Monday, August 24, 2020

Discuss the advantages and disadvantages of conducting personal Essay

Talk about the focal points and impediments of leading individual correspondence in the open circle - Essay Example An expanding number of individuals are utilizing long range interpersonal communication sites so as to enhance individual correspondence. In this specific circumstance, it very well may be expressed that one of the most famous long range interpersonal communication sites Facebook gives the ability to arrange and impart in a viable way. At the same time, Facebook likewise gives the ability to communicate the musings of individuals and to arrange them freely (Westling, 2007). Proposition Statement Considering this perspective, the paper depends on breaking down the essential parts of directing individual correspondence through Facebook. The goal of the paper is to comprehend the focal points and inconveniences of using an online open circle medium for example Facebook for directing individual correspondence. Proclamation of Intent The exposition will plan to address the feature of individual correspondence in customary period just as in present time. Additionally, the article likewise means to talk about the appropriateness of web as an open circle medium. Individual Communication Strategies in Past and Present There is a tremendous difference between close to home correspondence techniques of over a significant time span times. The real dissimilarities have been seen because of the advancement of innovation. So as to explain the point of view, it very well may be portrayed that customarily, the regular individual correspondence strategies were letter composing or phone discussion among others. The individual correspondence methods have developed from letter and phone to versatile correspondence and web correspondence innovations. Cell phone innovations are constantly being refreshed and created with new highlights and gadgets and web correspondence advances, for example, long range interpersonal communication destinations are consistently gathering new applications and functionalities. Long range interpersonal communication sites one might say is a gathering of each web specialized technique. In long range interpersonal communication sites, for example, Facebook, individuals can make accounts and speak with others. It likewise gives the chance to keep awake to-date about the exercises of companions and send data either publically or secretly. As of late, the prevalence of long range interpersonal communication has expanded significantly where Facebook drives the opposition with a huge number of dynamic clients. As indicated by the examination directed by United Nations Research Institute for Social Development in 2000, the presentation of web and long range interpersonal communication sites has expanded the correspondence level. The degree of data trade through this new medium has far outperformed the conventional correspondence media, for example, phone, up close and personal discussion and meeting among others. This pattern speaks to monetary advantages especially to the poor countries. The current individual correspondence procedure of utilizing long range interpersonal communication sites gives the chance to investigating new traditions of different countries and furthermore assists with improving the information (Serbanescu, 2011). Web as Public Sphere Public circle is especially essential for correspondence in current development. It goes about as a medium where individuals can convey adequately in regards to significant issues alongside allowing individuals to illuminate about imperative perspectives. Considering the noteworthy pretended by web, a few scientists have encircled regulating hypotheses which show how open circle can be sorted out so as to in a perfect world achieve its jobs. One of the most prominent

Saturday, August 22, 2020

Interpersonal communication in romantic relationship Research Paper

Relational correspondence in sentimental relationship - Research Paper Example Their plans are not the equivalent. At times, sentimental connections end up in marriage. This relationship has two divisions, the mainstream sentiment, which is the typical beginning to look all starry eyed at and divine relationship, which relies upon a person’s conviction. This paper expresses the job of relational correspondence in a sentimental relationship. Correspondence is significant in a sentimental relationship. This will anticipate whether the relationship has a future or it is destined to come up short. Correspondence involves the emotions the couples feel towards one another. It likewise has subtleties on why they succumbed to one another, and the reasons why they need it to keep going for long. Individuals can pass judgment on the idea of someone’s relationship from the length of their correspondence. A short correspondence time shows the two couples are not profoundly infatuated with one another (Odukoya, 2010). Numerous individuals contend that if accomplices are comparative in some specific manner, they will adore one another. This will decide the idea of their relational correspondence. Individuals in a relationship need to impart to assemble data about one another. These specialized techniques won't be the equivalent all through the relationship. It should increase another example sooner or later. Correspondence is significant in foreseeing the eventual fate of the relationship. Things gained from correspondence will have a psychological portrayal of the other accomplice. Hence, it will impact the manner in which they carry on before their accomplices. A decent correspondence carries a feeling that all is well with the world to the relationship. Analysts contend that mates get that sentiment of connection and feel the solace of their relationship, if the other accomplice reacts too. Correspondence will assist accomplices with assessing each other’s convictions. With time, they come to see every others tastes. This is significant in a relationship. The accomplices will get the opportunity to see one another and characterize how each accomplice feels towards the other. Correspondence assesses the norms

Saturday, July 25, 2020

Importance fof Youtube at College

Importance fof Youtube at College YouTube Was My Best College Professor Home›Informative Posts›YouTube Was My Best College Professor Informative PostsNext spring I am going to walk at my college graduation and as I get ready to this essential day in my life I feel that I should be thankful mostly to one special thing that is YouTube. Frankly speaking, I went to it while working on assignments, preparing for exams and just when it was necessary for me to find what meaning a term has.Actually, this is the first place I choose when I need to learn something regarding a subject I don’t know much about. As a matter of fact, YouTube has been really helpful for me in understanding some scientific concepts. In addition, it offered lots of various explanations.One day in high school, my teacher of Economics decided to introduce Keynesian economics to us.That was the best explanation I’ve ever heard!:The main theme of the video is a fun dramatized rap battle between two opposing philosophies that are credited to John Maynard Keynes as well as Friedrich Hayek. I didn’t have even the faintest idea concerning either economist before watching this video.In my opinion, YouTube gives an opportunity for students to explore different learning styles. I suppose, this is its biggest benefit. In reality, many students find learning with visual aids or animation much more effective. They prefer learning at their own pace, too. Thus, it’s possible to take advantages of YouTube, pausing and returning to the same video a lot of times.Khan Academy is considered as one of the best YouTube channels that educates people. Now it is an independent platform, non-profit organization. It’s founder, Sal Khan, made up his mind to begin creating YouTube videos in order to tutor his cousins when he worked at a hedge fund. This person has taught millions of people all around the world on a big variety of subjects since that time.A style of Khan Academy’s videos is rather simple. However, it is very effective. In the se videos, he uses a visual aid. Originally, it was just a pen that writes on a screen. It can engage you with animations as well as interactive videos. The most difficult topics in math or science are here explained extremely simple.If a student doesn’t have an access to professional teachers and certain subjects, this amazing channel can become the main resource that provides access to relevant material that this student would not otherwise get.I’m not persuading that we ought to consider replacing educators with YouTube and choosing between the two. I only recommend that it would be much better to combine these both resources. As a result, studying process will be more productive.There is a reason why I think that studying in college is obligatory. If you watch YouTube you won’t get mentorship together with insight. These two things can be provided only be professors.

Friday, May 22, 2020

Essay about Supporting Teaching and Learning in Schools...

Communication amp; professional relationships with children, young people amp; adults. 1. Explain why effective communication is important in developing positive relationships with: * Children Effective communication with children is important to make sure that they understand the language of learning so that they can grasp concepts and ideas, actively take part in problem solving and successfully develop their own ideas and opinions. It is important for children to be able to feel welcome in the classroom environment and valued within the school. Encouraging children to ask questions, give their own answers and contribute to class activities will help to develop a positive working relationship with the children. It is†¦show more content†¦Look at the person when you are speaking to them and listening to them. Make eye contact and nod to show that you understand. It can help to repeat some or all of what the other person has said to you to positively reinforce that you have heard what they have said. Ensure that you understand what you have heard. Make sure you are able to get appropriate feedback so that both parties are working towards the same goal and know what each other expect. Keep your body language open. Face the person you are talking with, smile, nod and use open-handed gestures. Understand different tones of voice and whether someone is able to maintain eye contact. These signs will help you to understand the person’s attitude and build a relationship with them more effectively. Take turns in talking and listening to reinforce you approachability. Use the appropriate language and vocabulary for the person you are talking to and ask open questions. Be sympathetic to the views of others. It may not be your viewpoint but everyone is entitled to their own opinion. Show that you are an approachable, receptive person who values others. It is important to build a good foundation for a relationship whether it is between you and a child, young person or adult. Respect, trust, understanding and patience are all vitally important. If these components aren’t apparent in the relationship then there will not be one. 3. Explain how Social background, Professional backgroundShow MoreRelatedExplain the Difference Between Sequence of Development and Rate of Development and Why the Difference Is Important922 Words   |  4 Pagesdevelopment and the rate of development is that the sequence never changes, it remains the same, yet the rate of development tends to change in most cases. This is due to factors such as the child’s social background, pattern of growth, disability and learning difficulties, and health and nutrition. However all these can only affect the rate of development but cannot affect the sequence of development. Meggitt et al (2011) suggests that the work of Mary Sheridan on developmental suggests that childrenRead MoreDescribe the Expected Pattern of Children and Young People‚Äà ´s Development from Birth to 19.966 Words   |  4 PagesCACHE Level 2 Supporting Teaching and Learning in Schools (QCF) Theme 3 Stages of Child Development Child Development For this unit you will need to be able to describe the expected pattern of development of children and young people from birth to 19 years. In groups you must complete the attached table to address 2.1: 1.1 and 1.2 2.1: 1.1 Describe the expected pattern of children and young people’s development from birth to 19. Stage/Area of development | PhysicalRead MoreLearning and Social Care Essay examples30870 Words   |  124 PagesCACHE Qualification Specification CACHE Level 3 Diploma for the Children and Young People’s Workforce (QCF) CACHE Level 3 Diploma for the Children and Young People’s Workforce (QCF) CACHE  © Copyright 2011 All rights reserved worldwide.    Reproduction by approved CACHE centres is permissible for internal use under the following conditions: CACHE has provided this Qualification Specification in Microsoft Word format to enable its Centres to use its content more flexibly within their ownRead MoreCashe Level 2 Essay example18123 Words   |  73 PagesCACHE Qualification Specification CACHE Level 2 Certificate for the Children and Young People’s Workforce (QCF) CACHE Level 2 Certificate for the Children and Young People’s Workforce (QCF)  © CACHE 2011 Except as allowed by law, or where specified in the text, no part of this publication may be reproduced or transmitted in any form or by any means without prior permission from the Council for Awards in Care, Health and Education. CACHE has provided this Qualification Specification in MicrosoftRead MoreUnit 7 - Childcare and Education Level 3 Cache Essay2174 Words   |  9 PagesE1 Collate evidence which describes the role of the practitioner in meeting children’s learning needs. Gather and present information about the role of the practitioner whenchildrens learning needs. A practitioner’s role in meeting children’s learning needs are to understand and work with each and every child’s learning needs. They can do this by providing different opportunities to individual children because each child is unique and learns differently. The practitioners’ role would thereforeRead MoreTechnology : Overused By Children1740 Words   |  7 Pagesless critical thinking skills/imagination and psychological issues. Most school depending on region have fully integrated digital learning into their curriculums. Every subject uses digital technology in some form including art, math, science and reading. In Fairfax, Virginia every child has access to a laptop which accompanies them home every day instead of having to bring home heavy books giving them the ability to access school work and other media sites (Ballinget, M. 2016). So now we are seeingRead MoreCache Level 3 Unit 152330 Words   |  10 PagesUnit 15 Developing Children’s (3-8 years) Mathematical Skills E1 There are different national frameworks and policies that are used for the development of mathematical learning from 3 to 8 years old. One of these is the Childcare Act 2006. The Childcare Act is an update on the Children Act 2004. It basically makes sure that local authorities reduce any inequalities in their individual areas by providing an ‘integrated’ service for children and their families. They make it so that each localRead MoreSummarise the Roles and Responsibilities of National and Local Goverment for Education Policy and Practice1899 Words   |  8 PagesJANET MACDONALD CACHE LEVEL 3 SUPPORTING TEACHING AND LEARNING TDA 3.2 6.1 6.2 6.3 Summarise the roles and responsibilities of national and local government for education policy and practice National government are responsible for devising policies and ensuring that they are implemented. The UK government is split into two departments that deal with education in England. The first is the Department for Education who work with children aged up to 19, with any issues they may have from child protectionRead MoreInquiry On The Humanities Classroom Essay1882 Words   |  8 Pages Inquiry Learning in the Humanities Classroom 1.0 What is Inquiry Learning in Humanities and Social Sciences? Humanities and Social sciences is one of the most important subjects in the Australian Curriculum because it leads students into learning about people and how people interact with each other and the environment. It is foundational to sustainable practices and civic responsibility. As parents, you may remember Geography; History; Business and Economics; and Civics and Citizenship as beingRead MoreChild Protection Within the Wider Concept of Safeguarding Children2710 Words   |  11 PagesCache Level 3 Teaching Assistant Cache Level 3 Teaching Assistant Explain Child Protection within the Eider Concept of Safeguarding Children Child Protection aims at prevention and reactions in relation to exploitation, violence, and abuse against children. Children obtain protection against activities such as sexual exploitation, labor, trafficking, and harmful traditional practices. Most children are vulnerable to these abuses hence require much protection for full growth and development.

