Katie and Rudolfs wedding day Essay Example for Free

Katie and Rudolfs wedding day Essay Rodolfo then narrates a story of the most memorable moment in his life; this also gives away a lot of information about his character. He informs us that he got to perform in a hotel because the entertainer was ill. He boasts about how he sang without a single mistake. This shows us that Rodolfo loves being the centre of attention and is probably a keen romantic. From his speech I also gained that hes the type of person whos not afraid to show his feelings. Rodolfo is then persuaded by Katie to sing for them. Rodolfo isnt hesitant and he gets up and begins to sing. Katie was obviously enjoying it. I got the impression that she really liked him. Eddie then firmly tells Rodolfo to stop singing. This was infuriating to the audience, as Eddie obviously picked up on the fact that Katie liked Rodolfo. Also he was probably jealous of the attention Rodolfo was getting. After all Eddie is used to being the only man around the house and he is used to getting attention off of Katie. Beatrice makes a comment that acquires the audience pondering over whether Eddie fancies Catherine. All through the play Eddie has been trying to stop her from seeing other men or even walking past them, so the audience already had slight suspicions. But Beatrices remark about them not having sex for three months makes the audience wonder even more about whether Eddie has sexual feelings for his niece. Beatrice also asks When am I going to be a wife again Eddie? Which made me feel sorry for Beatrice as she obviously loves him very much and cant grasp why he doesnt love her the same way. This section of the play, backs up any past evidence of Eddie fancying Katie. Rodolfo offers to take Katie to Times Square one evening. Eddie doesnt allow them to go. He seems jealous and probably is, but he attempts to disguise his jealousy as concern for Rodolfos well being. He says its because immigration might catch them, but the audience suspect otherwise. I again felt tremendously irritated by Eddies behaviour. I also think this is when Beatrice picks up on Eddies feelings for Katie. I felt incredibly bothered by Eddies actions in this section of the play, because he punches Rodolfo. He makes a blatant attempt to disguise it as an accident, which was easily done, as he was play fighting with Rodolfo. Marco sees through Eddies attempt and is angry. He cunningly threatens Eddie by lifting up a chair with one hand over his head, this shows his strength, and he then asks Eddie if he can do it. He says it as if to tell Eddie to leave his brother alone, or hell have him to deal with. Eddie tries to lift the chair but doesnt manage it. I think this is the first time in the play Eddie finds it a strain having a stronger male figure in his house. Alfieri is a key character in the play as he is very prophetic and predicts that there will be a tragic outcome. When Eddie visits Alfieri regarding legally preventing Rodolfo seeing Katie, Alfieri advises him to let them be. Eddie is defiant and ignores Alfieris advice and ships Rodolfo and Marco anonymously to immigration.  Immigration arrives at the house and both Rodolfo and Marco are arrested. At this point I felt exceptionally upset as Katie and Rodolfo had found love and Marco was working to feed his family. Eddie had hit a new low, this was unforgivable. Luckily Rodolfo was allowed to stay in the country as he was getting married to Catherine and becoming a citizen. But Marco was going to be sent back, so from this Eddie gained nothing but hatred from his family, as they all suspected and knew it was him. Marco was UN describingly furious with Eddie and threatened to kill him.  Eddie tried to explain his actions to Katie by saying that Rodolfo was trying to use her for a passport. This upset Katie and I was upset for her too. Eddie should not have interfered. The tragic and inevitable ending comes on Katie and Rudolfs wedding day. Eddie does everything in his power to prevent Beatrice from attending her nieces wedding. Rodolfo tries to apologise to Eddie, which I thought was a nice gesture but in my opinion Rodolfo wasnt in the wrong. To that Eddie replies, Its not Rodolfo thats stolen my name, Its Marco He then demands to see Marco. Its at this point in the play where Eddie cracks. Before, he made his feelings known without being too upfront and obvious, but now he seems to erupt like a volcano and makes his hatred for Marco and Rodolfo known. In an attempt to prevent Eddie from locating Marco, Beatrice brings up the subject of Eddies true feelings for Katie. Beatrice knows this is a touchy subject and is certain this is the reason why Eddie has been acting so bizarrely the past couple of months. Eddie is outraged that his wife would think of him like that. He just replies by saying Is that what you think of me, huh? Then rapidly changing the subject back to Marco he storms off in a rage to track him down. Eddie finds Marco and demands Marco apologises to him. Marco refuses and declares that Eddie should be apologising to him. A brawl commences and the tragic ending we had been waiting for, for the duration of the play comes to a head. Marco stabs Eddie in front of several spectators. Despite what Eddie had done Katie still kneels at his frozen body weeping, as does Beatrice. I think this is when you feel most upset for Eddie since although he made a mistake or two, in my opinion he didnt deserve to loose his life for it. I also felt sorry for Beatrice because she lost her husband and also for Katie because she had lost yet another father figure.

