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.

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. 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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 ]. 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

What Is Entropy and How to Calculate It

Entropy is defined  as  the quantitative measure of disorder or randomness in a system. The concept comes out of thermodynamics, which deals with the transfer of heat energy within a system. Instead of talking about some form of absolute entropy, physicists generally discuss the change in entropy that takes place in a specific thermodynamic process. Key Takeaways: Calculating Entropy Entropy is a measure of probability and the molecular disorder of a macroscopic system.If each configuration is equally probable, then the entropy is the natural logarithm of the number of configurations, multiplied by Boltzmanns constant: S kB  ln WFor entropy to decrease, you must transfer energy from somewhere outside the system. How to Calculate Entropy In an isothermal process, the change in entropy (delta-S) is the change in heat (Q) divided by the absolute temperature (T): delta-S  Ã‚  Q/T In any reversible thermodynamic process, it can be represented in calculus as the integral from a processs initial state to its  final state of dQ/T. In a more general sense, entropy is a measure of probability and the molecular disorder of a macroscopic system. In a system that can be described by variables, those variables may assume a certain number of configurations. If each configuration is equally probable, then the entropy is the natural logarithm of the number of configurations, multiplied by Boltzmanns constant: S kB  ln W where S is entropy, kB is Boltzmanns constant, ln is the natural logarithm, and W represents the number of possible states. Boltzmanns constant is  equal to 1.38065 Ãâ€" 10−23  J/K. Units of Entropy Entropy is considered to be an extensive property of matter that is  expressed in terms of energy divided by temperature. The SI units of entropy are J/K (joules/degrees Kelvin). Entropy and the Second Law of Thermodynamics One way of stating the second law of thermodynamics is as follows: in any  closed system, the entropy of the system will either remain constant or increase. You can view this as follows: adding heat to a system causes the molecules and atoms to speed up. It may be possible (though tricky) to reverse the process in a closed system without drawing any energy from or releasing energy somewhere else to reach the initial state. You can never get the entire system less energetic than when it started. The energy doesnt have any place to go. For irreversible processes, the combined entropy of the system and its environment always increases. Misconceptions About Entropy This view of the second law of thermodynamics is very popular, and it has been misused. Some argue that the second law of thermodynamics means that a system can never become more orderly. This is untrue. It just means that to become more orderly (for entropy to decrease), you must transfer energy from somewhere outside the system, such as when a pregnant woman draws energy from food to cause the fertilized egg to form into a baby. This is completely in line with the second laws provisions. Entropy is also known as disorder, chaos, and randomness, though all three synonyms are imprecise. Absolute Entropy A related term is absolute entropy, which is denoted by S rather than ΔS. Absolute entropy is defined according to the third law of thermodynamics. Here a constant is applied that makes it so that the entropy at absolute zero is defined to be zero.

The Therapeutic Process Of The Bowens Transgenerational...

Treatment No matter the nature of the presenting problem, the therapeutic process in the Bowen’s transgenerational model is governed by two main goals: management of anxiety and relief from symptoms, and an increase in each participant’s level of differentiation (Kerr Bowen as cited in Goldenberg Goldenberg, 2013, p. 227). The treatment for a person with SPD, using Bowenian approach, consists of decreasing anxiety and increasing levels of differentiation in the individual and the family system. In order to achieve both treatment goals, Bowen preferred to be a coach. According to Goldenberg and Goldenberg (2013), Bowen presented himself as a researcher helping individuals becoming objective researchers of their own ways of†¦show more content†¦Because Bowen believed in the relevance of multigenerational healing, he created the Genogram (p. 225). A Genogram is a therapeutic tool that can be used to graphically identify the family system of an individual and the various generational influences that the individual has. Cognitive-Behavioral Therapy (CBT) The CBT model is based on the theory that an event occurs (the situation), then people assign it a meaning (the interpretation), leading to an emotional, behavioral or physiological change (the reaction) (Ledley, Marx Heimberg, 2010, p. 12). CBT approach believes that people assign meaning to their events, and then the assigned meaning impacts people’s behavior. In this section, it will be analyzed the etiology and treatment of SPD based on the CBT approach. Etiology CBT sees psychopathology as a cause of a triggering event and a maladaptive meaning assignation of the event (Ledley, Marx and Heimberg, 2010, p. 12). When an event occurs and people assign maladaptive meanings to the event, it can lead to the development of a psychological disorder. CBT believes that the way people perceive the world in large affects the way they behave, feel and understand life situations (Schaefer, 2011, p. 313). The perceptions or thoughts that people have a bout others and their environments influence them behaviorally, emotionally, and psychologically.