Friday, May 8, 2020

Self Fulfilling Prophecy By Rene Adler Essay - 1094 Words

Self-Fulfilling Prophecy According to Adler, a person creates her life as a projection of these limiting beliefs in a self-fulfilling prophecy. In my case, since I believed I was alone and on my own, I chose to operate in ways that affirmed my beliefs about the nature of reality. I did not believe the world would provide for me, so I asked little and expected little, which affirmed my previously held beliefs. At Wright, we challenge our limiting beliefs to break the self-fulfilling prophecy and begin operating in new ways to implement new behaviors and create new beliefs. This is what the Performative learning is all about. The game is to recognize the limiting beliefs and behaviors and begin challenging them through experimenting with new behaviors. This is done through assignments where unconscious beliefs are confronted, new beliefs are created and the self-fulfilling prophecy is altered. As much as I thought I was alone and on my own early on in my growth work, I am seeing how the importance of the community, work and family (love) are critical for my survival and my personal satisfaction. Humanistic Psychology The Human Potential Movement was a time when thinkers began realizing that people naturally want to develop and naturally orient to human fulfillment, self-actualization and becoming their best self. Jessica Grogan, cultural historian and author, explores the humanistic psychology movement and traces how humanistic psychology continues to define the wayShow MoreRelatedStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesWork–Life Conflicts 21 †¢ Creating a Positive Work Environment 22 †¢ Improving Ethical Behavior 22 Coming Attractions: Developing an OB Model 23 An Overview 23 †¢ Inputs 24 †¢ Processes 25 †¢ Outcomes 25 Summary and Implications for Managers 30 S A L Self-Assessment Library How Much Do I Know About Organizational Behavior? 4 Myth or Science? â€Å"Most Acts of Workplace Bullying Are Men Attacking Women† 12 An Ethical Choice Can You Learn from Failure? 24 glOBalization! Does National Culture Affect OrganizationalRead MoreOrganisational Theory230255 Words   |  922 Pagesperformance without having to go through extensive reading. It deepens their understanding of issues with which they are confronted in practice, by putting them into a larger context. This book really helps students and managers to become wiser. Professor Renà © Tissen, Nyenrode Business University, The Netherlands This book will appeal to the student who seeks a thorough and critical understanding of organization theory. It is both rigorous and accessible, clearly and unashamedly pitched for readers who wish

Wednesday, May 6, 2020

Twilight 23. THE ANGEL Free Essays

23. THE ANGEL As I drifted, I dreamed. Where I floated, under the dark water, I heard the happiest sound my mind could conjure up – as beautiful, as uplifting, as it was ghastly. We will write a custom essay sample on Twilight 23. THE ANGEL or any similar topic only for you Order Now It was another snarl; a deeper, wilder roar that rang with fury. I was brought back, almost to the surface, by a sharp pain slashing my upraised hand, but I couldn’t find my way back far enough to open my eyes. And then I knew I was dead. Because, through the heavy water, I heard the sound of an angel calling my name, calling me to the only heaven I wanted. â€Å"Oh no, Bella, no!† the angel’s voice cried in horror. Behind that longed-for sound was another noise – an awful tumult that my mind shied away from. A vicious bass growling, a shocking snapping sound, and a high keening, suddenly breaking off†¦ I tried to concentrate on the angel’s voice instead. â€Å"Bella, please! Bella, listen to me, please, please, Bella, please!† he begged. Yes, I wanted to say. Anything. But I couldn’t find my lips. â€Å"Carlisle!† the angel called, agony in his perfect voice. â€Å"Bella, Bella, no, oh please, no, no!† And the angel was sobbing tearless, broken sobs. The angel shouldn’t weep, it was wrong. I tried to find him, to tell him everything was fine, but the water was so deep, it was pressing on me, and I couldn’t breathe. There was a point of pressure against my head. It hurt. Then, as that pain broke through the darkness to me, other pains came, stronger pains. I cried out, gasping, breaking through the dark pool. â€Å"Bella!† the angel cried. â€Å"She’s lost some blood, but the head wound isn’t deep,† a calm voice informed me. â€Å"Watch out for her leg, it’s broken.† A howl of rage strangled on the angel’s lips. I felt a sharp stab in my side. This couldn’t be heaven, could it? There was too much pain for that. â€Å"Some ribs, too, I think,† the methodical voice continued. But the sharp pains were fading. There was a new pain, a scalding pain in my hand that was overshadowing everything else. Someone was burning me. â€Å"Edward.† I tried to tell him, but my voice was so heavy and slow. I couldn’t understand myself. â€Å"Bella, you’re going to be fine. Can you hear me, Bella? I love you.† â€Å"Edward,† I tried again. My voice was a little clearer. â€Å"Yes, I’m here.† â€Å"It hurts,† I whimpered. â€Å"I know, Bella, I know† – and then, away from me, anguished – â€Å"can’t you do anything?† â€Å"My bag, please†¦ Hold your breath, Alice, it will help,† Carlisle promised. â€Å"Alice?† I groaned. â€Å"She’s here, she knew where to find you.† â€Å"My hand hurts,† I tried to tell him. â€Å"I know, Bella. Carlisle will give you something, it will stop.† â€Å"My hand is burning!† I screamed, finally breaking through the last of the darkness, my eyes fluttering open. I couldn’t see his face, something dark and warm was clouding my eyes. Why couldn’t they see the fire and put it out? His voice was frightened. â€Å"Bella?† â€Å"The fire! Someone stop the fire!† I screamed as it burned me. â€Å"Carlisle! Her hand!† â€Å"He bit her.† Carlisle’s voice was no longer calm, it was appalled. I heard Edward catch his breath in horror. â€Å"Edward, you have to do it.† It was Alice’s voice, close by my head. Cool fingers brushed at the wetness in my eyes. â€Å"No!† he bellowed. â€Å"Alice,† I moaned. â€Å"There may be a chance,† Carlisle said. â€Å"What?† Edward begged. â€Å"See if you can suck the venom back out. The wound is fairly clean.† As Carlisle spoke, I could feel more pressure on my head, something poking and pulling at my scalp. The pain of it was lost in the pain of the fire. â€Å"Will that work?† Alice’s voice was strained. â€Å"I don’t know,† Carlisle said. â€Å"But we have to hurry.† â€Å"Carlisle, I†¦Ã¢â‚¬  Edward hesitated. â€Å"I don’t know if I can do that.† There was agony in his beautiful voice again. â€Å"It’s your decision, Edward, either way. I can’t help you. I have to get this bleeding stopped here if you’re going to be taking blood from her hand.† I writhed in the grip of the fiery torture, the movement making the pain in my leg flare sickeningly. â€Å"Edward!† I screamed. I realized my eyes were closed again. I opened them, desperate to find his face. And I found him. Finally, I could see his perfect face, staring at me, twisted into a mask of indecision and pain. â€Å"Alice, get me something to brace her leg!† Carlisle was bent over me, working on my head. â€Å"Edward, you must do it now, or it will be too late.† Edward’s face was drawn. I watched his eyes as the doubt was suddenly replaced with a blazing determination. His jaw tightened. I felt his cool, strong fingers on my burning hand, locking it in place. Then his head bent over it, and his cold lips pressed against my skin. At first the pain was worse. I screamed and thrashed against the cool hands that held me back. I heard Alice’s voice, trying to calm me. Something heavy held my leg to the floor, and Carlisle had my head locked in the vise of his stone arms. Then, slowly, my writhing calmed as my hand grew more and more numb. The fire was dulling, focusing into an ever-smaller point. I felt my consciousness slipping as the pain subsided. I was afraid to fall into the black waters again, afraid I would lose him in the darkness. â€Å"Edward,† I tried to say, but I couldn’t hear my voice. They could hear me. â€Å"He’s right here, Bella.† â€Å"Stay, Edward, stay with me†¦Ã¢â‚¬  â€Å"I will.† His voice was strained, but somehow triumphant. I sighed contentedly. The fire was gone, the other pains dulled by a sleepiness seeping through my body. â€Å"Is it all out?† Carlisle asked from somewhere far away. â€Å"Her blood tastes clean,† Edward said quietly. â€Å"I can taste the morphine.† â€Å"Bella?† Carlisle called to me. I tried to answer. â€Å"Mmmmm?† â€Å"Is the fire gone?† â€Å"Yes,† I sighed. â€Å"Thank you, Edward.† â€Å"I love you,† he answered. â€Å"I know,† I breathed, so tired. I heard my favorite sound in the world: Edward’s quiet laugh, weak with relief. â€Å"Bella?† Carlisle asked again. I frowned; I wanted to sleep. â€Å"What?† â€Å"Where is your mother?† â€Å"In Florida,† I sighed. â€Å"He tricked me, Edward. He watched our videos.† The outrage in my voice was pitifully frail. But that reminded me. â€Å"Alice.† I tried to open my eyes. â€Å"Alice, the video – he knew you, Alice, he knew where you came from.† I meant to speak urgently, but my voice was feeble. â€Å"I smell gasoline,† I added, surprised through the haze in my brain. â€Å"It’s time to move her,† Carlisle said. â€Å"No, I want to sleep,† I complained. â€Å"You can sleep, sweetheart, I’ll carry you,† Edward soothed me. And I was in his arms, cradled against his chest – floating, all the pain gone. â€Å"Sleep now, Bella† were the last words I heard. How to cite Twilight 23. THE ANGEL, Essay examples

