Joseph Cornell Box

Sample details Pages: 34 Words: 10138 Downloads: 7 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Introduction My dissertation explores the power of engagement exerted on the viewer by the boxed constructions of Joseph Cornell. These boxes have fascinated me for many years, giving me an irresistible urge to satisfy my curiosity. I feel compelled to respond to the invitation to look into each boxed frame, and I am lured into the world within Cornells boxes. Don’t waste time! Our writers will create an original "Joseph Cornell Box | Arts Dissertation" essay for you Create order When I look into a Cornell box it is like seeing things again, but for the first time. I am forced to interact, to reassess what I see, yet I do so willingly. The lure feels like magic. I have chosen this subject for my dissertation because I am intent on discovering where the power in Cornells boxes originates. Two basic questions arise about the power of curiosity that Cornells boxes evoke in the viewer: does the power come from the box, the device that Cornell used, or does the power come from what is in the box? What part does the viewer play in the equation? These are the main questions in my mind as I begin this study. I am also curious to discover other artists who have used the device of the box to contain their work, as I myself have done, and so I will look at a selection of other artists who frame their work in a box, Betye Saar, Mariko Kusumoto, and Joseph Bennett. I will compare the motivation and intention of these artists, and look at the nature of the message that their work delivers. By looking at the work of these artists in comparison with the work of Joseph Cornell, I hope to find answers to my questions. I will explore these issues in five chapters. In order to find out more about the power that comes from Cornells boxes, I believe that it is essential to look closely at the mind behind the work. The first chapter will look at Cornells formative years, and I will offer my view of the gradual coming together of seven particular circumstances in his life. The next will consider the effect of these special circumstances on Cornells work, seeking to identify the layers of meaning that Cornell displays in his boxes. I will look at the power of the box as a containing device in chapter three, and will consider the effects that it creates. The fourth chapter will look at three other artists who have used the box as a device for containing their work. I will identify the intentions, the motivation, the content, and the message of these artists. My concluding chapter will draw together all the main threads of the enquiry, and will present the results. All questions will be answered, and I will summarise the findings. I have drawn my research from a variety of sources, electronic as well as published, from interviews, CD and DVDs, from my visits to galleries and exhibitions, and from correspondence. Chapter 1: The Mind behind the Boxed Constructions: Seven Phases. This chapter sets the foundation for understanding more about the power that comes from Cornells boxes. In order to discover the mind behind the work, I will examine the significant aspects of Cornells life, highlighting the particular circumstances that have shaped his ideas, and I will set this in the context of his time. It is not within the scope of this study to describe Cornells life in minute detail, but nonetheless I consider it essential to look carefully at his formative childhood experiences. I will show that these experiences have a direct bearing on the enquiry, agreeing with Arthur Danto that:- The life and art are reciprocal in that it is hard to imagine Cornells art made by someone with a life greatly different from his. This makes biography unusually relevant to critical appreciation in his case, one of the rare examples in which someones art is almost a transcription of lived experiencetransfigured, to be sure, by a kind of magic that biography would have no way of accounting for. Should it bet in Italic? (Little Boxes the cloistered life and fantastic art of Joseph Cornell. By Arthur Danto) page, book details? Born in 1903, into an artistic and prosperous family in Nyack, New York, Joseph Cornell enjoyed a close-knit, affectionate family life. There were servants and nurse maids to help run an idyllic home life for the Cornell family, in a stylish area on the edge of the Hudson River. Josephs energetic young parents, of Dutch origin, were musical and artistic. His well-educated mother had planned to become a kindergarten teacher before marriage, she wrote film scripts as a diversion, was an avid reader, and a pianist. Her husband was a textile designer, with a hobby of carving wooden toys and making furniture. (McShine, 1990: 92) The impressionable Joseph would have absorbed much from this rich, artistic, and secure atmosphere. He was the first of four children: two sisters, Elizabeth and Helen, followed in the next two years, and then a brother, Robert, who arrived when Joseph was six. Robert, who was later diagnosed with cerebral palsy, was to become a central part of Josephs life. These early days would later be recalled with affection and nostalgia by Joseph, who particularly remembered family holidays, trips to nearby Coney Island, the penny arcades, theatre visits, vaudeville shows, seeing Houdini at the Hippodrome, museum visits, family celebrations, listening to music with the family at home on Sundays, and numerous other happy family scenes. Like his mother, young Joseph was an avid and inquisitive reader, enjoying fairy stories, the tales of Grimm and Hans Anderson, poetry, essays, and information books on a wide range of subjects. In the next chapter I will show how these early experiences, the first phase in the journey of the artist, have strong echoes in Cornells work. Josephs world was badly disrupted at the age of thirteen when his father died of leukaemia. This must have been a horrific nightmare for Joseph, for as well as the grief and ongoing feelings of loss, his mother was soon compelled to relocate with her young family, to a vastly different and reduced lifestyle. Five months later, Joseph became a scholarship boarder at Phillips Academy in Andover, Massachusetts, with yet another massive