Social Impacts Of School Uniforms - 1550 Words

School uniforms may seem like a thing of the past for many, but they are slowly becoming more used as time goes on. They have been found to improve the lives of students, parents, and teachers. Surprisingly, the people most against uniforms are parents; they worry about their children’s individuality and rights. For many parents, it is a struggle to pay for brand new uniform attire. In a recent case, Major Libby Blair found herself having trouble paying for each garment. She founded Libby’s Closet, which sells uniforms for much cheaper prices. This allows many to be able to afford these uniforms. According to Honaker, who interviewed Blair, â€Å"So far, 200-300 families have benefited from it [(lower-priced uniforms)]† (Andrea). These types of†¦show more content†¦If uniforms were implemented, than this feeling could transfer to the entire school instead of just a small group. Uniforms make students feel more unified by making them feel as though they b elong to a larger whole, in this case a school, as well as level the playing field by making their students wear uniforms. This allows the less fortunate to feel more at ease. Uniforms affect students mentally. Uniforms decrease bullying which can help students feel more inclined to go to school. Bullying is a big problem in many schools. Students can find any and every difference in another person, uniforms would eliminate many of these. Uniforms allow students to not be bullied for the things they are wearing. 64% of school leaders said uniforms reduce bullying and 86% of school leaders said uniforms make a significant, positive impact on peer pressure, from a survey by uniform manufacturer, Land’s End, the National Association of Elementary School Principals (NAESP) in 2013 (School Uniforms-Procon). Many of these bullies do not only use words but also violence. â€Å"The results in column (2) suggest that girls†¦ in middle and high school girls are 1.2 percentage points less likely to leave† (Gentile and Iberman 21). This could be due to less bullying going on in these schools. Many children, especially girls do not want to attend sc hool if there is someone who is bullying them. This can leadShow MoreRelatedPersuasive Essay On School Uniforms1671 Words   |  7 Pages Hari Mainali South University School Uniform â€Æ' Abstract Freedom of dress is violated by restricting on school uniform. A school and university have their own dress code which does not require a particular dress. Some researcher and scholar suggest misbehavior in the student are the result of banning uniform. But misbehavior is what they acquired in their life. Banning uniform, student can exercise their right to express themselves freely. Student will be able to focus on education and saveRead MoreSchool Uniforms, Good Or Bad? Essay1740 Words   |  7 Pagesparents who don’t agree with school uniforms. They will immediately reject them because to them these uniforms restrict the student s’ freedom of expression. After picking this topic. I wanted to take the negative of it because I want to freely choose the clothes that I want to wear. I didn’t want someone to choose the clothes that I’m going to wear. After, a while of researching this topic, I decided to take the positive side of school uniforms. In fact, these uniforms will help students become moreRead MoreWhy Uniforms Should Be Mandatory Uniforms927 Words   |  4 PagesWhy Uniforms? The uniform makes for brotherhood, since when universally adopted it covers up all differences of class and country (Robert Baden-Powell). In today’s society school uniforms still remain a controversial issue in the nation’s schools. Proponents of school uniforms states that uniforms can reduce common probes such as fighting and allows administrations to identify non-student body personal. According to At Issue: those opposed to mandatory uniforms say uniforms infringe upon students’Read MoreDress Yourself By Choice Not By Force876 Words   |  4 Pagessociety, and the policies schools implement have lasting implications beyond the classroom. With all of the constant issues that school districts regularly have to address , the topic of school uniforms often falls to the wayside. However, research indicates that the adoption of school uniforms has an immense impact on student behavior and attitudes. In 2014, at Duncanville High School in Texas, one hundred and seventy teenagers were suspended for refusing to wear school uniforms (Golgowski 2104). ThisRead MoreChanging Bullying : The Utilization Of School Uniforms1458 Words   |  6 PagesUtilization of School Uniforms is Changing Bullying (Rough Draft) Christina E. Oliver ENG 122: English Composition II Instructor: Angel Vasquez January 12, 2015 Changing Bullying: The Utilization of School Uniforms is Changing Bullying One of the most important things, which we have to do as an adult or parent, is to help educate our young people. We must begin to inspect our effectiveness, to provide a sound education, for every age and aspect of human beings; within our schools. OurRead MoreThe Debate over the Implementation of School Uniform Policies in our Schools:743 Words   |  3 Pageshave been many debates over the implementation of school uniform policies in our schools. Opinions are formed about the appearance of uniforms powerful effects on the way in which a student should dress. This significant role of attire relates to how students could relay a message to themselves and others. In addition, uniforms are one of the most serious administrative concerns in our public school system. I strongly favor the fact that school uniforms are perfect because they assist in helping studentsRead MorePros And Cons Of School Uniform Essay834 Words   |  4 PagesAre School Uniforms a Good or Bad Idea? School uniforms has been the cause of debate for many years now. Most students like to wear school uniforms because they believe uniforms make schools (â€Å"safer for students†) and create â€Å"level playing fields† where every student has equal opportunity to succeed and they all apply the same set of rules. However, students and even most parents don’t agree with the enforcement with school uniforms; stating that uniforms take away the right of (â€Å"self-expression†)Read MoreEssay about Toms848 Words   |  4 PagesCorporate Social Responsibility of TOMS Shoes BUS 311 Ethical Management May 20, 2013 Toms Shoes Corporate social responsibility is defined as actions of an organization that are targeted toward achieving a social benefit over and above maximizing profits for its shareholders and meeting all its legal obligations (Ghillyer, 2012). The for-profit company, TOMS Shoes, takes social responsibility seriously starting with their central goal: We can create a better tomorrow by takingRead MoreSchool Uniforms Should Be Implemented Throughout K 12 Public Schools1258 Words   |  6 PagesBobby Mishra Mrs. Bezemek Apps of Comp 24 November 2014 School Uniforms According to a study done by the National Association of Elementary School Principals (NAESP) said that the popularity of school uniforms are clearly on the rise. Now more schools have uniforms rising from 28 percent to 49 percent in thirteen years (Tucker). School uniforms can help improve behavior leading to safer schools and safer communities. School uniforms can also lead to an increase in academic behavior leading to betterRead MoreSchool Uniforms And Its Effects On People And Their Behavior1537 Words   |  7 Pageslarger impact on people and their behavior than most people would like to consider. What students choose to wear to school every single day impacts their lives more than most realize for example, in school. What students choose to wear to school can affect how well they are able to participate and focus on their studies. The clothing that students choose to put on their backs affects their self-esteem, what class level their classmates perceive them as, and their be havior. Implementing a school uniforms