Getting it Right for Every Child (GIRFEC) policy

Getting it Right for Every Child (GIRFEC) policy Social Work as a profession is heavily influenced by political rhetoric and ideology albeit there has been a shift in governmental philosophy from the beginnings of the profession. Due to Neo-Liberal ideas commonly adopted by the main political parties in the United Kingdom, social work services are beginning to be based on free market principles. Social work and social care services have seen an increase in privatised quasi markets. The role of the social worker in all of this is one that can be contested and is certainly not static; it is a profession that I believe should attempt to be diverse and fluid. The aim of this essay is, to discuss too what extent there is a social work role beyond ‘the rationing of scarce services and managing of poor people’ (Ferguson and Lavalette 2013:108) This will be achieved by looking the Getting it Right for Every Child (GIRFEC) policy and what it means for social workers in a statutory children’s and families team before draw ing a conclusion. I intend to highlight the importance of early intervention as laid out in GIRFEC and what this means for social workers. GIRFEC also emphasises the importance of joint up working and I intend to highlight some of the failings of this and the tensions this creates for social workers on the front line. Finally, I will look at how GIRFEC is being put into practice by drawing on research from the Institute of Research and Innovation in Social Services (IRISS); Changing how we work: a case study in East Lothian. Firstly, however it is important to briefly explore the beginnings of policy implementation and how todays austerity measures effect policy being put into practice. Social work services go back over one hundred and fifty years but it was during the late 1960s that it became apparent that a framework of legislation was needed. This resulted in the Social Work (Scotland) Act 1968. The Kilbrandon report 1964 was a major driver in this act along with the white paper Social Work and the Community 1966. The Kilbrandon report called for the introduction of children’s hearings and ‘introduced a new way of dealing with what were described as children who were in need of compulsory care’. (Fabb and Guthrie 2007:150) Smith and White (2008:21) add that ‘the thinking of the Kilbrandon Committee was strongly educational, reflecting longstanding views that social wellbeing and social cohesion through education should be the ambition of the system.’ The Kilbrandon report is still one of the most significant policies in relation to social work practice. Ferguson and Lavalette (2013) highlight how austerity measures and welfare reform mixed with the marketization of social work services is impacting on the social work task. Neoliberalism is an ideology now adopted by the main political parties in the United Kingdom and is a take on classic liberal beliefs such as ‘free trade and the free market’ (Hoffman and Graham 2009:) Neo-liberal theorists believe that the role of welfare should not lie with the state and they ‘question the need for the majority of publically funded, state delivered, or state regulated institutions that, taken together, comprise a welfare state.’ (Ellison 2012:) This can be seen in society today in many ways, for example, with the introduction of universal credit and benefit capping both making an attempt to reduce welfare costs. This could also explain the ever growing involvement and use of the voluntary or third sector in social work services. GIRFEC: The aims of the policy GIRFEC was introduced by the Scottish Government in 2008 in an attempt to improve the way in which work is undertaken by professionals working with children and their families. The policy was developed after a string of recommendations and reports surrounding child protection, one of which being It’s everyone’s job to make sure I’m alright Report of the Child Protection Audit and Review(2002: 1) which highlighted the importance of ‘a Scotland in which every child matters’. Another significant report was my turn to talk? (Scottish Executive 2006:), which highlighted that ‘child-related professionals and decision makers across Scotland have both moral and legal obligations to encourage and support children’s participation.’ I believe that this push for child participation will in turn promote active citizenship for children. From these reports and others it was clear that new policy guidance was necessary and so GIRFEC was adopted. GIRFEC aims to co-ordinate the services’ children receive as well as managing the consistency in the delivery of these services. The Scottish Governments guide to getting it right for every child (2012:6) states that ‘it is the bedrock for all children’s services’. Putting the child at the centre of the services they receive is high on the agenda throughout and the policy puts a high emphasis on multi-agency working and the importance of early intervention. The policy was created in respect to ten core components and has a strong set of values that were developed from the Children’s Charter 2004 which ‘reflects the voice of children and young people and what they feel they need, and should be able to expect, when they have problems or are in difficulty and need to be protected.’ (Scottish Government 2004) The wellbeing wheel, my world triangle and resilience matrix, together known as the National practice model, are assessment tools used within GIRFEC to effectively manage and analyse the information required for a child’s plan. The wellbeing wheel consists of eight indicators of wellbeing that ‘are the basic requirements for all children and young people to grow and develop’ (Scottish Government 2012:10). These are: Safe, Healthy, Achieving, Nurtured, Active, Respected, Responsible and Included. (SHANARRI). Deep rooted in this, is the four competences from the Curriculum of Excellence: a successful learner, a confident individual, a responsible citizen and an effective contributor. I consider the combination of well-being and the curriculum for excellence to be a strong indicator for the push for multi-agency work that is evident throughout the policy. GIRFEC: A drive for early intervention and multi-agency working and the tensions these bring. Early intervention is one of the key themes running throughout the policy. The Changing Lives Report of the 21st Century Social Worker Review illustrates a four tiered approach to early intervention, incorporating the social workers role. (Scottish Government 2006:31). It stresses how social workers are involved in the early stages of intervention and how as crisis situations develop, other universal services step back. I wonder how involved we really are at tiers 1 and 2 and believe this will vary between local authorities. The Scottish Government(2006:31) state that, ‘social workers have a significant contribution to make at tiers 1 and 2, supporting and informing the delivery of services both within social work and across partner agencies.’ However, McGhee and Waterhouse (2011:1097) contradict this by arguing that: ‘for social work, early intervention has taken on a different meaning from that at tiers 1 and 2 †¦ early intervention begins at tier 3 and concerns individuals who already present significant vulnerability and risk and who are beyond the remit and capacity of universal services.’ This points out that early intervention may frequently be the responsibility of health professionals and education. However, early intervention at tiers 1 and 2 is perhaps what social work should be about it with its professional values pushing towards social justice. The Highland ‘s children services practice guidance (2013:11) ‘emphasises the critical part played by health and education services in supporting the development of all children. Difficulties or concerns are identified at an early stage and steps taken to ensure that additional help is available when needed. Help is given as quickly as possible and in consultation with children and their families.’ This backs up what McGhee and Waterhouse argue early intervention is like for social workers; their idea that social workers are not involved at tier 1 and 2. Another Key theme to shape GIRFEC is that of the importance of multi-agency working. Although GIRFEC calls for a push towards a better system of multi-agency working it is not something that is new to the literature. (Wilson et al 2011) Multi-agency became high on the political agenda after the death of Victoria Climbie who ‘was slowly tortured to death despite the involvement of four social service departments, three police child protection teams, health agencies and voluntary agencies.’ (Marinetto 2011:1164) An inquiry into Victoria’s death highlighted the breakdown between professional organisations and called for better co-ordination between services and organisations. With the importance of professionals working together and sharing information stressed here it is no wonder that it is such a key feature in policy documents. The principle behind multi-agency working sounds simple; ‘professionals with different backgrounds, from different intellectual dis ciplines and with different roles work together to provide care and support to service users and people around them.’ (Payne 2007:146) However, for social workers there are tensions to be considered. Atkinson et al (2005) looks at research carried out into multi-agency working and highlights eight challenges; fiscal resources, roles and responsibilities, competing priorities, non-fiscal resources, communication, professional and agency cultures, management and training opportunities. Some of the problems identified within these areas were that there was no financial support and many workers did not know what was being asked of their individual role between them and the rest of the multi-agency team. There were often different primacies amongst the different professions leading to conflict. As a social worker it is imperative that I aim to overcome these tensions and difficulties. In regards to GIRFEC, I expect that the introduction of the named person will help coordinate the multi-agency approach although lack of funding and resources is something that is always going to be a threat to the smooth running of a statu tory children and families team attempting to work alongside other professionals under the GIRFEC framework. The Audit Commission (2009:3) states that ‘Effective joint workingneeds active leadership and purposeful relationship management.’ The report highlights how working together in multi-agency teams is not without risk and that difficulties can arise if the agencies have not developed effective relationships. Strong leadership seems to be a key theme throughout the literature. The Scottish Government (2010) states that ‘Partnership working requires leadership at all levels and across services. In order to make partnership working effective, leadership needs to be the responsibility of everyone.’ If this is adopted and everyone is clear on what their roles and responsibilities are it should enable an effective way of working. How can we implement GIRFEC into practice? In October 2012, IRISS worked alongside East Lothian Council to enable them to implement GIRFEC. The sub group working together involved social workers, police, child protection, the third sector, education and health. Collins (2013:) states that she had ‘initially conceptualised this project as a means to help an organisation reflect on and improve their use of evidence, however, as the project progressed it became evident that the lessons really centred around how a multi-disciplinary team can learn to work together well and change the way they work.’ So here we have a positive example promoting the practice of multi-agency working, however, arriving at this conclusion was not easy. The study points out that in the beginnings people were reluctant to the prospect of the group – ‘We don’t even have the same beliefs.’ (Collins 2013:5) The next problem to address was that when it came down to it, people didn’t fully understand the best way to comprehend GIRFEC- ‘The problem is interpretation of GIRFEC. Some people are putting ‘safe’ at the top of the pyramid. But safe is not the only thing. It doesn’t have to be the most important.’ (Collins 2013:7) These difficulties are only to name a few, but as the group moved onward planning strategies were implemented, based comprehensively on reflection which the group named ‘the action research cycle’ (Collins 2013:16), with successful results. Conclusion Going back to Ferguson and Lavalettes quote, it would be ethically undermining to say that social work is about rationing limited resources and welfare management and that the GIRFEC policy aims to tackle every aspect of a child’s well-being with a multi-agency approach. Although as previously highlighted, the importance of multi-agency working is not new to the literature, within GIRFEC there is a drive for a more effective method in which universal services can work together in partnership with a thrust towards early intervention, although it may be argued that social workers are being locked of this. To an extent, I agree with this and believe that austerity measures are influencing this and together with welfare reforms and an ever growing number of families living in poverty then at present social workers roles may be changing but I am uncertain at present as to say to what extent. What I am certain of is that the service users within a statutory children’s and fam ilies team will be effected whether it be through the ever increasing cost of living and proportion of them relying on low income wages or through local authorities having to cut funding to specialised services and protects.

Analysis of Ferrous Ferrite (Fe3O4)

Analysis of Ferrous Ferrite (Fe3O4) 1.1 INTRODUCTION: The naturally occurring ferrite is the ferrous ferrite (Fe3O4) as â€Å"Load stone†. In early days it was called as ferromagnetic material. L.Neel, tells us that these materials are â€Å"ferromagnetic† material due to uncompensated anti parallel spin arrangement. Due to interesting intrinsic properties magnetic materials are classified into Ferromagnetic materials, Ferrites. In last decades , in the field of the ferrites expensive development was done by many contributors and found to be technically, commercially useful magnetic material. These materials are at high frequencies, high electrical resistivity of magnetic temperature coefficient of resistance along with low magnetic loss. Basically, Ferrous ferrite (Fe3O4) consist double oxides FeO and Fe2O3 . The properties of these materials are alter by substituting divalent iron ion by divalent cation like Cd2+,Mg2+,Ni2+,Zn2+,Cu2+,Co2+ etc. from transition element. The spinel ferrites are represented as MFe2O4, where M is divalent cations. The magnetic properties are significantly improved by substituting trivalent iron ion by Al3+,Cr3+,Mn4+, Ti4+,Sn4+, Gd3+,Nd3+ etc. for particular applications because of their interesting magnetic and electrical properties with chemical and thermal stabilities[Gadkari A.B et.al. (2010)]. The applications of these materials in fields like electrical components, memory devices, microwave devices telecommunications, electronic industries, dada storage, data processing due to its high resistivity and low power losses. [Ernst Schloeman et al. (2000)] Ferrites are of two type’s,one is hard ferrite and other is soft ferrite. The material which are easily magnetized and demagnetized, it is called soft magnetic material .That means, it can store or transfer magnetic energy in alternating or other changing wave forms. The ferromagnetic materials like iron, nickel, cobalt and some of the rare earths materials shows a unique magnetic behavior. All the magnetic moments of the individual ions or atoms are aligned parallel to some particular direction and the unpaired electron spins line up parallel with each other in the ferromagnetic material. The region in which magnetic dipoles align parallel to each other is called a domain. The structural properties of ferrite are very important. The structural properties of ferrites mainly depends on the manufacturing process of ferrite[Mangalaraja R.V. et al. (2003)]. In fundamental science, magnetic spinel ferrites are of great importance. They are useful especially for find out the fundamental relationship between magnetic properties and their crystalchemistry and structure [ Kalonji G.et.al.(1999)]. They find extensive applications in microwave devices, radar, digital recording, ferrofluids, catalysis and magnetic refrigeration systems [Horvath M.P. et.al. (2007)]. For the spinel ferrite the general formula is AB2O4and it is consisting of an almost perfect cubic closed packed oxygen arrangement, with the cations residing on tetrahedral and octahedralinterstices. Nowadays, magnetic materials are used in various fields. The soft magnetic materials can be attracted to a permanent magnet and the hard magnetic materials become a permanent magnet. In case of soft magnetic materials, the large magnetic fields cannot be generated to the outside but in hard magnetic materials it generates magnetic fields. The magnetic materials like iron, cobalt and nickel ordinarily reveal prominent magnetic property. In industry, the ferromagnetic materials are widely used. In case of metal and alloy magnetic materials, due to their lower electrical resistivity the initial permeability and magnetic flux density is high and loss in eddy current is large at high frequencies. Nowadays, high-frequency characteristics are more useful, so this is occurred in ferrites which is multiplying the thin films. Due to higher electrical resistivity, the soft ferrites has excellent characteristics at high frequency. They are abundantly used for inductors or core materials of trans former. The hard ferrite is also used abundantly as permanent magnets for speakers and motors. The soft ferrite is used into an alternating magnetic field. Ferrites are chemical compounds. They are composed of a ceramic material along with iron oxide as their main component. The magnetic property of the ferrite is due the structure and the arrangement of the ions in the sub lattice. 