emotional adjustment to cope with. His curriculum choices were biased towards science yet also included four languages and literature. Records indicate that Joseph was nervous, sensitive and he experienced nightmares and stomach ailments, which may well be attributed to the feelings of loneliness and loss that he was forced to bear. His headmaster suggested that Joseph should repeat a year since he needed increased maturity, but he left after four years and did not manage to gain his diploma. There can be no doubt that Joseph retreated into an internal world at this time to escape from his torments, to a spiritual place that would become more and more real to him. Already a strong duality of feeling had set in, an inner spiritual world that was quite separate from the physical earthbound world. These lonesome experiences, in contrast to Josephs earlier happiness, set the foundation for the art that was to follow. I see this period as the second significant phase in the artists development. Joseph left school in 1921 and took on the responsibility of supporting the family, and also of caring for Robert, whom he adored. Being extremely shy, Joseph did not enjoy his first post as a textile salesman in Lower Manhattan, the place of wondrous amusements (ref)(little blue book?). (Schaffner, 2003: page) However, the city life seems to have been the catalyst to his development as an artist. Between appointments, Joseph could visit bookstores and galleries, or sit in cafeterias just thinking, reading, watching, and jotting down his many ideas. All forms of art and knowledge captured Josephs imagination, particularly ballet, literature, theatre, science, art, astronomy, history, cinema, and almost everything French. (McShine, 1990: 96) His multifaceted curiosity was innate, Hartigan writes. (artblogbybob.blogspot.com) Here was the third phase in Cornells preparation for artistic expression, Josephs introduction into the rich artistic life of Manhattan. Joseph Cornell has been described as an extraordinary artist yet he had no formal instruction in art. How could this be? Some clues from Josephs early years have already been identified, and now another indication emerges, for it was during these years, while working in Manhattan, that Joseph started his legendary collecting of ephemera, prints, books, postcards, records, calendars, photographs, and found objects and items from thrift shops. At the same time, his interest in theatre, film, music, art, dance, and especially the movies, took off. Joseph had immersed himself in every possible cultural experience that he could afford, and had become familiar with the contemporary American art scene. (McShine, 1990: 96) I see this period of avid collecting as the fourth phase, leading Cornell onwards to his unique artistic and poetic expression. In the mid 1920s, Joseph was introduced to Christian Science. Part of the appeal to him was its belief in the healing power of goodness, which later cured his own stomach problems. Josephs enthusiasm as a new and devout member caused his sister, Elizabeth, to convert, and she later remarked that it was Christian Science that led to Josephs striking art work. (Hartigan, Hopps, Vine, Lehrman, 2003: 37) Richard Vine describes the central belief of harmony and completeness in Christian Science as a vital link to Cornells work, which was about to make its entrance. (Hartigan, Hopps, Vine, Lehrman, 2003: 38) Mary Baker Eddy, Discoverer and Founder of Christian Science, stated that This scientific sense of being, forsaking matter for spirit, by no means suggests mans absorption into Deity and the loss of identity, but confers upon man enlarged individuality, a wider sphere of thought and action, a more expansive love, a higher and more permanent peace. (McShine, 1990: 97) Joseph was a devout member of the Christian Science movement until the end of his life, which required daily prayer and meditation, lecture and church attendance, and a belief in the healing power of God. This became an integral part of Cornells life, extending his interest into metaphysical thoughts and the world beyond. An element of Christian Science belief is to uplift others, to emphasise the completeness of Gods plan. The idea of unity is an abiding element of Cornells work, and I see this as a crucial fifth stage in his awakening, to inspire others to pursue uplifting voyages into the imagination. (https://www.pem.org) In May 1929, the family moved again, buying the home where Joseph, his mother and brother would live for the rest of their lives. It was fittingly referred to as a small frame house in Utopia Parkway, Flushing, the Queens area of New York. Soon after 1930, both of Cornells sisters married, and the next year, as the Depression set in, Joseph was one of the fifteen million people to lose his job. Was this was a lucky break for Cornell, who now had time on his hands? It is possible that he started making his early collages at this time, but there is no way of knowing. The period of unemployment could be seen as a sixth stage of opportunity, for now Cornell had time to further explore Manhattan, Brooklyn, and Long Island, with its galleries and museums, his beloved sanctuary and retreat of infinite pleasures. (https://artblogbybob.blogspot.com) Although New Yorks art scene did not have many galleries exhibiting modern art during the 1920s, when Paris was the fashionable art capital, the famous Julien Levy Gallery opened in November 1931. It very soon became the headquarters for Surrealism in America and it was here that Cornell first discovered Surrealist art and literature. A short time after his first memorable visit, Cornell returned to the gallery with some of his own work, early montages made from illustrations that were scissored out of nineteenth century books. Levy was thrilled and accepted Cornells work straightaway for the forthcoming exhibition, Surrealisme, in January 1932. This was a life-changing event for Cornell, and could be seen as the seventh phase, his launch as a young artist. (McShine,1990: 99) ..his is a slow process, a gradual accumulation of artistry mirroring his gradual accumulation of artistic material. (htpp://www.artblogbybob.blogspot.com) The artistic material that Joseph was accumulating came from a variety of