Anonymous Hacker Book Report Free Essays

Allow me to explain. Not that long ago there was a shooting in Sandy Hook Elementary school. It was a tragedy across the board that most of us felt. We will write a custom essay sample on Anonymous Hacker Book Report or any similar topic only for you Order Now While the Anon portions of the internet (Achaean, Reedit, etc) teemed with inappropriate Jokes and disgusting humor, there was an underlining sense of outrage that could be felt in the far corners of the deep net. This didn’t come to full bloom until the Westbrook Baptist Church stepped in with their plans to protest the funerals of the dead children of Sainthood. Immediately the same people who would post â€Å"dead kid mess† were striking out urbanely and quite harshly against the audacity of someone to tarnish the memory of kids In real life. That’s what a lot of people don’t understand about Anon and the 100 different sec groups out there trolling â€Å"newfangled† and â€Å"morals†. The net is a different world inside. Anon and everyone else do not see it as an extension of real life unless it’s to make an impact. These are the same personality types that love tagging things with spray paint. It’s all for laughs, until however it gets serious. Westbrook Baptist Church (WEB from now on) struck a moral nerve with Anon and the est. of the hastiest community. Commander X came out of retirement, Jester (whose admittedly against Anion’s actions usually, came out in support and offered services. ) Whether It was setting up VPN for everyone to run Dodos off of or setting up old school pranks Like pizza wars or blacking out (faxing black pieces of paper to run out Ink) It went Like wildfire. It was one of the first times I’ve ever seen all the factions come together. What amazed me however was the interactive real life protests that went down. Anonymous called for actions and the net responded in kind. Ass of people took to the streets from Anon to protest the WEB. With them members of the Hells Angels and even former military and off duty police stood in solidarity against them. What was amazing was the fact that this translated from online IIRC to real time real life protest. People broadcasted the whereabouts of the WEB van and flooded any hotel with calls, faxes and emails who dare take them in. This was then broadcasted again on Stream so the world could see Just how powerful the Internet could be. The biggest thing was Black Lotus. A service that provided hardcore Dodos protection for invalids. This service costs a lot of money to employ and only those most fearful of an attack will get In touch wit Black Lotus. However that week they were held over a barrel. Instead of going Dodos was not an option really, what was however was the â€Å"dioxin† of the employees. Dog were accumulated in a massive pastiest that went around the net. Everyone who was poised went online and did their research. This yielded some insane results. Everything from the Coo’s address and phone number and social security number were captured. After a bunch of threats and back and forth with YANG (Your Anonymous News) twitter account and Jackal (one of the few respected enough to lead a proper â€Å"Pop†) the company employing Black Lotus protection gave up. Instead of being dosed, they gave all the money they got from WEB to the Sandy Hook Victims fund on top of a generous donation of k. We Are Anonymous is a good book about a few isolated incidents. I don’t however find it to be indicative of what Anon is about or the other sec that work within the hastiest community. Yes we did it for the lulls, but there was a sense of â€Å"moral† to all of us. How to cite Anonymous Hacker Book Report, Papers