1.2 SPINEL COMPOUNDS The word spinel which is derived from Italian spinella, diminutive of spine, thorn (from its sharply pointed crystals). In the cubic system, Spinel crystallizes forming octahedral crystals. In spinel super group there are at least 30 oxide minerals included. The majority of spinel compounds belongs to the space group Fd3m. The formula for the principal member of the group has, AB2O4; out of which ‘A’ is a divalent metal ion such as magnesium, iron, nickel, manganese and zinc. The ‘B’ is trivalent metal ions such as aluminium, iron, chromium and/or manganese. Also, titanium Ti4+ and Pb2+ etc. may occupy this site. The solid solutioning which is common process in this group of minerals that means they may contain certain percentages of different ions in any particular specimen [Adams, D. M (1974)]. The oxygen ions are mostly larger than the metallic ions and the spinel structure can be formed by a cubic close packing of O2- ions, in most oxide structures in wh ich the cations (e.g. Co2+, Fe3+) occupy certain interstices. So, the structure of a spinel compound and the highly symmetric structure of diamond is same. The position of the A ions and the positions of carbon atoms occupied in the diamond structure is identical. In this group this could discuss the relatively high hardness and high density. The arrangement in the structure of the other ions shows the symmetry just like diamond structure. This arrangement of the ions verifies the octahedral crystal structure which is the predominant crystal form and also the trademark of the spinels. Now a day, there are well over a hundred compounds are reported of the spinel structure. Most of them are oxides, sulphides, selenides and tellurides and some are halides. There are different cations may be introduced into the spinel structure and several charge combinations are possible, therefore, almost any combination that added and balances eight positive charges of anionic charges [Smyth,D.M.(200 0)],for example Co2+Fe23+O4, Mg22+Ti4+O4, Li1+Al3+Ti4+O4, Li0.51+Al2.53+O4 and Na21+W6+O4, etc. In oxide spinels, there are two types of cations which do not differ in size greatly because the spinel structure is stable only when the cations are rather medium sized and also the radii of the different ionic species in the same compound must be nearly equal. Therefore, similar cation combinations occur in sulphides, e.g. Zn2+Al23+S4 and Cu22+Sn4+S4. Hence, in halide spinels e.g. Li21+Ni3+F4 and Li1+Mn23+/ 4+F4 in which cations are limited to charges of plus 1 and plus 2, give an overall cation: anion ratio of 3 as 4. Most spinels divided into three series determined by a B metal represent aluminate series with Al3+ (Hercynite, Gahnite, Galaxite); a magnetite series with Fe3+ (Magnetite,Magnesioferrite, Franklinite); the chromite series with Cr3+ (Chromite, Magnesiochromite). There is extensive cationic exchange (solid solution) within each series but very little between the series [King, R. J (2004)]. These spinels are classified on the basis of the distribution of cations in the two principal sites which are tetrahedral site (T-) and octahedral site (O-) [West, A. R. (1989)], into three types. 1.2.1 NORMAL SPINEL In normal spinel A (BB) O4, all the divalent (A) cations placed on the tetrahedral (T-) sites and the trivalent (B) cations present on the octahedral (O-) sites. Which can be shown by the formula [A]tet [B2]oct O4. The examples of normal spinel are MgO.Al2O3 = MgAl2O4 (normal, parent mineral) ZnO.Fe2O3 = ZnFe2O4 (normal) FeO.Al2O3 = FeAl2O4 (normal) CoO.Al2O3 = CoAl2O4 (normal) MnO.Al2O3 = MnAl2O4 (normal) NiO.Al2O3 = NiAl2O4 - (normal) 1.2.2 INVERSE SPINEL The inverse spinel, B (AB) O4, the divalent cations occupying on the O-sites and the trivalent cations which are equally divided among the T- and remaining other on O-sites. Which can be represented by formula, [B]tet [A, B]oct O4. The CoFe2O4 is conformably an inverse spinel with a formula; CoxFe1-x (Co1-xFe1+x) O4(with x 0) where x represents the cation distribution factor which discuss the fraction of tetrahedral sites occupied by Co2+ cations [Guire, M. R.D (1989)]. CoO.Fe2O3 = FeCoFeO4 (inverse) NiO.Fe2O3 = FeNiFeO4 - (inverse) MgO.Fe2O3 = FeMgFeO4 (inverse) 1.2.3 RANDOM SPINEL It has an intermediate cation distribution, represented as [B0.67 A0.33]tet [A0.67B1.33]octO4. In this elementary unit cell of spinel structure consists eight tetrahedral and sixteen octahedral sites which are occupied by metal ions and the extreme cases, represent completely normal and inverse spinel, Therefore, the general cation distribution can be represented as [ M(2)iq+M(1)1-ip+]AIV [M(1)p+i/2 M(2)(2-i)/2q+]2BvI O4 where M+(1)p+ and M(2)q+ are the minority and majority cations respectively. Hence, the first quantity in brackets shows the average occupancy of A-sites (coordination number of four (IV)) and the second quantity in brackets shows the average occupancy of B-sites (coordination number of six (VI)). The inversion parameter ÃŽ ³, shows the fraction of A-sites acquired by majority ions.

constitutional law Essay -- essays research papers

Constitutional Law Marbury v. Madison Marbury v. Madison, one of the first Supreme Court cases asserting the power of judicial review, is an effective argument for this power; however, it lacks direct textual basis for the decision. Marshall managed to get away with this deficiency because of the silence on many issues and the vague wording of the Constitution. During the early testing period when few precedents existed, there was much debate about fundamental issues concerning what was intended by the words of the Constitution and which part of government should have the final word in defining the meaning of these words. Marshall used the Marbury case to establish the Supreme Court's place as the final judge. Marshall identified three major questions that needed to be answered before the Court could rule on the Marbury v. Madison case. The first of these was, "Has the applicant a right to the commission he demands?" The Constitution allows that "the Congress may by Law vest the Appointment of such inferior Officers, as they think proper, in the President alone, . . . " (Art. II, Â § 2). The Judiciary Act of 1793 had given the President the right to appoint federal judges and justices of the peace; there is no dispute that such an appointment was within the scope of the president's powers. Debate arises because the Constitution is silent on the exact time at which the appointment is considered complete. The Supreme Court ruled that "when a commission has been signed by the president, the appointment is made; and that the commission is complete, when the seal of the United States has been affixed to it by the [secretary of state]." This ruling does not have direct constitutional support, but it is not an unreasonable decision. The second question which Marshall addressed was, "If [Marbury] has a right, and that right has been violated, do the laws of this country afford him a remedy?" The answer is logically yes although there are no specific words in the Constitution to support such an answer. Based on the type of government intended by the Constitution, the government is expected to protect individual liberty. As Marshall says, "[The government] will certainly cea... ...urthermore, the president also was not in a position to allow the federal government more leeway in interpreting their powers. He does not make any laws of his own and has no power to settle any questions of the states. Clearly, the Supreme Court was the branch that could most easily facilitate the strengthening of the national government into an effective and unified nation rather than thirteen independent countries as the states had seemed under the Articles of Confederation. Critics will protest that the people do not elect the Supreme Court Justices and therefore the Supreme Court should not have the power of judicial review. As McCloskey points out, "No institution in a democratic society could become and remain potent unless it could count on a solid block of public opinion that would rally to it's side in a pinch." Clearly, the Supreme Court is ultimately responsible to the will of the people. By maintaining independence from politics, the Justices avoid the major problems of political parties and party platforms. Furthermore, the Supreme Court's small size allows the Constitution to speak with a unified voice throughout the country.