sources. After the First World War, theatre, art, exhibition, and cinema were all popular distractions. The silent film industry was very popular in New York City with the first talking picture premiered in Broadway in 1926. There was great enthusiasm for the new technology cars, air travel, and the telephone. Cornells intense admiration of the French symbolist poet, Stephane Mallarme, and his growing love for the music of Claude Debussy, ranked highly among other influences. Both these artists, in their own field, attempted to catch the fleeting moment in word, sound, or image, and this would be soon be Cornells quest, as the next chapter will show. This chapter has looked at Cornells formative years, and I have interpreted Cornells life up to this point as a seven phase journey, a route where unique elements are gathering power together, soon to find expression. The next chapter will show how the memories, experiences and ideas of Cornell come together in his innovative boxed constructions. (1712 including quotes) Chapter 2: There is no Impression without Reflection This chapter will identify the particular way that Cornell expressed his memories, experiences and ideas in his boxed constructions. The title of this chapter is taken from a quote about personality types. It suggests: Introverts find energy in the inner world of ideas, concepts, and abstractions. They can be sociable but need quiet to recharge their batteries. Introverts want to understand the world. Introverts are concentrators and reflective thinkers. For the introvert, there is no impression without reflection. (www.masterteacherprogram.com) This appears to exactly describe Cornell, a shy and reflective person from childhood onwards. Although he did not enjoy this description of himself, all accounts of his lifestyle declare it to be accurate. Introverts want to develop frameworks that integrate or connect the subject matter. To an introvert, disconnected chunks are not knowledge, merely information. Knowledge means interconnecting material and seeing the big picture. (www.masterteacherprogram.com) I believe that the seven particular conditions I identified in chapter one, magnified by Cornells introspective personality, produced his reflective and metaphysical view of the world. This is not to say that the seven conditions in themselves are unique. What is unique, I believe, is the combination, the foundation, the context, and the particular sensibility of Joseph Cornell, that caused the seven circumstances to lead to his unique artistic expression. His memories, experiences and ideas intermingled in his inner world, bringing a new clearer understanding of existence, that everything was connected. New associations were formed with richer deeper meanings and symbols, and a transformation occurred. Using a variety of objects from his personal vocabulary of symbols, Cornell constructed his boxes. His work became a fusion of art, literature, poetry, sculpture, science, theatre, cinema, dance, wonder, and more. All of these threads combined to form a new medium of poetic imagery. His boxes contain fragments of what he sees as perfect in the spiritual sense, reassembled and purified to become physical memorials for his subjects. The first Cornell box that I saw was Planet Set, Tte Etoile, Giuditta Pasta (ddicace) 1950 at the Tate Modern in London. It was displayed at waist height in a large cabinet painted in bright white paint and covered with a clear glass panel. From the moment I entered the room I felt drawn to the work. It really was quite an emotional experience for me. I scarcely noticed the other art works surrounding it, such was the lure of the box. The power was even greater than I had imagined with its mysterious and poetic associations. The display caption describes the work: Giuditta Pasta, a nineteenth-century Italian opera singer. Cornell idolised a number of almost-forgotten stars of the ballet and opera, who epitomised for him the ideals of the Romantic era. The box includes astronomical charts and two balls balanced on rods, which suggest planets orbiting the sun. This astronomical theme may relate to a contemporary account, which Cornell kept among his cuttings, in which Pastas voice is described as evoking the beauty of the night sky. (https://www.tate.org.uk) Pastas voice was described by her biographer, Henry Pleasants, as having the ability to produce a kind of resonant and magnetic vibration, which, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator. ( Quoted in Five Centuries of Women Singers, 2005, Greenwood Publishing Group, By Isabelle Putnam Emerson p 114 ) The hypnotic effect upon the soul that Pastas voice induced is echoed in the hypnotic effect upon the soul that Cornells box induced in me at the Tate, London. Viewing the dreamlike arrangements of objects in Cornells boxes, it is easy to understand how his work came to be associated with Surrealism, the art of the absurd, with its links to mixing the weird and the wonderful, dream and reality, the unconscious, and the uncanny, in a shocking sort of way. Surrealism was deeply influenced by Sigmund Freuds theories of the unconscious. For the Surrealists the dream was a source of pure imagination, an expression of the marvellous and the unexpected. (https://cdhi.mala.bc.ca/jengine/index.htm) Although Cornell was inspired by the New York Surrealists, exhibited with them, and used the same sort of materials and ideas, Cornells work developed very differently. As I have shown, Cornells life was sharply focused on eternity, infinity, and another spiritual world rather than anything reckless and earth-bound. This box, a tribute to Lauren Bacall, is based on the penny arcade games that Joseph loved as a child. Many of Cornells favourite associations can be identified. There is the Manhattan skyline and the game element: a wooden ball hurtles through the box, flicking past Bacalls face, like a snippet of flickering film. As it rattles past, the viewers attention is drawn towards a snapshot review of Bacall at earlier stages of her life, perhaps signifying that film captures our childlike imagination. Bacall seems trapped in her childhood and her innocence behind the thick blue glass. Cornell was infatuated with Lauren Bacall and her looks, and, says