Hotel Operations Business Implementing Proposals

Question: Describe about the Hotel Operations for Business Implementing Proposals. Answer: Introduction: Hotels around the world are implementing proposals which are cost effective in nature for lessening their impact on the environment. According to Nicholls and Kang 2012, achieving pertinent and practical targets in areas concerning environmental factors needs proper investment of time and resources in planning, organizing, and offering training and following up in accordance to the requirement. Success in such maters does not come easy and one needs to start from the scratch to put things in order. The first part in such situations should always be to know the starting point and find out the amount of water currently in use. This report will take into account certain environment friendly measures that can be implemented for the Sydney based G Hotel Group in matters related to water consumption. Integration of effective green practices into the daily operations of Geo Hotel: As stated earlier, in everything that one does, the starting point is important along with knowing the current status of such a thing. Before getting started with recommending the measures that will take care of the water consumption in the hotel, it is important to check how much water is getting used in the current scenario through installation of meters and regular readings. The sub meters will help the hotel management to understand the areas where water is being used the most. Cost is another factor that needs to be taken into consideration, and areas need to be identified where the potential cost can be saved related to water consumption. The ground plan needs to be structured regarding costs and environmental saving measures for the water management plan (Jeong et al. 2014). A proper plan and execution of the same would help in bringing in a lot of key stakeholders, thus improving the hotels overall efficiency. The percentage of the worlds fresh water stands at 1%, so a lot of work needs to be done in preserving water with careful consumption. There should be a proper plan that needs to be followed in establishing a water conservation plan. -A water audit should be carried out where major costs related to water should be mentioned along with where savings can be made. -Proper checking needs to be done whether government loans are available for investment purposes in water reduction schemes and new technology. -All the employees of the hotel should be clearly informed about the managements pledge towards water reduction along with the objectives and goals -Staffs should be provided proper training in understanding the need of sensible use of water and maintaining optimal energy-efficiency. Their suggestions on the same matter is also important -Establishing a monitoring and targeting system for regular reports back to stakeholders and staffs Negative Impacts on the environment caused by Hotels operational activities: Reports and survey suggests that hotels do not have a major negative impact on the environment, but in a collective way they consume larger amount of resources which sometimes proves to be wasteful. The waste is in terms of resources which results in needless operational costs. Water is required for survival purposes which include cooking, drinking and cleansing. Tourists who visits hotel this days, have certain perceptions about the hotel environment like landscape gardens, golf courses and swimming pools. Water is also essential for agricultural purposes which in turn support the tourism industry. Generally, tourists demand more water than the local residents residing in the surrounding areas of the hotel. Survey reports suggest that around 100 luxury hotel guests would consume the same level of water in two months which the 100 local agricultural farmers would use for irrigational purposes in three years. The difference is huge, so proper measures are to be focused on to control the water consumption in the best possible way. A hotel comprises of different departments, so the focus should be on the areas where the consumption of water is likely to be the highest. Every plan implemented to save water needs to go through proper conducted tests so that none of the planned and implemented measures compromise with the quality, health and safety issue as the guests should not complain about such measures (Barber 2014). Restroom and Lavatory: - Installation of duel flush toilets can be beneficial where guests can go for a shorter flush (Chan et al, 2014). Changing everything at one go is never possible, so the hotel management can opt for placing a full water