The Great Depression in America Essay -- essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  The Great Depression was a huge economic downfall in North America and involved many other industrialized countries of the world. The Depression began in 1929 and lasted for about ten years. Millions of people lost their jobs along with many businesses going bankrupt. The common misconception of the Great Depression is people think that the stock market crash was the main cause for it. There were many causes for the Depression; unequal distribution of money during the 1920’s was the main cause of the Depression. This unequal distribution happened on many different classes of people. The imbalance of money is what created such an unstable economy. The stock market was doing much worse than people thought during this period. This lead to the biggest stock market crash in our history. The misdistribution of wealth and the stock market crash caused the economy to plummet (Modern).   Ã‚  Ã‚  Ã‚  Ã‚  The stock market was bigger than ever in the 1920’s. Prices reached levels that people never dreamed of. At one point when the market was roaring in September 1929 forty percent of stock market values were pure air. This meant that investors thought that the stock market would go up because it had been going up. By 1928 and 1929 the Federal Reserve was worried about the high level that the stock market had reached (Galbraith 116). The Federal Reserve feared that the stock market might burst suddenly. If this did happen investment might fall, parts of the stock market might not be able to pay back debts, and even worse recession might result (Galbraith 118). The Federal Reserve in 1928 tried to make borrowing money for stock speculation more difficult and very costly by raising interest rates. All of the options that the Reserve tried had unfavorable risks associated with them. Many economists believed that the Federal Reserve was responsible for the recessi on. The stock market did crash on October 29 1929. The Federal Reserve tried to do to much to stop the recession and in return brought on the recession that they were trying to stop (America).   Ã‚  Ã‚  Ã‚  Ã‚  When the stock market crashed in October this day was known as â€Å"Black Tuesday.† On this day Americans saw their stocks lose a tenth of their value. The exact reason for why the stock market busted on this day are unknown (Delong 1). The stock market cras... ...t of 1935, which raised personal income taxes on the highest income levels (America).   Ã‚  Ã‚  Ã‚  Ã‚  On December 8, 1941 the U.S. Senate issued a declaration of war on Japan. Germany declared war on the United States on December 11, 1941. Industrial factories were at first slow to convert into making military machinery. By 1942, 33 percent of the economy was devoted to the war effort (Modern). This gave society a sense of patriotism and devotion to one’s country. Between 1941 and 1945 the United States spent about $250 million a day in order to defeat their enemies. Federal spending was more than $320 billion over that period. That was two times as much money as the federal government had spent in its entire history up until that point. This government spending stimulated an industrial boom and stopped unemployment. By the end of the war in 1945, the farmer’s income had more than doubled. Corporate profits rose by 70 percent and the wages of the employees increased by over 50 percent. The most interesting statistic was that the earnings of the botto m fifth of workers rose to 68 percent. The Great Depression soon came to an end being swept away by the war (America).

Part Five Chapter V

V Krystal was walking along Foley Road in the early morning sunlight, eating a banana. It was an unfamiliar taste and texture, and she could not make up her mind whether she liked it or not. Terri and Krystal never bought fruit. Nikki's mother had just turfed her unceremoniously out of the house. ‘We got things to do, Krystal,' she had said. ‘We're going to Nikki's gran's for dinner.' As an afterthought, she had handed Krystal the banana to eat for breakfast. Krystal had left without protest. There was barely enough room for Nikki's family around the kitchen table. The Fields were not improved by sunshine, which merely showed up the dirt and the damage, the cracks in the concrete walls, the boarded windows and the litter. The Square in Pagford looked freshly painted whenever the sun shone. Twice a year, the primary school children had walked through the middle of town, crocodile fashion, on their way to church for Christmas and Easter services. (Nobody had ever wanted to hold Krystal's hand. Fats had told them all that she had fleas. She wondered whether he remembered.) There had been hanging baskets full of flowers; splashes of purple, pink and green, and every time Krystal had passed one of the planted troughs outside the Black Canon, she had pulled off a petal. Each one had been cool and slippery in her fingers, swiftly becoming slimy and brown as she clutched it, and she usually wiped it off on the underside of a warm wooden pew in St Michael's. She let herself into her house and saw at once, through the open door to her left, that Terri had not gone to bed. She was sitting in her armchair with her eyes closed and her mouth open. Krystal closed the door with a snap, but Terri did not stir. Krystal was at Terri's side in four strides, shaking her thin arm. Terri's head fell forwards onto her shrunken chest. She snored. Krystal let go of her. The vision of a dead man in the bathroom swam back into her subconscious. ‘Silly bitch,' she said. Then it occurred to her that Robbie was not there. She pounded up the stairs, shouting for him. †M'ere,' she heard him say, from behind her own closed bedroom door. When she shouldered it open, she saw Robbie standing there, naked. Behind him, scratching his bare chest, lying on her own mattress, was Obbo. ‘All righ', Krys?' he said, grinning. She seized Robbie and pulled him into his own room. Her hands trembled so badly that it took her ages to dress him. ‘Did ‘e do somethin' to yer?' she whispered to Robbie. †M'ungry,' said Robbie. When he was dressed, she picked him up and ran downstairs. She could hear Obbo moving around in her bedroom. ‘Why's ‘e ‘ere?' she shouted at Terri, who was drowsily awake in her chair. ‘Why's ‘e with Robbie?' Robbie fought to get out of her arms; he hated shouting. ‘An' wha' the fuck's that?' screamed Krystal, spotting, for the first time, two black holdalls lying beside Terri's armchair. ‘S'nuthin',' said Terri vaguely. But Krystal had already forced one of the zips open. ‘S'nuthin'!' shouted Terri. Big, brick-like blocks of hashish wrapped neatly in sheets of polythene: Krystal, who could barely read, who could not have identified half the vegetables in a supermarket, who could not have named the Prime Minister, knew that the contents of the bag, if discovered on the premises, meant prison for her mother. Then she saw the tin, with the coachman and horses on the lid, half-protruding from the chair on which Terri was sitting. ‘Yeh've used,' said Krystal breathlessly, as disaster rained invisibly around her and everything collapsed. ‘Yeh've fuckin' – ‘ She heard Obbo on the stairs and she snatched up Robbie again. He wailed and struggled in her arms, frightened by her anger, but Krystal's grip was unbreakable. ‘Fuckin' lerrim go,' called Terri fruitlessly. Krystal had opened the front door and was running as fast as she could, encumbered by Robbie who was resisting and moaning, back along the road.