Schaffner, reminded him of a Renaissance painting by Botticelli. (Schaffner, 2003: 95) Cornells silent fascination with a series of women is another recurring theme in his work. This particular box is based on an afternoon at the movies. Cornell saw the film, To Have and Have Not, many more times and made copious notes that he would use later. In his personal notes he wrote: the penny arcade symbolizes the whole of the city in its nocturnal illumination a sense of awe splendour overriding (its) violence in darkness. (Tashjian, 1992: 122) The Bacall Box is interactive and can be played as a game but it is silent, perhaps a reminder of the early movies. Cornell describes it as a machine reminiscent of the early peep show boxes worked with a coin by plungers with an endless variety of contraptions. (fullstops before or after .?) (Tashjian, 1992: 125) There are many layers of meaning and loaded associations in Cornells boxed constructions, generally reflecting back to his experiences. Many of his favourite themes appear in each box in one way or another his nostalgia for childhood, his reverence for life, his idealisation of women, his encyclopaedic knowledge, his fascination with astronomy, his love of the expressive arts, his devotion to his brother, his familiarity with Manhattan, and his passion for French culture, all of these elements bound together and transformed by his beliefs about the nature of life and of infinity. I believe that the unifying factor in Cornells work is his yearning to keep his memories fully present and alive. It is vitally important for him to revisit his cherished experiences and revel in the delight that they originally caused. Perhaps each box contained a vivid dream, an essential treasure, a piece of information, a remembered conversation, or a vital truth. Perhaps revisiting the work refreshed Cornells energy and insight and his relationship with his subject. I suspect that it is all of these. By capturing a fleeting thought, a memory, an idea, a portrait, or a fragment of his imagination, Cornell expanded the two dimensions of a traditional frame into something greater to contain his whole experience. Somehow, Joseph Cornell found a way to combine all these aspects into one medium, and he invented his novel frame. The box construction was Joseph Cornells innovation. He generally made the boxes as gifts for particular individuals, people who had made an impact on him, sometimes people he had never met or who were dead. The memories were very much alive to him, however, in the works created around his subjects. There is a strong aspect of entertainment in Cornells boxes. Infused with a childlike sense of wonder and fantasy, he retained his ability to see the world through the eyes of a child. Edward Skip Batcheller, a great nephew of Josephs, offers valuable insight into the Cornell home that he remembers visiting as a boy. He describes Cornell as a benign eccentric man who lived timelessly, and says that he was very spiritual, and often seemed to be in another world. Cornell would take naps as he needed, living and working through day and night with no regard for the clock. Above all, Skip says, Josephs brother, Robert, was the primary source of his inspiration. Joseph took the responsibility of amusing and entertaining his brother very seriously, as his notes show. The two brothers would sometimes work alongside each other on constructions, and playfulness or amusement was a vital ingredient. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Skip says that the Cornell house was cluttered with art, piled high with saved publications, jottings and notebooks. It was like a laboratory for boxes they were everywhere, the garage, the yard, his sisters homes, and in their sheds. I find it significant that Skip describes Cornells boxes as always being on his mind. Like special friends, it appears that Cornell needed to interact with his boxes, to refer to them as if they could communicate back to him, in a shared dialogue from another world. This helps me understand why Cornell sometimes asked for a box to be returned, as if he were going back to add an afterthought to a conversation or to include a newly discovered aspect of meaning that had since occurred to him. Because he had compiled so much information in his dossiers and collections and had worked on ideas and images long before commencing the work, Joseph was already deeply immersed in the world and ideas of his subjects. I imagine that the boxes were like meeting places for the intimate memories he had shared with his subjects, in a spiritual sense. To him, the immortalised celebrity of each box was somehow still alive and living in the miniature world that Joseph had constructed for his chosen star. Yet, despite the great benefits of the box device that Cornell invented to contain his poetic expression, he also recorded frustration with its form. Even that expanded frame was not always sufficient to contain all the threads of meaning that he wanted to convey. The disappointment was expressed as (an) intense longing to get into the boxes this overflowing, a richness and poetry felt when working with the boxes but which has often been completely extraneous in the final product. (Caws, 1993: 188-194) ( page no.?) (CAWS, M, Ed., 1993, Joseph Cornells Theater of the Mind: Selected Diaries, Letters, and Files, New York, Thames Hudson, 188-194.)/ Cornell placed great importance on dreams. Richard Feigan, an art dealer who knew Cornell well, described him as being on another planet. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Could he mean hypnagogic, a word sometimes used in regard to Cornells visionary work, or is Cornell communicating as in a whispered prayer, transformed or transported onto a different spiritual plane? The definition of hypnagogia helps us to understand this state: An individual may appear to be fully awake, but has brain waves indicating that the individual is technically sleeping. Also, the Individual may be completely aware of their state, which enables lucid dreamers to enter the dream state consciously directly from the waking state. (https://www.wikipedia.org) Cornells urge to download his feelings into his boxed constructions suggest that he had special links set up between his imagination and the unseen world, as if engaged in urgent and ongoing conversations. Leila Hadley Luce, interviewed on this subject, says He travelled in his mind. He encompassed places. He absorbed them. Its like being in a dream world, but very, very real. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Walter Hopper, a respected American artist, describes Cornells work as sublime, saying that something very special and transcendent was going on here. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) This chapter has acknowledged the huge power evoked by Cornells boxed work. I have shown that great power arises from Cornells special way of communicating his experiences, his memories, his ideas and his dreams. His work is visionary, and has a timeless quality, taking no account of whether a particular person is alive or dead for it made no difference to his appreciation of their relationship with him. Cornells unique ability to connect different branches of knowledge into one focused creation prompted the invention of his new device, the box, to contain his multi-dimensional work. The next chapter will look more closely at the device of the box. (2097 inc. quotes) Chapter 3: The Power of the Box: Free-Form Contemplation This chapter will look at the power of the box as a containing device, and will consider the effects that it creates. I will show how the box frame can separate the artists work from its surroundings into an experience within its own world. I will try to establish whether the framing box has a bearing on the way the viewer focuses upon it in a spirit of curiosity. This will take us to consider the nature of curiosity. ..by virtue of its very presence the box makes an announcement: I contain something valuable. In concealing, the box reveals. (Gunter, 2004: 6) The box, as opposed to a two dimensional frame, encloses space for storing, protecting or displaying one or more objects. Tony Lydgate calls this a contradiction, in the sense that the box reveals, by hiding. Straight away, the nature of the box sets up the enquiry, What is in here? Who has put this in here, and why? A box can usually be opened and closed, and it has depth and space, whereas a frame shows everything at once, the flat or textured visual material that it is designed to enhance and border. Everything within a two-dimensional frame is immediately evident: there are no internal walls to inspect, no surprising variation in what it may contain, no mysterious recesses to discover, no drawers to open, no room for sculpture or for a third dimension. The frame is fitting for a standard two dimensional image, but the box is innovative and exciting with its third dimension and its opportunity for interaction. It introduces novelty and is very different and separate. Curiosity is evoked by the viewer wanting to know and check what is contained within. An open question is set up in the mind, and a range of associations present themselves in the imagination. The box can instantly evoke curiosity. Containing art in a boxed frame offers the artist extra freedom, both aesthetic and creative. The box has more surfaces that can be decorated, both inside and out, the space can be used to contain fascinating three-dimensional scenes, it can be left empty, or filled with historic, nostalgic, personal, or other types of material. The artist has freedom to create intrigue and mystery by the arrangement of his objects within the space of the four walls, and the effect can be altered by using some or all of the planes. Two dimensional framed art in a gallery might be affected by neighbouring work, whereas work in a box invites the viewer to come close, excluding all neighbours while privately inspecting and interacting with its contents. There may be a sense of the voyeur peering into a private window, adding excitement to what is perceived in the box. Since Cornell, many artists have used the box form in an individual way to encase their artwork. I will look at some of this work in the next chapter. Throughout history, boxes have been a basic and necessary part of civilization. Ornate boxes were used by early man for carrying and storing a variety of valued items. In ancient Egypt, the dead were buried in highly decorated boxes. Ancient Egyptian boxes have been found containing cosmetics, jewellery, writing tools, and even slippers. One, made for an Egyptian lady in 1800 BC, was decorated with gold fittings and carnelian stones. Precious boxes are still crafted today. In the 16th and 17th centuries, Cabinets of Curiosities held strange and wonderful collections that had been gathered by explorers, the rich and the noble. Initially these were elaborate rooms where an assortment of exotic items was displayed, to inspire awe and to evoke wonder and curiosity. The collections were categorised according to the owners wishes, and reflected the collectors personal ideas of how to impose order on objects from the natural world. In time, these diverse collections developed into actual cabinets, and later the contents became the precious items now in our museums, which still inspire wonder, awe, and curiosity today. The adult Cornell vividly remembered his fascination with collections and exhibits in polished wooden cases and frames as a boy. Years later he amassed his own personal Wunderkammer in the cellar of his home in Utopia Parkway, a vast collection of objects, dossiers of information, jottings and notebooks, that chronicled his feelings and ideas. To appreciate the sense of awe and wonder that vast collections inspire, and in preparation for this study, I visited the Ashmolean Museum in Oxford, which was opened in 1683, the nearby Pitt Rivers Museum, The British Museum in London, which opened in 1759, and The Natural History Museum in Tring, Buckinghamshire. All buildings house remarkable collections that, once private, have now been gifted to the nation. The vast number of collections of so many species and artefacts evoked a deep sense of wonder in me, and I noticed people of all ages displaying intense curiosity and amazement as they gazed at the exhibits. Cornell savoured his childhood sense of awe and wonder all through his life and we see reminiscences of these nostalgic memories in many of his boxed constructions. Joseph Cornell, Untitled (a Butterfly Habitat), 1940 Religious groups use special and decorative boxes to contain their most holy objects. Catholic churches have a box containing relics of a particular saint built into the altar, known as the sepulcrum. A locked tabernacle on the altar contains the sanctified host. An air of awe, mystery, and reverence is linked to these special boxes. Our most treasured possessions, jewels, money, curios and keepsakes, are often protected in special boxes. Boxes with hidden compartments were very popular in Victorian times, fuelling the feel of mystery and concealment. It isnt just the box that can evoke feelings of excitement and curiosity but the associations that have been attached to it in earlier years. Consequently, once an animated attachment has been fixed to a box or a particular container, the magic might last indefinitely. Again in Victorian times, we learn of the Penny Arcades, the mechanical fun box machines: Curious, quaint, beautiful and bizarre: devious mechanical marvels of mahogany, oak, iron and brass occupied side shows, bars, guest houses, arcades and piers from before the turn of the century. Their attraction is broad. Diverse in form and theme; a whole social milieu is captured in lively period images and pop-art graphics, giving both historic and aesthetic appeal. (https://www.pennymachines.co.uk) After putting a penny in the slot, there was a handle to pull, a ball to shoot, or a scene to watch, and the chance to win another go or have your penny returned. The fun was in operating the machine with its many and various ingenious functions rather than winning the prize. Joseph Cornell used his memories of these fun slot machines, adding a layer of nostalgia, chance, or history to his tribute. His penny arcade pieces, like the original Victorian machines, were designed to be used as a game, adding a visual and a sound quality. It is highly likely that Cornell devised his penny arcade pieces to amuse his brother, Robert, with whom he shared a very close bond. In mythology, the popular tale of Pandoras Box suggests intrigue. Pandora was given a box by the gods and told not to open it, but her strong curiosity got the better of her. She opened the box (it was actually a jar) and out flew several illnesses and undesirable things, just leaving Hope behind. Another box that has inspired contradiction and curiosity is the telephone box. It is a private space on a public street, a box where you can be seen but not heard. It is an anonymous space yet often is used for deeply personal conversations. When researching the subject of boxes and curiosity, I discovered a humorous angle, called the Medicine Chest Caper. It is said that people feel an irresistible urge to open a bathroom cabinet when visiting anothers home. To exploit this urge, pranksters fill the cabinet with ping-pong balls to booby trap their over-curious visitors. Here is another instance of the power of curiosity with a box, when the imagination or the inquisitive mind becomes engaged with the nature of its hidden contents. But what is curiosity? To me, curiosity is a pleasant state of persistent inner questioning, along with an urge to discover possible answers. It is when my inner mind starts to contemplate and say I wonder and why? It also contains an element of wonder and excitement. Curiosity makes my mind scan through associations that already exist in my own experience, trying to find a link with what I am seeing in order to make sense. Einstein expanded this view when he said: The important thing is not to stop questioning. Curiosity has its own reason for existing. One cannot help but be in awe when he contemplates the mysteries of eternity, of life, of the marvellous structure of reality. It is enough if one tries merely to comprehend a little of this mystery everyday. Never lose a holy curiosity. (https://www.personal-development.com) Einstein is suggesting that curiosity is a sacred gift, an insatiable appetite to explore creation. This fits perfectly with Cornells own Christian Science view, that life is an endless discovery of the meaning and unity of life. The allure of Cornells mysterious boxes has been well documented, and it is possible to identify some sources of his attraction to using the box frame for his work. Beyond the peep shows and shadow boxes of his youth, Cornells writing shows that he was fascinated with shop window displays. His jottings reveal that he would spend time contemplating the completeness they could offer as he absorbed the contents of the displays, sealed in their own world. (Caws, 1993: 165) The view seen from ones seat in a theatre or cinema gives the impression of looking into a box, or a window, and this is similar to Josephs experience of travelling into town on The El, the elevated railway, where he could peer into the windows and glimpse strangers private lives being played out in the public gaze. This feeling is carried over to the viewer of a Cornell box. Peering in could induce exciting, strange or disturbing feelings, even perhaps, a voyeuristic sensation. Hartigan says that (https://artblogbybob.blogspot.com) (Correct way?) Cornell equates art with the experience of life itself, as just another window upon the world. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) The objects in a Cornell box are sealed behind glass, concealed by shadows, filtered, hidden, and cropped. The glass pane acts as a fourth wall in his miniature theatre, showing the contrast between his two worlds, of chaos and of order, safety and danger. As a teenager, Cornell had shared his fear of infinite space with his sister. To young Josephs fear of large empty spaces, a defined space would have brought comfort and solace. The box conveys a sense of security, definition and order, rather than chaos or undefined space. Containment denotes safety. Whether expressed by the frame of a box or a collage, his intent was similar directing us to a highly defined space or field of vision for free-form contemplation. