Supe rman helps himself. In helping himself, he helps others† (10). When helping other people, superheroes are helping themselves. They are using their power to help people and not doing evil thing, as long as they are doing good, their actions are lead to be greater good and nothing evil. The symbol of Superman gives American people a lot of hope.For example, during the Great Depression, America, the most powerful country in the world, was not as strong as before. Therefore, the Americans imaged that the Superman could come and lead them toward a new world. They respected Superman because they believed that Superman could help them regain the confidence and give them good expects for the future life. The symbol of Superman made them feel hopeful in such despair. In addition, during the Vietnam War, many young people such as â€Å"hippie† in the United States rebelled the society by having long hair, using drugs, embracing sexual revolution and so on ( Hippie).This was total ly against the value of the Americans. At that time, people are looking for a man to save these young people, but who could come and save them? The answer is Superman, the alien from other planet with extraordinary power. In the movie, Superman, Clark Kent, is a reporter working for the Daily Planet. However, he is completely different from the American young people at that time. He doesn’t smoke, lie, or cheat. And he is very different from Hippie. Superman has a kind heart; he is helping others who are in need. As a result, Superman sets a moral example for the American young people during the Vietnam War.And Americans believe the image of Superman is the good example for the young Americans, and Superman will stop young people from doing evil things and lead them to a healthy and positive life. Therefore Superheroes are famous to all Americans. It was obvious that Superheroes are such a kind of people that have super powers and abilities that different from normal people. And they are the person helping those people who cannot help themselves from evil, and make the evil end with greater good. Many people insist that superheroes such as batman are not the moral example.Batman breaks some of the laws when he is fighting against criminals which are against our society. It may be true that Batman is a law breaker, but it doesn't mean that Superheroes like batman are not moral examples for us. For example, Batman’s emotions forced him into his role. He felt that it was his duty to avenge his parents by fighting against every evil thing that he meets. He considers Gotham City, which he lives in, as a city with criminals around every corner. Batman takes great pleasure in cleaning up all evil criminal around the whole city.He never worried about whether it is against the law. Because Batman knows that when he breaks some of the laws, he is going to capture the real criminals who are acting against more important laws, and to protect the law-abiding citizens of the city from these real criminals. For Batman, â€Å"laws may be unjust, politicians may be corrupt, and the legal system may actually protect the wicked† (Skoble 32). But none of these will stop him from becoming crime-fighting vigilantes. He insists that â€Å"Evil must be punished† (Skoble 37). Therefore he will keep on cleaning up the evil in his city.It is natural to believe that Batman is a â€Å"dangerous† and â€Å"fascist reactionary† (Skoble 31), but we shouldn't ignore that he has always been â€Å"cautious† and â€Å"measured† (Skoble 33) when using his extraordinary powers. Moreover, Batman has consistently using his extraordinary powers when he is fighting against criminals only. Although the nature of Batman’s violence makes him break some of the laws, there is no evidence to suggest that it is wrong for Batman to fight crime and keep innocent people safe by using his extraordinary powers.In addition, Super heroes’ actions force us to rethink our roles in this world. The terrorism continues in our world, and there are crimes happen all over the world every day. We all need justice and peace, but most of us do not want to take our responsibility to protect our world, we just looking for ways to feel better about ourselves. By contract, Superheroes are fighting a never ending battle for truth, for justice, for peace. They keep playing their roles as everyone’s protector; they devote their lives to fighting crimes.Sometimes, we may think about the law and morality when we value what superheroes have do for us. We may find out that, superheroes may do something against law and consider not morality. However, superheroes keep playing their roles as everyone’s protector; they devote their lives to fighting crime that inspired many people to become masked â€Å"crime-fighters† (Skoble 34). It was obvious that superheroes force us to rethink our views about law and social order, and ask us to use them as a mirror to see ourselves more clearly that lead us to take our responsibility to protect our world.