Fredric Jameson and the No Wave Art Movement Essay

In postmodern art, history is self-consciously reappropriated and re-fashioned into new forms. Postmodern art, Jameson argues, was a logical outcome of late-capitalism, which in its late stage has allowed society to abolish the distinction between high culture and mass culture, producing a culture of degradation. This was first taken up as an aesthetic by Andy Warhol. In the text, Postmodernism: Style and Subversion, 1970-1990, Adamson and Pavitt note that Jameson, â€Å"found Warhol’s glittering series Diamond Dust Shoes to be particularly unnerving because of its incorporation of ommodity culture† (70). Art, according to both Warhol and Jameson is above all, a commodity, something to be bought and sold. Warhol’s work illustrates Jameson’s contention that, â€Å"Aesthetic production today has become integrated into commodity production† (4). This conflation of art and commodity creates a field of cultural production that is incapable of depth and v aluable social critique. According to Jameson, the abstract aesthetic of modernism was an expression of the new social forms of abstraction specif ic to capitalism. In modernism, the universalization of the money-form manifests as a range of social abstractions including, for example, society’s dominant â€Å"way of seeing† and representing the world aesthetically. In the age of global capitalism, the utopian sublime of modernism, to which Jameson referred, has disappeared, and has been replaced by the postmodern cultural logic of consumption. With the universalization of capitalism, the distinction between culture and economics has collapsed. In postmodernism everything, including art and culture, is subject to the logic of commodif ication. In the text, The Cultural Turn, Jameson submits that postmodernity â€Å"makes the cultural economic at the same time that it turns the economic into so many forms of culture† (81). This essay submits that the No Wave art movement that occurred between 1974 – 1984 in New York’s Lower East Side is indeed postmodern, by Jameson’s standards, and yet resists this conflation of art and commodity that Jameson maintains is characteristic of this paradigm. Jameson’s text, Postmodernism, suggests that with art’s entry into the commodity sphere art becomes propelled not by ideas but by money (Adamson et. al, 70). John N. Duvall is critical of Jameson’s linkage between culture and commodif ication in the postmodern context. Duvall writes in his text, Troping History, â€Å"It is precisely change that, for Jameson, can no longer be imagined in postmodernism, since aesthetic production has been subsumed by commodity production, thus emptying the modernist aesthetic of affect and hence of political effect† (4). Jameson’s characterization of postmodern art as enveloped in commodif ication overlooks art produced during this period that consciously existed outside the margins of the art market and acted as a resistance to the conditions of a commodif ied artistic arena. As alluded to by Duvall in the previous quotation, Jameson does not account for the possibility of political art production in postmoderism. As Perry Anderson notes, â€Å"by the positioning of the postmodern between aesthetics and economics,† Jameson omits, â€Å"a sense of culture as a battlefield, that divides protagonists. That is the plane of politics understood as a space in its own right† (18). As Marvin J. Taylor describes, â€Å"Downtown artists were profoundly aware of the failure of modernist revolutions, but were unwilling to abandon the possibility of a better world† (22) 1. It is precisely this urge for a better world that Jameson contends is an impossibility in the context of late-capitalism, and absent from postmodern art production. To classify the No Wave Art Movement as postmodern requires a working definition of this cultural epoch. The postmodern paradigm is commonly associated with a range of aesthetic practices, involving irony, parody, self-consciousness, fragmentation, playful selfreflexivity and parataxis (Waugh, 325). Characterized largely by the qualities of appropriation and simulation many postmodern artists addressed mass media and commodif ication in their 1 The terms â€Å"No Wave† and â€Å"Downtown scene† are used synonymously in essays that describe movement. So too are these terms used interchangeably in this essay. work, including those artists in the No Wave Movement, specif ically Barabara Kruger, who came out of this movement and whom we look to specif ically at the end of this paper. As Glen Ward notes in his description of the chronology of postmodernism, â€Å"More complex ideas about postmodernism quickly infiltrated the art world. Next to painting, photography and media-based work regained the limelight in the mid-1980s by seeming to provide a more obviously political postmodernism† (41). Rather than being incorporated into the late-capitalist system some theorists argue that postmodern art is a response to capitalist corruption, voicing an opposition to the world of commodities rather than becoming entrenched in it. There is no shortage of theorists and critics who have characterized the No Wave Art movement within the postmodern paradigm. As Carlo Mccormick describes in his essay, A Crack in Time, which appears in The Downtown Book, â€Å"†¦ etween 1974 and 1984 in Downtown Manhattan occurred the true postmodern moment: a time when modernism was most certainly dead and, unmoored from its schematics, creativity was based on flux, uncertainty, and searching† (71). The No Wave Art movement can be characterized by several recurrent postmodern themes including notions of authenticity; the Downto wn scene questioned the function of terms like authorship, originality, appropriation and tied them to the transgressive practices of theft, piracy and plagiarism. The second recurrent theme explored in the No Wave scene included performativity; challenging notions of representation in an environment of fragmented and multiple identities. Thirdly, the No Wave art scene is inextricably linked to its politics. As Taylor describes, Downtown art was activist and aggressive. Work was informed by the feminist movement, queer activism, AIDs, and poverty in postwar United States. As an expression of these politics, the No Wave Movement sought to criticize notions of institutional accreditation. This included an exploration of power structures, including the role of education, technical skills and technique. In her description of the Downtown Scene Gumpbert writes, â€Å"What so many Downtown artists of this era did share is that they conceived their work as alternative, if not outright subversive, vis-a-vis traditional curatorial and exhibition practices. Incorrigibly and resolutely defiant, Downtown artists interrogated systems of accreditation, broke down generic disciplines, and directly engaged with political issues† (14). Artists of the No Wave Art scene engaged with the political issues that plagued New York City at the time. This signif ies a potent antithesis to Jameson’s notion of postmodern art as vacuous and incapable of politicization. Taylor writes, â€Å"Suspicious of easy assimilation into the traditional Uptown art scene, Downtown artists mounted a full-scale assault on the structures of society that had led to grinding poverty, homelessness, the