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) This chapter has looked at the different ways boxes have been used historically, showing how an air of mystery and wonder has often been linked to the boxs purpose. I have shown how the form of the boxed frame, coupled with a sense of curiosity, generates intrigue in the viewer. The viewer feels a need to peer inside, and an expectation of discovery and anticipation is set up in peoples minds from an early age, from memories of gifts, treasures or novelties in boxes. I have also mentioned how experiences from Cornells early life are echoed in his boxed constructions. It has become clear that the device of the box is powerful in evoking a sense of curiosity because of its general and its particular associations in every mind, from childhood onwards. Chapter 4:Enlarged Individuality (improve this title) This chapter will look at other artists who have used the box as a device to enclose their work and it will identify the intentions, the content, and the effects of this work in comparison to the work of Cornell. The three artists whose work I will explore are Betye Saar, Mariko Kusumoto, and Joseph Bennett. These artists are all living and working today and they have all used the box device to frame their work. Each artist has a different intention and different results, which I will contrast with the work of Cornell. I will first look at Betye Saar, an American artist born in 1926, who is well known for her shadow box constructions that deal with the memory of racism in her country. Betye, who comes from a mixed heritage of African, Irish and Native American, felt very angry about the way that black people were perceived. She began to focus on using derogatory images of black people in her work. A famous example of this work is The Liberation of Aunt Jemima, exhibited in 1972. This was a wooden box displaying a black smiling mammy, holding a rifle in one hand and a broom in the other. Aunt Jemima is a recognizable trademark for advertising pancake flour in America. Betye Saars message in this box was about the way African-American women were treated as sex object, as domestic soldier. And it was about this particular womans revolt to be free of that image. (https://www.npr.org) The Liberation of Aunt Jemima, 1972. Betye saw a Joseph Cornell exhibition in 1968 and was greatly influenced by his assemblages, although the beginning of her passion to create recycled art occurred when she was a young girl visiting her grandmother in Watts. She remembers seeing Simon Rodia sculpting the Watts Towers during the period of 1921-1951. Seventeen interconnected structures were built, the tallest over thirty metres high, and they were filled with found objects. Betye remembers the experience vividly, saying Ive seen corn cobs in there, Ive seen tools. Its like, the cement is wet, what can we put in here? (https://www.npr.org) Another influence on Saars work was the American artist, Romare Bearden, whose first collages appeared in the 1960s, at the time of the Civil Rights Movement. Bearden also used found materials to create collages which carried powerful messages about African-American life. Betyes motivation to create art works was anger at the racism issues: Beardens work helped her to define her message, and Cornells to find the medium and the form. The intentions of Saars boxes are about declaring her reactions to the experience of racial issues in her country. Saar uses a mixture of images and symbols from different cultures and religions, bringing a spiritual dimension to her work. The pieces speak of cultural differences, stereotypes, and the liberation of African Americans. Like Cornell, symbols and visual metaphors are a central role in Saars work, although hers are rooted in her physical environment. The content of her boxes are collections of materials such as photographs, advertisements, toys, fabrics, figurines, household objects and musical instruments, bought from flea markets and junk shops. Betye uses nostalgic bric-a-brac to portray her broad social messages, particularly in the choice of real fabrics that have been worn by the real characters she is championing. Here is a link to Cornell, who took great pains to obtain significant mementoes of his subjects to use in his tributes. Like Cornell, Betye Saar revisited her earlier themes, particularly with The Liberation of Aunt Jemima, for what the artist calls unfinished business. In the revisited work of 1998, Workers and Warriors: The Return of Aunt Jemima, Betye refines her message and expands on her previous approach. Using vintage washboards, as if each is a window, the pieces have been collaged with Black Collectibles from the 1940s to 50s - debasing images of slavery-era black women often sold to tourists in southern areas of the United States. The message is still the same, if not more muted than her original piece, aiming to shock the public and cause radical changes in the perception of black Americans. (Insert) Cant find workers and warriors image have you seen it? Betye Saar essentially wants the viewer to be seduced by the beauty and the mystery of her work, to draw her viewers closer. The frames are the perfect medium for her to gather her viewers close up to her message. Then, once she has captured the attention, the focus sharpens so that the story hiding inside the box can be discovered. Her powerful statements about race, stereotyping, and gender cannot be missed. By concentrating the viewers eye into the frame, Saar is able to hold the viewers attention while all the elements of her message are absorbed and hammered home. Betye often invites interaction by creating puzzles for her viewers to decode which, like the playful elements in Cornells boxes, is a shared similarity. Unlike Cornell, Betyes concerns are very much of this world rather than the metaphysical themes of Cornells, although her energy appears as immediate, heartfelt, and strong, and her passion is evident. The second artist I am going to look at is Mariko Kusumoto, born in Japan and brought up in a four hundred year old Buddhist temple where her father was a priest. Marikos boxes are made from old wood, polished metals and found objects, which are replicas of the materials, colours and textures in her childhood temple. Mariko creates multiple doors and compartments in her constructions, and fills them with highly detailed miniature worlds that reflect her childhood memories of living in the temple. She describes her intentions: I am striving to create a world of