Monday, April 27, 2020

Six Flags free essay sample

Amusement parks and theme parks are being the term of the entertainment attractions in over the World. The U. S is almost leading this large numbers of theme park by 322 $ million guests in 2003. According to the International Association of Amusement Parks and Attractions (IAAPA) the amusement park industry’s roots can be traced all the way back to medieval Europe when in approximately 1133 A. D, the monk Rahere, a former jester in the court of Henry I held the first trade fair (IAAPA). The idea of the amusement parks started in the United State sometimes in end of the 19th century by the electric trolley companies. Also, this idea came to create some events for people during the weekend, which it was the golden period of theme parks. In 1893, it was the first exposition which held in Chicago and it was the event which Ferris wheel as well as the Midway introduced to over the World (2002). We will write a custom essay sample on Six Flags or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Six Flags. Inc as known is the world’s largest regional theme park company based on the number of its properties; as well it is the 5th most well-liked in terms of attendance. Furthermore, Since the Walt Disney Company beings the first in amusement park operator in the U. S. Six Flags takes the second place with 20 million international visitors in the year. Whats more, Six Flags holds39 family oriented theme parks in the U. S, Canada, Mexico, and Europe. The company estimates that nearly two thirds of the American population that lives within 100 miles of one if its parks. According to IAAPA â€Å"the properties serve 35 of the 50 largest U. S. metropolitan areas. The company first target is the local markets as the only competitor, Disney land, are a focuses for visitors from the entire world. It also has exclusive rights to theme park usage of Warner Brothers 3  and DC Comics characters in most of North America, South America, and some Europe countries, with many parks featuring such characters, for example, Bugs Bunny, Daffy Duck, Tweety Bird, Yosemite Sam, Batman, and Superman (IAAPA. Sep 2009). The competition and marketing in amusement park industry have been growing up after began consolidate that occur a bigger established smaller parks and family operations. In addition, theme parks in U. S become high commodities and the gaining for theme park properties have been increasing to high record levels. They also have been supported by the government in U. S which was the biggest amount acquisition with U. S. $1. 9 billion that paid for the Six Flags Theme Parks Chain by Premier Parks. The Six Flags Company has been raking as the fifth largest amusement park regarding to the annual attendance in the world after Walt Disney, Merlin Entertainment Group in United Kingdom, Universal Studios, and Parques Reunidos in Spain. Also, Six Flagss properties become more available as the result of the consolidated of the U.S industry and it keeps announced every year unique properties to its parks which make operators work harder than before to attract and retain attendees. According to Six Flags Website in Aug 30, 2012 Six flags properties announced two ground-breaking thrill rides will debut at Six Flags over Georgia and Six Flags White water in 2013. For example, adding new rides, new shows, and new experiences. According to IAAPA amusement parks were not investing as heavily in magnificent roller coasters; instead in 2000, they were focusing more on family oriented rides and amenities like air-conditioned restrooms and better food. Also, Six flags usually every season surprises its visitors by great deals with lower price like free admission and free season parking to any Six flags theme parks. 4 The hot competition in theme parks business was one of the main reasons of the difficult time that the six flags company and amusement park industry had been facing during the past few years. For instance, in August of 2001, theme and amusement park operators were concerned with the drops in attendance in many parks. Also, the terrorist attack is another huge reason of dropping the market of the amusement park industry in the United State after the Sept, 2011. The bad weather condition in 2002 and the War in Iraq had affected the level of tourism to U. S especially the theme park sector. According to USA Today, 2002 10 percent of Americans rated amusement parks and sporting events as the most likely target for a terrorist attack, behind nuclear plants and large city downtowns, yet ahead of airports, national monuments, military installations, and bridges. The major competitor of Six Flags Company in U.S is the Walt Disney Company. It announced that the attendance in 2003 was almost 97 million and revenues of U. S. $6. 4 billion and most of visitors were from Walt Disney in Florida and Japan. Another competitor of Six flags is Universal Studios Recreation Group with 73 million visitors and revenues $ 4 billion in Orlando, Fl. Recovery strategies: In 2005, Six Flags made an important change in the top management by hiring Mark Shapiro the new chief executive officer, after that they change their focus and goals to become more careful about cleanness, kindness and with  family-friendly atmosphere. The management brings a trained staff and enforce of a code of conduct which made the park better than ever, with more customers satisfaction. Shapiro focused to drive to increase attendance through enhance broad-based marketing strategies and introduce standardized pricing in all parks, make marketing alliances and sponsorship with most popular consumer brands. Moreover, Much of Six Flags social marketing strategy relies on getting people to talk about events, such as the 45th anniversary celebration. According to Shapiro concluded, Every single day we will remain focused on bringing our guests an entertainment package that they cant experience anywhere else close to home: family rides, thrill rides, special events, concerts and shows, daily parades, fireworks, shopping, dining and games† (Six flags web, 2006). Overall, the main focus of Shapiro was to enhance and emphasize the benefits for existing resources and develop some of old strategies to raise the income and reach some of other goals.

Thursday, March 19, 2020

Pantsers and Plotters Which Are You (And Why It Matters)

Pantsers and Plotters Which Are You (And Why It Matters) Two Types of Writers: Plotters and Pantsers Writing has always been a passion for the UK-based former journalist Amanda Wills, who now works part-time as a police press officer. Her latest book, Flick Henderson and the Deadly Game, was published in December last year, with a cover design courtesy of Reedsy artist Rachel Lawston. In this article, she talks about two types of writers, Plotters and Pantsers, and the pros and cons of both. Plotter or PantserDo you plan your novel to the nth degree before you type a single word, or do you sit at your computer, take a deep breath and fly by the seat of your pants? If the former, you’re a Plotter; if the latter, you’re a Pantser. Plotters plan novels to the nth degree. Pantsers fly by the seat of their pants and just write. We all know there are pros and cons to both. Knowing exactly what’s coming next means that Plotters are less likely to suffer from writer’s block. They also tend to write faster and more efficiently. Pantsers, on the other hand, have the freedom to let their characters take control, which can be both terrifying and exciting at the same time.I should say now that I am your typical Pantser. Don’t get me wrong, I am in awe of writers who spend months plotting scenes on timelines and building detailed biographies for their characters. When I start a book, I know how it begins, and I normally know how it’s going to end. It’s just the bit in the middle that’s, shall we say, fluid. I then spent about a week playing a kind of story jigsaw, rearranging the scenes until Kate’s disappearance became the main plot and the disappearing pets became the sub-plot.This kind of low-tech approach might not be for everyone, but it worked for me. It helped me spot continuity problems and holes in the story. It became blindingly obvious where I needed more action, and where I needed to slow the pace down.And once I had the scenes in the right order it was a pretty straightforward task to reassemble them on my Word document.Flick Henderson and the Deadly Game was released both as a paperback and ebook this past December, nearly three years after I had that first seed of an idea.Do I regret not plotting the book properly in the first place? Probably. I’m sure it would have saved a lot of time. I’ll definitely use the giant word jigsaw approach again. Being able to play with scenes in such a tangible way was immensely useful.Will I spend weeks planning every scene, every plot point, every nuance, every character arc, before I start writing my next book? Probably not. I’m a Pantser by nature. But one thing I have learned is that a little planning goes a long way.So that is exactly what I plan to do. As a writer, I'm a Pantser. But I've learned that a little planning takes  your book  a long way. Flick Henderson and the Deadly Game is available on Amazon in paperback and on Amazon Kindle!Are you a Plotter or a Pantser? Or, like Amanda, have you found a way to straddle both styles of writing? Let us know, and leave any thoughts, experiences, or any questions for Amanda in the comments below.