Vietnam War, nuclear power, misogyny, racism homophobia and a host of other social problems† (22). As an aesthetic movement the No Wave Art scene stood as a highly politicized rejection of the evolution of art as commodity. It was also a domain of extreme artistic production, â€Å"â€Å"From graffiti art to appropriation to Neo-Geo, virtually every major development in American art during that period seems to have originated in one or more of the mostly small, mostly storefront spaces that sprang up in the contested urban zones that characterized a neighbourhood in the early stages of transition from slum to middle-class playground† (Gumpert, 84). The scene existed actively outside the art market, residing largely in â€Å"informal alternative spaces† (Gumpert, 13). As an expression of an alternative antiestablishment attitude much of the work produced at this time took the form of graffiti art or performance art. According to Gumpert, â€Å"Artists, took to the streets in the late 1970s† (11). Notable artists of this time include, the graffiti works of Jean-Michel Basquiat, Keith Herrings works in the city’s subway platforms and on sidewalks and Richard Hambleton, whose work appeared in poorly lit downtown alleys and construction sites (11). The No Wave movement was also composed of a subcultural punk scene, a host of postmodern writers and experimental filmmakers and video artists. Most famously perhaps was the Times Square Show, that took place in 1980 in an empty massage parlour, with works from more than a hundred artists. These examples demonstrate the desire of many of the artists in the No Wave art movement to â€Å"breakout of the framework of the established art world† (11). The work that is categorized as No Wave was characterized by a certain ephemerality, which allowed the artists and their works to resist the constraints of the commercial market. This offers a critique of Jameson’s assumption that art produced in the postmodern paradigm is inextricably linked with an economic motivation. As Gumpert explains in the forward for the text, The Downtown Book: The New York Art Scene 1974 – 1984, A majority of the works [shown in these spaces] were process oriented and situationally specif ic, involving a relationship between materials, concepts, actions and locations. They were sometimes spontaneous, improvisational, open-ended, and often collaborative. The works existed within a given time and then ceased to exist. As a result much of this work was labeled ephemeral, the intent being to create an experience rather than a product, and new terms were devised to describe it, such as installation and performance†¦ During this period†¦ artists out of necessity created and took control of their own contexts (10) In order to preserve much of the ephemeral work produced between 1974 – 1984 in New York, it was archived and documented in photographs, notes, and films. Irving Sandler accounts for the motives behind documentation in the No Wave art scene, â€Å"[they’re] sympathies were countercultural, they believed that the documentation of a work was not art and thus not salable. They had turned to process art†¦ installation art, body art, and conceptual art because they did not want to create art commodities. Many also believed†¦ that their refusal to produce salable objects would subvert the art market† (24). This demonstrates a anti-market sentiment in the production of postmodern No Wave art. Jameson does not account for this type of art production in the theories that he forwards in his text, Postmodernism. Writing about the No Wave literature, Robert Siegle identif ies a central insurgency against established structures of culture that existed in New York at that time. He wrote, â€Å"It is, then, an insurgency, but not one that expects to break free of some kind of specif ic corrupt institution. It is an insurgency against the silence of institutions, the muteness of the ideology of form, the unspoken violence of normalization† (4). Siegle describes No Wave writing as quintessentially postmodern in its approach to the â€Å"silence of institutions† and to the â€Å"position of the speaking subject†. Rather than attempting to overthrow institutions, No Wave literature, according to Siegle, is premised on the attempt to understand how the discourse of institutions constructs who we are, thereby using that knowledge to problematize cultural discourse. Although in his text, Suburban Ambush: Downtown Writing and the Fiction of Insurgency, Siegle speaks specif ically of writing, this assessment applies equally to all artists in the No Wave scene. Through the deployment of the postmodern techniques that Jameson describes, artwork in the No Wave context, was far from the depthless commodity that Jameson imagined. It was rather highly political, productive and subversive. In his text, Postmodernism and Consumer Society, Jameson furthers his claims that in postmodernism expressive depth is replaced by an aesthetic superficiality in a phenomenon that he describes as â€Å"the waning of affect†. This â€Å"waning† is directly associated to a diminished political imagination. Jameson uses a comparison of the work of painter Edvard Munch and Andy Warhol to evidence this modern to postmodern shift. He contends that in postmodernism historical depth is replaced by nostalgia. Simultaneously, parody is replaced by pastiche, and an art of surface and loss is substituted for a history which â€Å"remains forever out of reach† (198). Jameson feels, â€Å"it is no longer clear what artists and writers of the present period are supposed to be doing† (196). This invoking of nostalgia and pastiche creates a condition in which artists can only comment upon or reproduce past art. This is articulated with Jameson’s description of postmodern art practice as being characterized by â€Å"the failure of the new, the imprisonment in the past† (196). In, The Postmodern Turn, Kellner and Best describe Jameson’s theory noting, â€Å"Coolness, blankness, and apathy become new moods for the decelerating, recessionary postmodern condition in an age of downsizing and diminishing expectations† (134). Jameson seems to articulate his own failings in his description of postmodern art. He admits that he is confounded by the postmodern and political work of Hans Haacke who questioned the institution and capitalism through his postmodern art installations. Of Hacke, Jameson writes, â€Å"The case of Haacke poses, however, a†¦ problem, for his is a kind of cultural production which is clearly postmodern and equally clearly political and oppositional – something that does not compute within the paradigm and does not seem to have been theoretically foreseen by it† (159). The No Wave art movement equally confounds Jameson’s theory towards a postmodern art that is bound by a sense of complicity. Much critique has been garnered by Jameson’s position on the art of the postmodern. Theorist Linda Hutcheon is critical of Jameson’s positioning of pastiche as a baseless technique, But the looking to both the aesthetic and the historical past in postmodernist architecture is anything but what Jameson describes as pastiche, that is â€Å"the random cannibalization of all the styles of the past, the play of random stylistic allusion. † There is absolutely nothing random or â€Å"without principle† in the parodic recall and re-examination of