bottle in the cistern in order to reduce the water used in a single flush (Shieh, Hu and Sheu 2012). -Installation of water sense labeled showerheads, faucets, and flushing urinals have become important. Certain reports do suggest that these products are 20% more water-efficient than the standard ones (Robin, C.F., Pedroche and Astorga 2016). -The flow of the shower should be not more than 10 liters/min. A bucket and stopwatch can be used to measure such a process. -There should not be any leakage in the washroom; proper maintenance is required in saving water consumption. It has been reported that a leaking toilet generally loses around 750 liters of water a day. -The washrooms attached to hotel lobby and restaurants should have atleast four in hand washing sinks. There should either be flow restrictions or aerators to help reduce the tap flow. This is a short term goal, where investment is to be made at a time on the aerators and water sensor showerheads. However, monitoring and maintenance is required for a longer period of time. Laundry: -As this report is for a 4 star hotel, with around 400 rooms, installing a continuous batch washer (CBW) can be of great help, where rinse water is used for main suds operation and pre-washing facilities. -The rinse cycle needs to be minimized without hampering the quality. -The water flow rates on tunnel washers and CBWs are to be adjusted as per the manufacturers setting recommendation. -Hotels do use a lot of washing machines, whose purchase should be based on good water consumption rating. -The hotel laundry should be best served with ozone laundry systems. In this process the ozone gets injected into water, which forms a union with the laundry chemicals to offer an efficient wash. Swimming Pool: Installation of a swimming pool in a large hotel increases the consumption of fresh water by around 10%, which gives rise to the question of how important a swimming pool is to a hotel. It is, as tourists like chilling out in a swimming pool, especially if it is in Sydney (Barber and Deale 2014). -Regular maintenance to avert any sort of leakages. The best way to check this is by taking water readings the previous night as the last thing and the next morning as the first. -The swimming pool should be backwashed in every two or three days. A backwash system should be installed for recapturing the water and using it for irrigational purposes. Housekeeping: -The housekeeping staff should be given proper training on how they can reduce the use of water. They should be taught certain procedures like the number of times they need to flush the toilet while cleaning, the taps should not be kept open and the staff should be using hose while cleaning floors (Gssling 2015). -A linen reuse program should be put into use where guests should be allowed to select whether they want or not the regular change of their linen. This is a long term goal where the staffs should be given training at certain times to understand the policies of the organization are water consumption process. Kitchens: -I would like to suggest the hotels to go for Energy Star qualified models for products like ice machines, dishwashers and steam cookers. The usage of energy and water gets reduced by around 10% in using these models by reprocessing water throughout cycles. -Efficient pre-rinse spray valves, combination ovens and steam cookers should be put into use which uses relatively less water. -Equipments that are in the habit of discharging water on a continuous basis should be replaced. Users should also be educated on proper dishware prep and loading techniques to diminish the amount of water used. Landscape Watering: -Water-smart landscapes are to be designed which can reduce water needed for irrigational purposes. -A WaterSense labeled program is to be audited by hiring a certified professional to develop the efficiency in irrigation. -WaterSense labeled irrigation controllers should be put into use in order to cut down on loss of water from evaporation and wind. Short-term, Mid-term and Long-term goals: Every process that needs to be implemented should be for long term purposes which require continuous maintenance. The short term goals include company investing in washing machines, steam cookers and ice machines for water saving purposes. Each department in the hotel is responsible for water conservation. Like the beverage department where pioneering procedures are to be applied such as natura water that purifies the water of the tap along with adding carbonation as per the requirement. The Engineering department is responsible for allocating sustainable products and solution. Moreover, Energy