Tuesday, March 3, 2020

What the President Does on the Last Day in Office

What the President Does on the Last Day in Office The peaceful transition of power from one United States president and his administration to another is one of the hallmarks of American democracy. And much of the publics and medias attention on January 20th every four years rightly focuses on the incoming president taking the Oath of Office and the challenges that lie ahead. But what does the outgoing president do on his last day in office? Heres a look at five things almost every president does just before leaving the White House. 1. Issues a Pardon or Two   Some presidents show up at the White House bright and early for a ceremonial last walk through the historic building and to wish their staff well. Others show up and get to work issuing pardons. President Bill Clinton used his last day in office, for example, to pardon 141 people including Marc Rich, a billionaire who had been indicted on charges of defrauding the Internal Revenue Service, mail fraud, tax evasion, racketeering, defrauding the U.S. Treasury and trading with the enemy. President George W. Bush also issued a couple  of pardons in the last hours of his presidency. They  erased the prison sentences of two border patrol agents convicted of shooting a drug suspect. 2. Welcomes the Incoming President Recent presidents have hosted their eventual successors on the last day in office. On Jan. 20, 2009, President Bush and  First Lady Laura Bush hosted President-Elect Barack Obama and his wife, as well as Vice President-Elect Joe Biden, for coffee in the Blue Room of the White House  before  the noon  inauguration. The president and his successor then traveled together to the Capitol in a limousine for the inauguration. 3. Leaves a Note for the New President Its become a ritual for the outgoing president to leave a note for the incoming president. In January 2009, for example, outgoing President George W. Bush wished incoming President Barack Obama well on the fabulous new chapter he was about to begin in his life, Bush aides told The Associated Press at the time. The note was tucked into a drawer of Obamas Oval Office desk. 4. Attends the Inauguration of the Incoming President The outgoing president and vice president attend the swearing-in and inauguration of the new president and then are escorted from the Capitol by their successors. The Joint Congressional Committee on Inaugural Ceremonies describes the outgoing presidents department as being relatively anti-climatic and unceremonious. The 1889 Handbook of Official and Social Etiquette and Public Ceremonies at Washington described the event this way:   His departure from the Capital is attended with no ceremony, other than the presence of the members of his late Cabinet and a few officials and personal friends. The President leaves the Capital as soon as practicable after the inauguration of his successor. 5. Takes a Helicopter Ride Out of Washington Its been customary since 1977, when Gerald Ford was leaving office,  for the president to be flown from the Capitol grounds via Marine One to Andrews Air Force Base for a flight back to his hometown. One of the most memorable anecdotes about such a trip came from Ronald Reagans ceremonial flight around Washington on Jan. 20, 1989, after he left office. Ken Duberstein, Reagans chief of staff, told a newspaper reporter years later: As we hovered for a second over the White House, Reagan looked down through the window, patted Nancy on her knee and said, Look, dear, theres our little bungalow.  Everybody broke down in tears, sobbing.

Saturday, February 15, 2020

Corporate Culture on the Example of AIG Essay Example | Topics and Well Written Essays - 1000 words

Corporate Culture on the Example of AIG - Essay Example Similar happened with American International Group (AIG) - one of the world’s leading insurers. This case analysis is built up at delving deep into corporate culture factors which paved the way for AIG’s doom, conduct of AIG executives worsening the situation and alternative route AIG could have taken to prevent its downfall. Role of AIG’s corporate culture in its downfall Corporate culture of a firm constitutes the environment in which employees work, rules and regulations which mold their working practices and even the leadership under which employees learn to differentiate between right and wrong. AIG’s culture was not up-to-the-mark in terms of true leadership, correct human resource policies and even ways and means to capture and exploit business opportunities. Hank Greenberg, the CEO of AIG was into lobbying and made use of back-door tactics to get hold of contracts and business leads. His ethical philosophy was misleading from the very beginning of his youth when he used to violate rules while he was in army. Activities which were not allowed by senior officials were done by Greenberg silently and he supplied the proof of doing something different to army officials (Jennings 19). This instance makes clear that Greenberg was a man who did not care about ethics. He had his own way of doing things which he himself wished to, and also maintained a pseudo personality ready to pretend that he is abiding by the rules. As such, under his leadership, the employees of AIG too developed this habit of fulfilling their personal interests and supplying wrong information and proof to the outside world that everything is under control. Moreover, culture at AIG was not one that placed greater emphasis on company’s mission. It focused on profits and growth first. Stakeholder wealth management principle came second. This is evident from the fact that AIG employees were paid bonuses and incentives for their excessive and unnecessary risk taking activities. Dazzled by short term gains and exponential growth, the company and top management overlooked what it owes to its investors, shareholders and stakeholders. Before any growth comes the benefit of people whose money is wi th the company. Rewarding system at AIG was crippled as it encouraged unethical risk taking endeavor of its overexcited employees of Financial Products Division. The corporate culture at AIG was developed into a form that had started taking undue advantage of its reputation and standing in the financial market. High-profile joint ventures, global outreach, revolutionizing business concept and astronomical growth in the beginning- all blinded the officials and employees at AIG to move ahead at lightning speed without conforming to the risk management rules and ethical compliance obligation. It did not offer complete disclosure of credit investment information, entered into risky ventures, came up with a host of derivatives and products and get itself engaged in deals and businesses which seemed lucrative superficially. Lack of transparency, complete disclosure and complex jargon of financial market mislead the public at large. This was all attributed to how employees at AIG were lear ning from its leaders, how their compensation plan was devised which did not account for risks but only unaccrued income. Lastly, stakeholder wealth maximization principle was totally lost from the corporate charter of the company. Ethical conduct of AIG executives Jennings (15) highlights multifarious unethical behavioral dimensions which lead to an ethical breach of duty. At AIG, these dimensions were numerous and have reached to a very high level- level which was irreparable and punishable. The executives not only

Sunday, February 2, 2020

Sustainability supply chain management Research Paper

Sustainability supply chain management - Research Paper Example Generally, such pressures tend to reverberate alongside an organizations supply chain, especially the big multinationals preferably dealing consumer based products (Carter & Easton, 2011). As of today, public scrutiny is on the rise as consumers are currently aware of the fact that not only the final product that needs close observation, but also the supply chain used by an organization requires close monitoring. This paper will seek to research on sustainability, supply chain management, and bring out factors affecting the functioning of a supply chain. Many supply chains among different industries tend to absorb various external pressures, which traditionally act as a reactive stance to industries’ supply chains. However, several examples exist whereby a number of supply chains used by numerous organizations introduce instruments suitable for rolling out suitable and sustainable supply chains (Elsevier, 2008). Reliable evidence from approved sources maintain that sustainable supply chain management is that which seeks to put into place socially responsible and green proactive products into the identified market. Additionally, such supply chain management introduces performing, competitive, and environmentally acceptable processes into organization’s supply chain. ... anages and cooperate the flow of information and materials of a company effectively, it is true to say that, sustainable supply chain management revolves along three dimensions namely stakeholder, economic, and social requirements. This shows that, sustainable supply chain management takes into account the requirements of a stakeholder, economy, environment, and society (Carter & Easton, 2011). Nevertheless, it is crucial to note that for the social and environmental criteria to remain active in an organization’s supply chain, supply chain members must fulfill the aspect of competitiveness via meeting the needs of customers and related economic criteria. Attributively, as theories and principles of management linked closely with sustainable supply chains continue to advance, requirement for extra or rather additional critical analysis and investigation arises to comprehend further the field. As part of looking for ways to understand better the field of sustainable and supply c hain management, this research sought to identify a number of opportunities that needed investigation. Some of them include reviews of particular lines of development concerning the intersection of supply chain management and sustainability. Furthermore, case studies or empirical fields of companies as well as other initiatives of chain actors whose aim is to enhance aspects of sustainability issues needed a closer outlook (Elsevier, 2008). Cases and concepts considered during integration of particularly relevant sustainability issues within the supply chain management also proved to require research as this field is maturing rapidly. Particularly, contributions brought about by the three dimensions of sustainability and supply chain management sounded imperative to carry out a research on them