the past†¦ To include irony and play is never necessarily to exclude seriousness of purpose in post-modernist art. To misunderstand this is to misunderstand the nature of much contemporary aesthetic production – even if it does make for neater theorizing. (26 -27) Downtown artists actively sought to address this issue of art production within a capitalist system. Their work is characterized by a postmodern multiplicity. In his essay on the Downtown scene, Siegle notes, Far from being defeated by contradictions, these postmoderns take form it the cue for an alternative logic. Far from being rendered hopeless by the seemingly inevitable drift of (inter)national politics, they borrow form disinformation the ironic habitation of familiar forms for cross-purposes. Far from being paralyzed by the anxiety of past masters’ influence, they appropriate them for commentary on classic motifs (such as mastery, originality, autonomy, representation) and art-world structures (such as publishing houses, galleries, museums, and criticism). Far from feeling compromised by the investment economics of art, they turn the art market into a microcosm of consumer capitalism and subvert its operations. 10) No Wave artists, though they invoked themes of capitalism, were in fact openly critical of it. They did not create art with the intention of financial gain. Taylor presents Bourdieu’s theory on cultural capital to elucidate the artistic practices of those in the No Wave art scene and their pursuit for symbolic capital rather than economic. He writes, â€Å"If th e whole field of cultural production could be thought of as all those artists, poets, musicians, editors, publishers, critics, performers†¦ hen there could be subsets of this group who did not all conform to the desire for economic capital, but rather, and mostly because their work was experimental, sought â€Å"symbolic capital† from their peers† (31). Jameson argued that postmodernism marks the final and complete incorporation of culture into the commodity system. This integration The No Wave art scene, in fact, actively critiqued this condition. Though the No Wave Art movement occurred under the conditions of late-capitalism, the work produced during this period does not embody this notion of depthless commodity Jameson maintains is the primary characteristic of postmodern art. Barbara Kruger is an example of a No Wave artist whose work engages with themes of the media and the market while being simultaneously postmodern, anti-capitalist, and political. Kruger’s work, particularly her piece, Untitled, (When I hear the word culture I take out my cheque-book), serves as a response to the commodity culture postmodernism is so entrenched in. This work directly addresses Jameson’s concern that postmodern art is incapable of an authentic engagement with politicization. Kruger evokes many postmodern themes in her work yet avoids the non-criticality of commodif ied art practice that Jameson forwards. Kruger invokes the postmodern technique of pastiche recombining previously articulated styles while actively producing new meanings through this act re-appropriation. For Jameson, â€Å"Pastiche is a recycling of the past without the critical edge of satire or the subversive role of parody; it is a gesture to the past in a mediasaturated culture that lives in a perpetual present† (Murphie, Potts, Macmillan, 58). Where Jameson forwarded the notion that pastiche was merely â€Å"blank parody† (184) Kruger enacts pastiche as a meaningful technique. As noted in Postmodernism: Style and Subversion 1970 – 1990, â€Å"She managed to break the conceptual barrier between art and mass media by selecting images from magazines from the 40s and 50s. Choosing them based on their poses and presenting phrases over them†¦ Stereotypes were thus turned into the vehicle for delivery of a totally different message† (368). Some of the postmodern themes deployed by Kruger include, the questioning of meta-narrative tructures, highlighting the decentred nature of contemporary culture, and the divorcing of sign and signif ier. In her work Kruger operates within the language and iconic system of consumer culture while offering a critique of those very conditions. As outlined in this essay Jameson’s theory of the cultural logic of late-capitalism fails to identify the critical aspect th at characterized much of the work produced under the conditions of postmodernism. This is specif ically demonstrated through the work of No Wave artists operating out of New york in the 1970s and 80s. While invoking the aesthetic themes common to postmodernism the work produced in the No Wave scene was highly political and did not act as a static representation of commodif ied art culture. The work of Barbara Kruger specif ically dealt with the concern of art as existing in a commodif ied global economy rather than simply falling victim to it. It was in fact the movement’s shift towards commodity that marked the No Wave’s scene’s decline. The year 1984 is signif icant to this movement’s trajectory. In his essay entitled, Playing the Field: The Downtown Scene and Cultural Production, An Introduction Marvin J. Taylor writes, â€Å"By 1984 the larger art world had encroached on the scene. That same year Mary Boone displayed and began to sell Basquiat’s paintings for up to $20, 000†¦ The major art journals, galleries, and auction houses had co-opted the restricted field of Downtown art, creating superstars and an influx of economic capital that would eventually overtake the symbolic capital† (36). It was exactly this move into the realm of the market that ended the production of postmodern art within the Downtown scene. Postmodern artists active in the No Wave art movement Jameson’s proposition that art made under postmodern conditions is incapable of exacting a political message. Works Cited: Adamson, Glenn, Jane Pavitt, and Paola Antonelli. Postmodernism: Style and Subversion, 1970-1990. London: V&A Pub. , 2011. Bertens, Hans. The Idea of Postmodernism: A History. London: Routledge, 1995. Cameron, Dan. East Village USA. New York: New Museum of Contemporary Art, 2004. Duvall, John N. Productive Postmodernism: Consuming Histories and Cultural Studies. Albany: State University of New York, 2002. Hager, Steven. Art after Midnight: The East Village Scene. New York: St. Martin’s, 1986. Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988. Jameson, Fredric. Postmodernism, Or, The Cultural Logic of Late Capitalism. Durham: Duke UP, 1991. Jameson, Fredric. The Cultural Turn: Selected Writings on the Postmodern, 1983-1998. London: Verso, 1998. Kellner, Douglas, and Sean Homer. Fredric Jameson: A Critical Reader. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004. Murphie, Andrew, and John Potts. Culture and Technology. New York: Palgrave Macmillan, 2003. Perry Anderson. The Origins of Postmodernity. London: Verso, 1998. Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s. New York: Icon Editions, 1996 Siegle, Robert. Suburban Ambush: Downtown Writing and the Fiction of Insurgency. Baltimore: Johns Hopkins University Press, 1989. Taylor, Marvin J. The Downtown Book: The New York Art Scene, 1974-1984. Princeton, NJ: Princeton UP, 2006. Ward, Glenn. Postmodernism. Chicago: Contemporary, 2003. Print. Wheale, Nigel. The Postmodern Arts: An Introductory Reader. London: Routledge, 1995.