Star appliances are being used to reduce water consumption. Advantages of the Hotel going green: -A label of a green hotel is best for business. Educating employees is necessary along with the guests who can help in protection of environment during their stay at the hotel. Big hotels going green or implementing environment friendly measures are seen as good neighbors rather than a large corporation (Baker, Davis and Weaver 2013). -A Brand value that is unique in nature. Environmental friendly hotels have their own demand and people in recent times opt for such a place to enjoy their holiday. -Marketing opportunities becomes more as the hotel will then able to attract a different segment of the travelling population. -Hotels practicing green measures can charge premium rates from their clients. Consumers are ready to pay premium price for such organic measures which are healthier and better for environment (Kang et al. 2012). Travelers are showing more interest in such kinds of hotels. Disadvantages: -Customer Backlash is common if a hotel makes false claims of being environmental friendly. Greenwashing is not the right way, the hotel may suffer - Switching to environmental friendliness products can often lead to costlier products or expensive products like energy saving cookers, water saving washing machines. -The conversion cost of switching to green or environment friendly products is quite high. At the initial level it needs a lot of investment to set things right Both the Board of Directors and the Stakeholder should have proper information regarding all this. They should take into account all the probable implications that these measures can bring about after implementation of such environment friendly activities (Hays and Ozretic-Doen 2014). Only then a successful environmental friendly hotel can be put up for tourists around the globe. Conclusion: As stated in the report the water consumption needs to be done properly, because the amount of fresh water is very less. Hotels do attract a lot of tourists each day where there is a possibility of water getting wasted. Proper measures can work wonders for not only the hotel, but also for irrigational purposes around the hotel premises. The 4 star Geo Hotel is coming up at a place where urban development is in progress. So water is necessary there too. So the measures as described in the report are being implemented will be of immense help to the renewal work of such a project of urban development too. Reference: Baker, M.A., Davis, E.A. and Weaver, P.A., 2013. Eco-friendly attitudes, barriers to participation, and differences in behavior at green hotels.Cornell Hospitality Quarterly, p.193896551350448 Barber, N.A. and Deale, C., 2014. Tapping mindfulness to shape hotel guests sustainable behavior.Cornell Hospitality Quarterly,55(1), pp.100-114. Barber, N.A., 2014. Profiling the Potential Green Hotel Guest Who Are They and What Do They Want?.Journal of Hospitality Tourism Research,38(3), pp.361-387. Chan, E.S., Hon, A.H., Chan, W. and Okumus, F., 2014. What drives employees intentions to implement green practices in hotels? The role of knowledge, awareness, concern and ecological behaviour.International Journal of Hospitality Management,40, pp.20-28. Gssling, S., 2015. New performance indicators for water management in tourism.Tourism Management,46, pp.233-244. Hays, D. and Ozretic-Doen, ?., 2014. Greening hotels-building green values into hotel services.Tourism and Hospitality Management,20(1), pp.85-102. Jeong, E., Jang, S.S., Day, J. and Ha, S., 2014. The impact of eco-friendly practices on green image and customer attitudes: An investigation in a caf setting.International Journal of Hospitality Management,41, pp.10-20. Kang, K.H., Stein, L., Heo, C.Y. and Lee, S., 2012. Consumers willingness to pay for green initiatives of the hotel industry.International Journal of Hospitality Management,31(2), pp.564-572. Kasim, A., Gursoy, D., Okumus, F. and Wong, A., 2014. The importance of water management in hotels: a framework for sustainability through innovation.Journal of Sustainable Tourism,22(7), pp.1090-1107. Nicholls, S. and Kang, S., 2012. Going green: the adoption of environmental initiatives in Michigan's lodging sector.Journal of Sustainable Tourism,20(7), pp.953-974. Robin, C.F., Pedroche, M.S.C. and Astorga, P.S., 2016. Revisiting green practices in the hotel industry: A comparison between mature and emerging destinations.Journal of Cleaner Production. Shieh, H.S., Hu, J.L. and Sheu, H.J., 2012. GOING GREEN: DEVELOPING A CONCEPTUAL FRAMEWORK FOR THE GREEN HOTEL RATING SYSTEM.Actual Problems of Economics/Aktual'ni Problemi Ekonomki,134(8).