Saturday, January 25, 2020

Restorative Justice: Benefits and Limitations

Restorative Justice: Benefits and Limitations Systems of Restorative Justice have been utilized around the world for many centuries, examples can be found in many civilizations throughout history. In recent times there have been numerous concepts and reinventions of what many believe or feel is the modern restorative justice model of today. This essay will consider some of the strengths and critics of restorative justice, with a focus on some of the latest research and studies. The vast majority of early studies concluded and indicated that the type of restorative justice model, that each examined, was achieving good positive results and appeared to be a viable alternative to incarceration. Later studies however appear to place limitations on these findings and many question the definition and cultural context of restorative justice, concluding that there could be limited merit in the application of restorative justice in modern society. This apparent shift in the thinking of the true efficacy of restorative justice raises many more questions that will need to be addressed with the primary question what is restorative justice? Until a comprehensive and unified definition is developed and all studies and reviews are truly comparative, there may only be limited reliability in the findings or conclusions of any research or study.What is restorative justice? Does it work? Who does it benefit? Is it relevant today? Can it be used for all forms of offending? These are just a few of the many questions that require some form of answer to establish the efficacy of restorative justice in todays society. There are as many supporters as there are critics of the use and efficacy of restorative justice around the world (Daly, 2002). A mixture of restorative justice style paradigms have been in existence and utilized as a method of penalty or reparation in many cultures around the world for many years. The wide spread use has resulted in many styles, forms and types of restorative justice being developed, redeveloped and conceptualized throughout the centuries. Several paradigms are still evolving even today. Progression from the early retribution style practices, to the use of the circle process has been the key component in some cultures. The early use of the circle process by the indigenous people of Canada (Department of Justice Canada, 2000) was one of the first primal steps to what is now developing and considered by many to be the modern form of restorative justice. The circle process of mediation has many forms but the basic principle is a conference style meeting or discussion in a non threatening environment that involves all the relevant parties, victims and offender. The modern concepts of restorative practices, which have evolved from the original circle process, characteristically contain a focus which promotes mutual understanding, respect, acknowledgement and a mutually agreed resolution between the victim and the offender. However there are many who believe that there are some major problems with the modern concept of restorative justice. In a recent study Kathleen Daly (Daly, 2002) highlights the myths that are portrayed by many who advocate the success of restorative justice and who promote the concept as being a successful modern ideology. Daly (Daly, 2002) also suggests that those who promote these myths may be endeavouring to reform the justice system and therefore are accentuating these myths which may also be in part politically motivated to maintain the funding for restorative justice. The view of possible political motivation promoting positive reviews is also expressed in by White (White Perrone, 2005). What is evident is that the re is a lack of reports, studies and information covering the failures of restorative justice. The vast majority of evidence highlights the positives and as suggested by Daly (Daly, 2002) thereby giving the appearance of success for restorative justice. In a 2010 thesis Roberts (Roberts, 2010) evaluated the methodology of how the evaluation of restorative justice practices is conducted. The thesis highlighted the considerable differences in results and outcomes primarily related to the different types of paradigms assessed and in use around the world. The main concerns that regularly appear in most critical reviews and studies focus on the issues related to the lack of a recognised singular definition of restorative justice and how evaluations are conducted (Walgrave, 2011). Around the world there are literally hundreds of definitions each specific to their own culture, ideology and political will. Many discussions have been focused on comparing community justice to restorative styles endeavouring to answer, are they the same or different? (McCold, 2004).This lack of continuity or agreement raises concerns as to the legitimacy or efficacy of many if not all studies and research and the outcomes reported(Walgrave, 2011). Braithwaite (Braithwaite, 2007) pointed out that political desires can also be influential on the application of restorative justice principles. Negative findings on the use of restorative justice or if the public perceived that there was a breakdown in law and order by the overuse of restorative practices, there c ould be a reduction in political support for restorative justice. There however appears to be an element of strength when restorative practices are implemented within the education system (Shaw, 2007), in particular with the very young. The practice of restorative justice has found some merit within the education system, however the success is qualified. In 2007 a report on restorative type practices in Australian schools (Shaw, 2007) highlighted some of the success with these practices and principles in initiating some cultural change within the school environment. The study also found there was considerable support for restorative type practice when actively utilized in facilitating bullying, alienation and harassment situations as well as the reintegration of marginalised students in the school system. Further support for the application of restorative justice style practices within the youth justice system (Hayes Hayes, 2008), concluded that with the requirement for the offender themselves to meet face to face and speak to the victim imparted a strong influence on the outcome. The requirement for the offender to speak to the victim without another person representing them was seen as a strong reinforcement to t he offender of their unacceptable behaviour. A recent study however, conducted in the United Kingdom observed a single student participating in restorative practices to address behaviour problems. The study concluded that restorative practices had no overall effect on improving the students behaviour despite isolated qualified success (Standing, 2012). The study also highlighted a major issue that could have contributed to the failure of the restorative practices. The inability of all sectors of the school staff, in a whole of school approach, to actively and positively engaging in the process created gaps in the continuity thereby reducing the positive outcomes. This result reinforces the necessity for all parties to be willing and dedicated to achieving the desired outcome. Despite some reports and studies showing that there is potential for restorative justice to be successful, as shown in the Victorian schools study (Shaw, 2007), there is however a distinct possibility that the merging of 2 or more of the numerous paradigms, community justice and restorative justice, may lead to uncertainty, ambiguity and misinterpretation thereby creating a doubt in the efficacy of either (McCold, 2004). In other studies the face to face benefit or disincentive to the victim is considered and investigations (Stubbs, 2009) have shown that the impact on the victim in sexual assaults, where they are required to face the offender may create more problems for the victim and be far from beneficial as a restorative practice. Apologies (Choi Severson, 2009)appear to be the main criteria that many practitioners of restorative justice promote and the actual impact on the victim may not be as favourable as most believe. One study that had appeared to report a positive conclusi on (Okimoto, Wenzel, Feather, 2012) supporting restorative justice however examination of the results showed a tendency favour the offender rather than the victim. The victims of crime are still peripheral to the justice system and feel intimidated and can find the offender has no remorse and that the apology is insincere (Choi Severson, 2009). Some offenders have been observed making positive assertions, promises and apologies with the desire simply to obtain a reduction or dismissal of punishment only to later reoffend with no remorse or consideration for the affirmations previously made (Walgrave, 2011). Recidivism is an area of concern as was demonstrated and highlighted by Pranis (Pranis, 2004). Despite what appeared at first to be a successful use of restorative justice in a case involving theft the youth offender apologised to the elderly victim and promised not to reoffend. However the victim later became aware of another incident involving the same youth and requested another face to face meeting with the youth offender. The victim reinforced the disgust at the offenders lack of respect for the victim and the disappointment of broken promises previously made. The victim requested the offender reaffirm the promises, maintain contact with the victim and refrain from further offending (Pranis, 2004). The offender showed great remorse and has remained free from offending post the second meeting. This success however relied heavily upon the very strong character and tenacity of the original victim which would probably not be replicated in the vast majority of situations. The outcome s for some processes appear to be offender orientated with very little consideration for the needs of the victim. There has been a consistency demonstrated in many studies reporting positively how effective restorative justice practices have been found. These positives may be creating a mistaken attitude to the effectiveness of restorative justice. Choi (Choi, Bazemore, Gilbert, 2012) highlights the lack of negative reviews and reinforces some of the problems, as demonstrated within this essay, that may result from the overabundance of positive results. In conclusion the questions proposed at the beginning of this essay will still need to be carefully examined in other forums. What is restorative justice? There is no simple answer. Does it work? In very limited and qualified situations. Who does it benefit? It appears to favour the offender in the majority of situations. Is it relevant today? Many would suggest that it is more relevant. Can it be used for all forms of offending? Agreement appears to support limited use within targeted offending. With no widely accepted definition and the lack of a standard paradigm, comparisons and the true evaluation of the strengths and critics of restorative justice may remain a contentious issue for many years to come. There appears to be a growing amount of information available that indicates that the use of restorative justice has only limited effectiveness, primarily with youth, and the use of restorative justice in the adult realm may have no measurable efficacy. There is much ambiguity and contradiction in the use of restorative justice, much of which will need to be rectified to allow the advancement of the principles. The strengths and success of current restorative practices must largely rest with the facilitators, whilst allowing the academics to solve the dilemmas in definition and paradigm.

Friday, January 17, 2020

Fascism in Venice

Ryan Johnson December 13, 2012 HIST 3400 Soper Venetian Fascism in the Shadow of Wars The qualities that compose fascism are debatable and endless. What is really important about fascism is how it attempted to succeed by influencing not only Venetian, but also Italian culture and society from the beginning of World War I until the end of World War II. Benito Mussolini when speaking on fascism stated that, â€Å"†¦For Fascism, the growth of empire, that is to say the expansion of the nation, is essential manifestation of vitality, and its opposite a sign of decadence†¦Ã¢â‚¬  (Enciclopedia Italiana, Handout).The success with which fascism had in expanding the nation is an argument for another time, but the ways they attempted to maintain the â€Å"essential manifestation of vitality† and challenged the boundaries of cultural society in hopes of success are well worth mentioning. Fascism did not have many cultural victories and this could be one aspect of an argument as to why it was a failure. However, one of fascisms greatest â€Å"cultural victories† in Italy can be viewed when studying the floating city of Venice and events that accompanied it.Fascism, as a whole, attempted to conquer in more ways than just obtaining land by means of military victory or tangible items as tokens of their success. As stated above by Mussolini himself, if fascism was indeed to succeed, it needed to support the growth of the Italian nation. The Fascist Party needed to not only influence the Italian people through propaganda, but also gain the support of the Italian nation while challenging the cultural and societal boundaries.In the years between World War I and World War II, fascism made attempting strides to try and create an aesthetic visual for the party, mainly by intervening in society and culture. All moves made by the fascists with regards to culture appeared to be solely instrumental and functional to gaining one hundred percent support of the po pulation in favor of the dictatorship. The effects of World War I, World War II, and fascism can still be seen today in Venetian and Italian culture. World War I was a horrendous time for Italian soldiers fighting in the trenches.Venice was very close to the battle lines on the border with Austria-Hungary, just North of where they lie. Venetians could not only feel the constant threat from the Austrians, but also had a daily reminder when they stepped outside. Venice closed their port, for fear of attack, but they also had to deal with the fact that, â€Å"†¦barrage balloons could be seen†¦Ã¢â‚¬ . Barrage balloons had long steel cables attached to them and were mainly used to deter low-flying enemy aircraft from reaching or bombing an area.These defense balloons were used during World War I and II. For the short distance that Venice was from the battlefront they were fairly lucky in how little devastation took place during the war. During World War I Venice was always ex tremely nervous about their next-door neighbors, the Austrians, of attacking the maritime port, but the city never fell to enemy attack. There were very few bombing that occurred in Venice, and the deaths that did take place mainly happened during the â€Å"black-out† hours.These â€Å"black-out† hours would occur in hopes of minimizing the amount of light escaping outside. By doing this, the Venetians were making it very difficult for any sort of aerial attack to bomb their city, port, or boats off of visibility alone. These were the only significant negative effects even worth mentioning that occurred for the city of Venice during World War I. World War II was similar to World War I with regards to the significantly negative effects it had on the city of Venice, there were just about none.As opposed to the devastation that occurred throughout much of Italy, Venice got away pretty nicely. Yet again, the â€Å"blackout† hours when people would fall into the cana l or injure themselves in other ways in the dark were one of the primary contributors to the death toll. It has been stated that Venice remained essentially untouched throughout the duration of the Second World War. However the minute losses that did occur, with exception of Germans capturing Jews, can be summed up in a few sentences. One or two windows were broken; a stray shell hit the tower of San Nicolo del Mendicoli as the Germans were retrateing; and the Tiepolo friezes in the Palazzo Labia were damaged when an ammunition ship exploded in the harbour. † Although the people of Venice saw little to none of the intense fighting, they were not as lucky to maintain an unconquered status during World War II as they had in World War I. For Germany, September 1943 was the beginning of a fairly short control over northern and central Italy that included Venice.Although Germany occupied Venice until April 28, 1945, very few deaths occurred to the Venetian citizens while in the cit y. â€Å"In the city itself a campaign of sabotage was followed by reprisals in which five men were shot in Cannaregio on July 8, 1944; some thirty partisans were executed later that month, followed on August 3 by seven hostages in Riva dell’Impero, called subsequently, in their memory, Riva dei Sette Martiri. † The most extensive part of the death toll came to the Jewish population in Venice with the presence of the Germans in 1943.The Venetians had historically tolerated the Jewish population up until about 1938 with the enactment of new racial laws. After the racial laws, persecution got so bad for the Jewish population, that they were laid off from their job, and grotesque signs were placed on businesses stating â€Å"Dogs and Jews Prohibited†. It only got worse from there after the Germans arrived in 1943, and the open persecution, capture, and killing of Jews from 1943 to 1945 took place.It has been estimated that approximately two hundred Jews were hunted down and sent to concentration camps in the mainland, with some even being deported to Auschwitz. The Germans were so thorough in their cause to vaporize the Jewish population from the earth, they would even go to hospitals to retrieve mentally ill Jewish patients and send them to an early grave. It has been recorded that only eight of the two hundred Venetian Jews captured by the Germans were ever returned home again.The German’s vicious attempts to eliminate the Jewish population and the atrocities that ensued will never be forgotten. With that being said, Venice got out of not only World War I, but also World War II with an extremely minimal death count compared to the millions of lives that were lost as a consequence of the two wars. World War I and II both impacted Venice, but in a fairly nominal way when viewing the status of many other parts of Italy and the world. However, there were two very influential fascist characters that emerge as a product of World War I and are present throughout World War II.These two men are noteworthy fascist figures with one that called Venice a home for a period of his life and another that was a true Venetian. The first man, Gabriele D’Annunzio, assumed a position, as a fascist political figure in Venice, and he was well known even before fascism was created. D’Annunzio was not a native-born Venetian, but was fairly well known in Italy as a â€Å"poet, novelist, playwright, politician (right- and left-wing in rapid succession), and daring First World War pilot who led sorties against Vienna itself†.It was during World War I when D’Annunzio decided to establish his residence in Venice. When he was not contributing to the fighting he could be found at his home, that was located off of the Grand Canal, called Casetta delle Rose. D’Annunzio continues to have a presence in the fascist politics all the way until its eventual demise, but was most famous for his irredentist taking of Fi ume, which is now present-day Rijeka in Croatia. He was angry that Fiume was not ceded to Italy by the Austrians at the end of World War I with the signing of the peace Treaty of Saint-Germain.D’Annunzio ruled over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even â€Å"viewed D’Annunzio with a mixture of admiration and envy†¦Ã¢â‚¬  D’Annunzio was a fascist political figure that did not necessarily contribute much to the city of Venice as much as he was solely a constant reminder of the fascist presence. The second man that emerged from the outcome of World War I was an entrepreneurial man by the name of Giuseppe Volpi. Unlike D’Annunzio, Volpi was a native-born Venetian.He was born in Venice in 1877, and before he was thirty years old he had established the Societa Adriatica di Elettricita in the Palazzo Balbi on the Grand Canal, â€Å"which soon had a monopoly on the supply of electricity in the Veneto a nd Emilia-Romagna. † Along with his northeastern electricity monopoly, Volpi was constantly finding new ways to improve and advance Venetian industry. He would dabble in other industries that included petro-chemicals, iron, and shipping that significantly contributed to advancing Venetian industry, more specifically in Porto Marghera.Volpi’s success on top of his founding of Societa Adriatica di Elettricita was substantial; it has been recorded that he was a, â€Å"president or vice-president of twenty other companies, as a member of the boards of forty-six more, and as a major shareholder in over fifty. † During World War I Volpi was the head of a Committee for Industrial Mobilization where his project of turning the old Venetian fortress of Marghera into an industrial port and factory capable area. Volpi was quite successful in his project in Marghera.The area, prior to Volpi’s presence, only contained a thousand inhabitants in 1921. The growth of Marghe ra after Volpi’s intervening was exponential. â€Å"†¦Marghera had grown by 1940 to a town containing fifteen thousand workers in a hundred industries, and by 1967 to one of thirty-five thousand workers in 211 industries. † Volpi’s tremendous success as an entrepreneur and financial guru in northeast Italy, without fail, caught the attention of the Italian government. Volpi was awarded for his successes with the title and position as Governor of Tripoli.Soon after being deemed Governor, and already a standing member of the Fascist party, Volpi was put into office as Mussolini’s Minister of Finance in 1925. It has been stated that Volpi, â€Å"became one of the most successful administrators of the regime. † Three years after Volpi was positioned as Minister of Finance he resigned after disagreeing heavily with Mussolini on the â€Å"artificially high level at which the leader insisted on fixing the exchange rates, and never having become one of his close circle, he concentrated again on Venice and industry. Volpi was always a very influential fascist figure in Venice, but his greatest contribution to the success of the influence of the Fascist party and its cultural production came when he assumed the position as, â€Å"President of the reconstituted Esposizione Biennale Internazionale d’Arte in 1932. † This Exhibition, more commonly known as the Biennale, originated as nothing more than an Exhibition with strange occurrences such as a man’s face that was stuck in rigor mortis known as Supremo Convegno.In 1934, the Fascist government declared the once bi-annual event was to start taking place annually. The success of the Biennale was consistently growing after it was introduced as an annual event. In 1934, there were 41,000 people that showed up, in 1935, 38,500 people, in 1936, 50,000 attended, and in 1937, there was a staggering 60,000 participants. The Biennale by the year 1948 was considered to be one of the most important events in the entire world of art, and the Exhibition got to that point with the help of Giuseppe Volpi as he active President for twelve years. The international respect and publicity the Biennale gained each year was consistently growing. Countries would set up pavilions at the Biennale and present among them even during the Biennale’s early stages were Belgium, Britain, Germany, Hungary, France, Russia, Sweden, Spain, Czechoslovakia, and the United States. Even though the Biennale is an Exhibition where artwork is displayed, it has a sense of friendly competition between countries for who can produce some of the best artwork.During one Biennale exhibition there were not only paintings by nearly all of the best Italian artists under Italy’s pavilion, but also works â€Å"by Picasso and Klee, by Chagall and Kokoschka. The French staged exhibitions by Braque, Rouault, and Maillol, the Belgians by Delvaux and Ensor, the British by Henry Moo re. † The participation of artists as prestigious as these helped in securing the validity and existence of the Biennale as a true appreciation for art. There was even an exhibition for Impressionist artist and that same year there were ninety-eight Impressionist pieces of art.The Biennale was an exhibition that appears to be more of a friendly competition and get together between major countries of the world. All of the countries that have previously been at one another’s throats in prior wars all come together to participate in the Biennale that takes places in Venice, Italy. The Biennale brings together a magnitude of countries, despite their differences, and allows them to partake in a mutually pleasing and intellectually stimulating event. The importance of the Biennale is much greater than the sole criticizing of artistic works and abilities.The event brings together a variety of countries with extremely varying viewpoints and opinions to meet communally and peace fully. The Biennale during the presence of fascism and in attempting to be a useful tool of fascism held a much more substantial meaning than multiple countries coming together peacefully. It allowed for Italy to feel unified even if it was on the smallest cultural level of coming together for an art festival, and it also gave the Fascist party yet another opportunity to use propaganda towards the masses to their advantage.In 1932, Giuseppe Volpi was deemed the President of the Biennale and Mussolini was in his tenth year of his regime when, â€Å"a good number of prizes went to pictures of marching Blackshirts, dynamic cranes and planes, idealized Italian landscapes, and women and children saluting Il Duce. † Just prior to this particular Biennale of 1932, Volpi was an active member of the Fascist party, and was most recently the Minister of Finance for Mussolini and the Fascist party. Then again, in 1935 during the film festival aspect of the Biennale, prizes were awarded t o Nazi, Soviet, and Palestinian-Zionist films.Volpi’s ability and willingness to give awards to fascist based artwork, regardless of actual artistic value, was no coincidence. Marla Stone describes Fascist Italy as presenting a paradox with regards to the cultural politics of the authoritarian and totalitarian regimes that reigned in Europe in the time period between World War I and World War II. She states that since, â€Å"No one style, school, or monument summarizes the patronage practices of the Fascist state. Rather, the official culture of Italian Fascism is best defined by its diversities, contradictions, and ambiguities. The culture that was present during fascism closely mirrors the culture of the United States, but with different ingredients. The United States is considered a melting pot with all of the diversities that are represented in the country. Fascist Italy creates its own form of a melting pot, but not with an abundance of ethnic diversity. The â€Å"offi cial culture†, if there was a true â€Å"official culture†, of Fascist Italy was composed of the differences between the Italian people geographically, politically, hierarchically, socially, and of course culturally.Therefore terms that have become popular when speaking of Fascist culture such as â€Å"Fascist realism† and â€Å"Mussolini modern† are irrelevant and inconceivable. Since the beginning of Mussolini’s regime he had always strived to obtain and maintain a mutually beneficial relationship with those who encompass the art world. Under Mussolini’s dictatorship artist were free from censorship as long as they were not openly and actively anti-Fascist, and in return, as a sign of their gratitude, many artists and architects would accept the Fascist regime’s patronage.Certain artists who defied Mussolini’s regime would end up with repercussions. Such is the case with a Venetian abstract painter, Armando Pizzinato, who was an avid member of the Italian Communist Party, and from September 1943 until the end of the war he fought with the partisans and did jail time for certain anti-Fascist activities. However, Pizzinato represents a small portion of the artistic community that was anti-Fascist. The majority of artists cooperated with the Fascist regime, and â€Å"the association between aret and the state was one of mutual recognition and legitimation. Mussolini and his mutually beneficial policies with the art world began to create a more central form of cultural production. Marla Stone refers to the outcome of the newly centralized form of cultural production as a cultural policy of â€Å"aesthetic pluralism – the Mussolini dictatorship’s practice of accepting and supporting a range of aesthetics†. This now meant that there was a magnitude of â€Å"imageries and aesthetic formulations† that represented Fascism and â€Å"were a part of its cultural system, it imaginary and its aesthetic universe. The Fascist party was in a constant search to uncover a single Fascist rhetorical-aesthetic vision while at the same time combining â€Å"modern and avant-garde aesthetics, emerging mass cultural forms, and a discourse of natural culture to produce, during the 1930s, many dynamic and vibrant products. † The products such as exhibitions, fairs, and expositions, that the government produced and were heavily supported by the Fascist party, generated a considerable audience from the Italian population. More specifically speaking, the Biennale was a direct product of the cultural productivity that was being pursued by the Fascist party.Victoria De Grazia argues that the Fascist party was never able to obtain a singular aesthetic vision and identity due to its incapability to mobilize the masses, limits due to the party’s interests, and â€Å"†¦its appropriation of preexisting cultural forms and institutions, which precluded the formation of â €Å"total† Fascist identities†¦Ã¢â‚¬Å" The introduction of Exhibitions such as the Biennale were a key component in Fascism’s political aesthetic vision considering the primary goal was to encompass the cultural sphere of Fascist Italy. In doing so, the Fascist party was hoping to unify Italy under a national culture.Exhibitions had multiple purposes to them while aiming to obtain a unified national culture: â€Å"(1) they were primary sites of state patronage; (2) they opened the social boundaries of culture to the mobilized masses; (3) they offered a location for the appropriation of the cultural identities and cultural capital of preexisting elites; and (4) they courted the participation of cultural producers. † The Venetian Biennale and other similar Exhibitions were, for the most part, good for everyone that attended regardless of party affiliation, social status, or job title.World War I, World War II, and the fascism that accompanies them individuall y had a lasting impact on the country of Italy. Venice, in particular, was not prone to mass amounts of devastation as a consequence of the World Wars. The Fascist presence in Venice was very strong even though the actions of the majority of its supporters were minimal. This problem of mobilizing the masses was not just a problem of Fascism’s in Venice, but throughout Italy. The best attempt Fascism had at completely unifying a Fascist Italian culture was through its support of state patronage in the Exhibitions such as the Biennale in Venice.The political differences, ambiguities, and varying class rank made it virtually impossible to create a single Italian culture under Fascism. However, the ability of the Fascist party to participate in state patronage and allow aesthetic pluralism allowed artists to maintain their careers and not have to alter their stylistic ways. The Fascist party did not succeed in creating their own cultural identity under Fascism, but they did allow for a hybrid-like culture to develop. Fascism did many terrible things for the country of Italy, but allowing the aesthetic pluralism to flourish aided unifying the country under one culture.Lucky for Italians it did not create a unified Fascist culture, but rather a hybrid culture unified due to the intervention of Fascism and the varying differences among the Italian people. Bibliography Ackroyd, Peter. Venice: Pure City. New York: Nan A. Talese/Doubleday, 2009. Print. Garrett, Martin. Venice: A Cultural and Literary Companion. New York: Interlink, 2001. Print. Hibbert, Christopher. Venice: The Biography of a City. New York: W. W. Norton, 1989. Print. Reich, Jacqueline, and Piero Garofalo. Re-viewing Fascism: Italian Cinema, 1922-1943. Bloomington: Indiana UP, 2002. Print. Stone, Marla.The Patron State: Culture & Politics in Fascist Italy. Princeton, NJ: Princeton UP, 1998. Print. ————————————â₠¬â€Ã¢â‚¬â€Ã¢â‚¬â€œ [ 1 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 2 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 320 [ 3 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 4 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 5 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 6 ].Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 7 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 8 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 9 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 10 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 11 ]. Martin Garrett, Venice: A Cultural an d Literary Companion (New York: Interlink, 2001), 46 [ 12 ].Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 13 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 14 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 15 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 316 [ 16 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 17 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 18 ].Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 316-317 [ 19 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 20 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 21 ]. Christopher Hibbert, Venice: The Biography of a City (Ne w York: W. W. Norton, 1989), 317 [ 22 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 23 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 24 ].Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 25 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 26 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 317 [ 27 ]. Jacqueline Reich and Piero Garofalo, Re-viewing Fascism: Italian Cinema, 1922-1943 (Bloomington: Indiana UP, 2002), 294 [ 28 ]. Jacqueline Reich and Piero Garofalo, Re-viewing Fascism: Italian Cinema, 1922-1943 (Bloomington: Indiana UP, 2002), 294 [ 29 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 318 [ 30 ].Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 318 [ 31 ]. Christopher Hibbert, V enice: The Biography of a City (New York: W. W. Norton, 1989), 319 [ 32 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 319 [ 33 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 47 [ 34 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 35 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 36 ].Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 37 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 38 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 39 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 40 ]. Marla Stone, The Patron State: C ulture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 4 [ 41 ].Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 5 [ 42 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 6 [ 43 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 6 [ 44 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 14 [ 45 ]. Marla Stone, The Patron State: Culture and Politics in Fascist Italy (Princeton, NJ: Princeton UP, 1998), 18 Fascism in Venice Ryan Johnson December 13, 2012 HIST 3400 Soper Venetian Fascism in the Shadow of Wars The qualities that compose fascism are debatable and endless. What is really important about fascism is how it attempted to succeed by influencing not only Venetian, but also Italian culture and society from the beginning of World War I until the end of World War II. Benito Mussolini when speaking on fascism stated that, â€Å"†¦For Fascism, the growth of empire, that is to say the expansion of the nation, is essential manifestation of vitality, and its opposite a sign of decadence†¦Ã¢â‚¬  (Enciclopedia Italiana, Handout).The success with which fascism had in expanding the nation is an argument for another time, but the ways they attempted to maintain the â€Å"essential manifestation of vitality† and challenged the boundaries of cultural society in hopes of success are well worth mentioning. Fascism did not have many cultural victories and this could be one aspect of an argument as to why it was a failure. However, one of fascisms greatest â€Å"cultural victories† in Italy can be viewed when studying the floating city of Venice and events that accompanied it.Fascism, as a whole, attempted to conquer in more ways than just obtaining land by means of military victory or tangible items as tokens of their success. As stated above by Mussolini himself, if fascism was indeed to succeed, it needed to support the growth of the Italian nation. The Fascist Party needed to not only influence the Italian people through propaganda, but also gain the support of the Italian nation while challenging the cultural and societal boundaries.In the years between World War I and World War II, fascism made attempting strides to try and create an aesthetic visual for the party, mainly by intervening in society and culture. All moves made by the fascists with regards to culture appeared to be solely instrumental and functional to gaining one hundred percent support of the po pulation in favor of the dictatorship. The effects of World War I, World War II, and fascism can still be seen today in Venetian and Italian culture. World War I was a horrendous time for Italian soldiers fighting in the trenches.Venice was very close to the battle lines on the border with Austria-Hungary, just North of where they lie. Venetians could not only feel the constant threat from the Austrians, but also had a daily reminder when they stepped outside. Venice closed their port, for fear of attack, but they also had to deal with the fact that, â€Å"†¦barrage balloons could be seen†¦Ã¢â‚¬ . Barrage balloons had long steel cables attached to them and were mainly used to deter low-flying enemy aircraft from reaching or bombing an area.These defense balloons were used during World War I and II. For the short distance that Venice was from the battlefront they were fairly lucky in how little devastation took place during the war. During World War I Venice was always ex tremely nervous about their next-door neighbors, the Austrians, of attacking the maritime port, but the city never fell to enemy attack. There were very few bombing that occurred in Venice, and the deaths that did take place mainly happened during the â€Å"black-out† hours.These â€Å"black-out† hours would occur in hopes of minimizing the amount of light escaping outside. By doing this, the Venetians were making it very difficult for any sort of aerial attack to bomb their city, port, or boats off of visibility alone. These were the only significant negative effects even worth mentioning that occurred for the city of Venice during World War I. World War II was similar to World War I with regards to the significantly negative effects it had on the city of Venice, there were just about none.As opposed to the devastation that occurred throughout much of Italy, Venice got away pretty nicely. Yet again, the â€Å"blackout† hours when people would fall into the cana l or injure themselves in other ways in the dark were one of the primary contributors to the death toll. It has been stated that Venice remained essentially untouched throughout the duration of the Second World War. However the minute losses that did occur, with exception of Germans capturing Jews, can be summed up in a few sentences. One or two windows were broken; a stray shell hit the tower of San Nicolo del Mendicoli as the Germans were retrateing; and the Tiepolo friezes in the Palazzo Labia were damaged when an ammunition ship exploded in the harbour. † Although the people of Venice saw little to none of the intense fighting, they were not as lucky to maintain an unconquered status during World War II as they had in World War I. For Germany, September 1943 was the beginning of a fairly short control over northern and central Italy that included Venice.Although Germany occupied Venice until April 28, 1945, very few deaths occurred to the Venetian citizens while in the cit y. â€Å"In the city itself a campaign of sabotage was followed by reprisals in which five men were shot in Cannaregio on July 8, 1944; some thirty partisans were executed later that month, followed on August 3 by seven hostages in Riva dell’Impero, called subsequently, in their memory, Riva dei Sette Martiri. † The most extensive part of the death toll came to the Jewish population in Venice with the presence of the Germans in 1943.The Venetians had historically tolerated the Jewish population up until about 1938 with the enactment of new racial laws. After the racial laws, persecution got so bad for the Jewish population, that they were laid off from their job, and grotesque signs were placed on businesses stating â€Å"Dogs and Jews Prohibited†. It only got worse from there after the Germans arrived in 1943, and the open persecution, capture, and killing of Jews from 1943 to 1945 took place.It has been estimated that approximately two hundred Jews were hunted down and sent to concentration camps in the mainland, with some even being deported to Auschwitz. The Germans were so thorough in their cause to vaporize the Jewish population from the earth, they would even go to hospitals to retrieve mentally ill Jewish patients and send them to an early grave. It has been recorded that only eight of the two hundred Venetian Jews captured by the Germans were ever returned home again.The German’s vicious attempts to eliminate the Jewish population and the atrocities that ensued will never be forgotten. With that being said, Venice got out of not only World War I, but also World War II with an extremely minimal death count compared to the millions of lives that were lost as a consequence of the two wars. World War I and II both impacted Venice, but in a fairly nominal way when viewing the status of many other parts of Italy and the world. However, there were two very influential fascist characters that emerge as a product of World War I and are present throughout World War II.These two men are noteworthy fascist figures with one that called Venice a home for a period of his life and another that was a true Venetian. The first man, Gabriele D’Annunzio, assumed a position, as a fascist political figure in Venice, and he was well known even before fascism was created. D’Annunzio was not a native-born Venetian, but was fairly well known in Italy as a â€Å"poet, novelist, playwright, politician (right- and left-wing in rapid succession), and daring First World War pilot who led sorties against Vienna itself†.It was during World War I when D’Annunzio decided to establish his residence in Venice. When he was not contributing to the fighting he could be found at his home, that was located off of the Grand Canal, called Casetta delle Rose. D’Annunzio continues to have a presence in the fascist politics all the way until its eventual demise, but was most famous for his irredentist taking of Fi ume, which is now present-day Rijeka in Croatia. He was angry that Fiume was not ceded to Italy by the Austrians at the end of World War I with the signing of the peace Treaty of Saint-Germain.D’Annunzio ruled over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even â€Å"viewed D’Annunzio with a mixture of admiration and envy†¦Ã¢â‚¬  D’Annunzio was a fascist political figure that did not necessarily contribute much to the city of Venice as much as he was solely a constant reminder of the fascist presence. The second man that emerged from the outcome of World War I was an entrepreneurial man by the name of Giuseppe Volpi. Unlike D’Annunzio, Volpi was a native-born Venetian.He was born in Venice in 1877, and before he was thirty years old he had established the Societa Adriatica di Elettricita in the Palazzo Balbi on the Grand Canal, â€Å"which soon had a monopoly on the supply of electricity in the Veneto a nd Emilia-Romagna. † Along with his northeastern electricity monopoly, Volpi was constantly finding new ways to improve and advance Venetian industry. He would dabble in other industries that included petro-chemicals, iron, and shipping that significantly contributed to advancing Venetian industry, more specifically in Porto Marghera.Volpi’s success on top of his founding of Societa Adriatica di Elettricita was substantial; it has been recorded that he was a, â€Å"president or vice-president of twenty other companies, as a member of the boards of forty-six more, and as a major shareholder in over fifty. † During World War I Volpi was the head of a Committee for Industrial Mobilization where his project of turning the old Venetian fortress of Marghera into an industrial port and factory capable area. Volpi was quite successful in his project in Marghera.The area, prior to Volpi’s presence, only contained a thousand inhabitants in 1921. The growth of Marghe ra after Volpi’s intervening was exponential. â€Å"†¦Marghera had grown by 1940 to a town containing fifteen thousand workers in a hundred industries, and by 1967 to one of thirty-five thousand workers in 211 industries. † Volpi’s tremendous success as an entrepreneur and financial guru in northeast Italy, without fail, caught the attention of the Italian government. Volpi was awarded for his successes with the title and position as Governor of Tripoli.Soon after being deemed Governor, and already a standing member of the Fascist party, Volpi was put into office as Mussolini’s Minister of Finance in 1925. It has been stated that Volpi, â€Å"became one of the most successful administrators of the regime. † Three years after Volpi was positioned as Minister of Finance he resigned after disagreeing heavily with Mussolini on the â€Å"artificially high level at which the leader insisted on fixing the exchange rates, and never having become one of his close circle, he concentrated again on Venice and industry. Volpi was always a very influential fascist figure in Venice, but his greatest contribution to the success of the influence of the Fascist party and its cultural production came when he assumed the position as, â€Å"President of the reconstituted Esposizione Biennale Internazionale d’Arte in 1932. † This Exhibition, more commonly known as the Biennale, originated as nothing more than an Exhibition with strange occurrences such as a man’s face that was stuck in rigor mortis known as Supremo Convegno.In 1934, the Fascist government declared the once bi-annual event was to start taking place annually. The success of the Biennale was consistently growing after it was introduced as an annual event. In 1934, there were 41,000 people that showed up, in 1935, 38,500 people, in 1936, 50,000 attended, and in 1937, there was a staggering 60,000 participants. The Biennale by the year 1948 was considered to be one of the most important events in the entire world of art, and the Exhibition got to that point with the help of Giuseppe Volpi as he active President for twelve years. The international respect and publicity the Biennale gained each year was consistently growing. Countries would set up pavilions at the Biennale and present among them even during the Biennale’s early stages were Belgium, Britain, Germany, Hungary, France, Russia, Sweden, Spain, Czechoslovakia, and the United States. Even though the Biennale is an Exhibition where artwork is displayed, it has a sense of friendly competition between countries for who can produce some of the best artwork.During one Biennale exhibition there were not only paintings by nearly all of the best Italian artists under Italy’s pavilion, but also works â€Å"by Picasso and Klee, by Chagall and Kokoschka. The French staged exhibitions by Braque, Rouault, and Maillol, the Belgians by Delvaux and Ensor, the British by Henry Moo re. † The participation of artists as prestigious as these helped in securing the validity and existence of the Biennale as a true appreciation for art. There was even an exhibition for Impressionist artist and that same year there were ninety-eight Impressionist pieces of art.The Biennale was an exhibition that appears to be more of a friendly competition and get together between major countries of the world. All of the countries that have previously been at one another’s throats in prior wars all come together to participate in the Biennale that takes places in Venice, Italy. The Biennale brings together a magnitude of countries, despite their differences, and allows them to partake in a mutually pleasing and intellectually stimulating event. The importance of the Biennale is much greater than the sole criticizing of artistic works and abilities.The event brings together a variety of countries with extremely varying viewpoints and opinions to meet communally and peace fully. The Biennale during the presence of fascism and in attempting to be a useful tool of fascism held a much more substantial meaning than multiple countries coming together peacefully. It allowed for Italy to feel unified even if it was on the smallest cultural level of coming together for an art festival, and it also gave the Fascist party yet another opportunity to use propaganda towards the masses to their advantage.In 1932, Giuseppe Volpi was deemed the President of the Biennale and Mussolini was in his tenth year of his regime when, â€Å"a good number of prizes went to pictures of marching Blackshirts, dynamic cranes and planes, idealized Italian landscapes, and women and children saluting Il Duce. † Just prior to this particular Biennale of 1932, Volpi was an active member of the Fascist party, and was most recently the Minister of Finance for Mussolini and the Fascist party. Then again, in 1935 during the film festival aspect of the Biennale, prizes were awarded t o Nazi, Soviet, and Palestinian-Zionist films.Volpi’s ability and willingness to give awards to fascist based artwork, regardless of actual artistic value, was no coincidence. Marla Stone describes Fascist Italy as presenting a paradox with regards to the cultural politics of the authoritarian and totalitarian regimes that reigned in Europe in the time period between World War I and World War II. She states that since, â€Å"No one style, school, or monument summarizes the patronage practices of the Fascist state. Rather, the official culture of Italian Fascism is best defined by its diversities, contradictions, and ambiguities. The culture that was present during fascism closely mirrors the culture of the United States, but with different ingredients. The United States is considered a melting pot with all of the diversities that are represented in the country. Fascist Italy creates its own form of a melting pot, but not with an abundance of ethnic diversity. The â€Å"offi cial culture†, if there was a true â€Å"official culture†, of Fascist Italy was composed of the differences between the Italian people geographically, politically, hierarchically, socially, and of course culturally.Therefore terms that have become popular when speaking of Fascist culture such as â€Å"Fascist realism† and â€Å"Mussolini modern† are irrelevant and inconceivable. Since the beginning of Mussolini’s regime he had always strived to obtain and maintain a mutually beneficial relationship with those who encompass the art world. Under Mussolini’s dictatorship artist were free from censorship as long as they were not openly and actively anti-Fascist, and in return, as a sign of their gratitude, many artists and architects would accept the Fascist regime’s patronage.Certain artists who defied Mussolini’s regime would end up with repercussions. Such is the case with a Venetian abstract painter, Armando Pizzinato, who was an avid member of the Italian Communist Party, and from September 1943 until the end of the war he fought with the partisans and did jail time for certain anti-Fascist activities. However, Pizzinato represents a small portion of the artistic community that was anti-Fascist. The majority of artists cooperated with the Fascist regime, and â€Å"the association between aret and the state was one of mutual recognition and legitimation. Mussolini and his mutually beneficial policies with the art world began to create a more central form of cultural production. Marla Stone refers to the outcome of the newly centralized form of cultural production as a cultural policy of â€Å"aesthetic pluralism – the Mussolini dictatorship’s practice of accepting and supporting a range of aesthetics†. This now meant that there was a magnitude of â€Å"imageries and aesthetic formulations† that represented Fascism and â€Å"were a part of its cultural system, it imaginary and its aesthetic universe. The Fascist party was in a constant search to uncover a single Fascist rhetorical-aesthetic vision while at the same time combining â€Å"modern and avant-garde aesthetics, emerging mass cultural forms, and a discourse of natural culture to produce, during the 1930s, many dynamic and vibrant products. † The products such as exhibitions, fairs, and expositions, that the government produced and were heavily supported by the Fascist party, generated a considerable audience from the Italian population. More specifically speaking, the Biennale was a direct product of the cultural productivity that was being pursued by the Fascist party.Victoria De Grazia argues that the Fascist party was never able to obtain a singular aesthetic vision and identity due to its incapability to mobilize the masses, limits due to the party’s interests, and â€Å"†¦its appropriation of preexisting cultural forms and institutions, which precluded the formation of â €Å"total† Fascist identities†¦Ã¢â‚¬Å" The introduction of Exhibitions such as the Biennale were a key component in Fascism’s political aesthetic vision considering the primary goal was to encompass the cultural sphere of Fascist Italy. In doing so, the Fascist party was hoping to unify Italy under a national culture.Exhibitions had multiple purposes to them while aiming to obtain a unified national culture: â€Å"(1) they were primary sites of state patronage; (2) they opened the social boundaries of culture to the mobilized masses; (3) they offered a location for the appropriation of the cultural identities and cultural capital of preexisting elites; and (4) they courted the participation of cultural producers. † The Venetian Biennale and other similar Exhibitions were, for the most part, good for everyone that attended regardless of party affiliation, social status, or job title.World War I, World War II, and the fascism that accompanies them individuall y had a lasting impact on the country of Italy. Venice, in particular, was not prone to mass amounts of devastation as a consequence of the World Wars. The Fascist presence in Venice was very strong even though the actions of the majority of its supporters were minimal. This problem of mobilizing the masses was not just a problem of Fascism’s in Venice, but throughout Italy. The best attempt Fascism had at completely unifying a Fascist Italian culture was through its support of state patronage in the Exhibitions such as the Biennale in Venice.The political differences, ambiguities, and varying class rank made it virtually impossible to create a single Italian culture under Fascism. However, the ability of the Fascist party to participate in state patronage and allow aesthetic pluralism allowed artists to maintain their careers and not have to alter their stylistic ways. The Fascist party did not succeed in creating their own cultural identity under Fascism, but they did allow for a hybrid-like culture to develop. Fascism did many terrible things for the country of Italy, but allowing the aesthetic pluralism to flourish aided unifying the country under one culture.Lucky for Italians it did not create a unified Fascist culture, but rather a hybrid culture unified due to the intervention of Fascism and the varying differences among the Italian people. Bibliography Ackroyd, Peter. Venice: Pure City. New York: Nan A. Talese/Doubleday, 2009. Print. Garrett, Martin. Venice: A Cultural and Literary Companion. New York: Interlink, 2001. Print. Hibbert, Christopher. Venice: The Biography of a City. New York: W. W. Norton, 1989. Print. Reich, Jacqueline, and Piero Garofalo. Re-viewing Fascism: Italian Cinema, 1922-1943. Bloomington: Indiana UP, 2002. Print. Stone, Marla.The Patron State: Culture & Politics in Fascist Italy. Princeton, NJ: Princeton UP, 1998. Print. ————————————â₠¬â€Ã¢â‚¬â€Ã¢â‚¬â€œ [ 1 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 2 ]. Christopher Hibbert, Venice: The Biography of a City (New York: W. W. Norton, 1989), 320 [ 3 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 4 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 48 [ 5 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 6 ].Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 7 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 8 ]. Peter Ackroyd, Venice: Pure City (New York: Nan A. Talese/Doubleday, 2009), 324 [ 9 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 144 [ 10 ]. Martin Garrett, Venice: A Cultural and Literary Companion (New York: Interlink, 2001), 46 [ 11 ]. 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