shadows, light, silence, spirituality, and my personal memories. (https://www.mobilia-gallery.com) Another of Marikos sources comes from her fascination with the Tansu box, a tall dark wooden box found in the temple, with multiple drawers and compartments. This must have seemed a gigantic chest of drawers to a young girl and Mariko describes it as being dark with hidden secrets lurking inside the drawers that invoked a thrill for her as she set about her regular task of polishing it. It seems that Mariko wants to recreate the sense of wonder and excitement that she experienced each time she looked inside the Tansu box, her main motivation being nostalgia for what she has lost. I could never anticipate what would appear from the darkness. I had mixed feelings of excitement and fear whenever I opened it. It was a great wonder box to me. The darkness inside the tansu stirred up my imagination. (https://www.mobilia-gallery.com) When I look at Marikos boxes, I sense the same darkness and hidden secrets that I imagine her to have seen as a child, although her boxes are much smaller. Perhaps the small scale draws the viewer over to look within, to open each compartment and look inside to the magical world of memories that she has created. There is a childlike thrill in Kusumotos art, as with Cornells, with the invitation to play, touch, and cooperate. Most of my pieces are interactive the viewer must keep opening things to see the secrets inside or push, pull, or wind up something to see movement or hear sounds. (https://www.americancraftmag.org) Iroha Uta (interior), 2003 Photo: Lee Fatheree From Marikos description of her inspirations, we learn that she is recreating elements from her past for which she has a nostalgic longing. The absence of the familiar childhood home, the temple with all the curious artefacts it held, has intensified her feelings of being Japanese amongst the diverse cultures in the United States. As time goes by, my memories become stronger and more vivid. This feeling is the inspiration of my artwork today. (https://www.mobilia-gallery.com) Here are echoes of Cornells nostalgia, to recreate a poignant and happy memorial to childhood memories, although Cornells yearning for the past is part of his belief that everything is connected. Again, the three dimensional frame is the essential medium for Kusumoto, who wants to envelop her viewer in the mystery, darkness, space and atmosphere of her miniature world. By using the device of the box, the viewer can soak up the spiritual atmosphere that Mariko has designed without any outside interference. As wit h Betye Saar, the intention of Kusumotos work is planted in the physical world, reliving the sense of nostalgia for her experiences as a child in Japan and searching for new understanding in the noisy western world with its diverse cultures. My third comparison is Joseph Bennett. A self taught American artist, Bennett began his creative career in 1999 creating boxed assemblages. He uses found objects such as rusty metal, aged wood, photos, and toys. He has said that he was heavily influenced by Joseph Cornell and that the experience of seeing Cornells boxes in a 1968 exhibition changed his life. (https://www.artbybennett.com) For Bennett, the Intention of his boxes is to reinvent discarded objects, transforming them into newly discovered loved objects. He gives them a new lease of life, and falls in love with their beauty. He says I believe that this body of work began during childhood; standing in front of my fathers workbench and admiring all that lay before me tangled wire and rust, heavy metal and bits of color, dusty cabinets hiding treasures beneath faded cobwebs. (www.artbybennett.com) Unlike Cornell, Joseph Bennetts reasons for making his boxed assemblages do not seem to come from a deep inner yearning for spiritual expression. Rather, he simply finds joy in presenting discarded objects in a new light, as a purely aesthetic exercise. With his lifelong partner and inspiration, Eli Hans, Bennett is involved in the interior design and transformation of homes so as to create an aesthetically pleasing environment that supports life goals in a perfect balance of form function. (www.sublimeinteriors.com). This accords with his Artists Statement, of transforming discarded items into newly loved pieces. Configuration? Details? Configuration is an attempt to think outside the box and add color and movement to my work. This piece continues to be my lover Elis favorite piece. (ref Bennetts blog). I can see the strong influence of Cornell in this piece but I cannot detect either a development from it or a personal angle. Bennetts work is predominantly an aesthetic activity but is linked to a desire to retain discarded items. He says that he sees his work as a form of art-activism, saying Its a passive way of teaching about not consuming so much I want people to appreciate things that they would otherwise throw away. (https://pem.org) Bennett is involved in a campaign to alleviate world poverty for which exhibiting his work raises money. I notice that Bennett has dedicated some of his work to Cornell. He has also dedicated a piece of art to a famous public performer, Joseph Beuys, which is a very Cornellian thing to do. Many of the found objects used in Bennetts work are the same or very similar to those used by Cornell, as are the overall designs and compositions, although I sense a more cluttered feeling in Bennetts pieces. These are my personal responses to Bennetts work, after having a brief e-mail correspondence with him. (REF) (Joseph Bennett recently sent me an image of a new piece that has not yet been displayed, although he has made no direct comments about this piece so far. INSERT and describe?) This chapter has taken a close-up view of the work of three artists who have all used the boxed device to frame their work. Each has a different emphasis and message, with very different subject matter, materials, and intention. In every case, the artist has felt an urge to expand the space that contained their message by using the box frame. Whether an intricate metal sculpture with multiple doors and compartments like Kusumotos, or bric-a-brac, fabric and black figurines like Saars, or found objects that have been liberated into a new existence like Bennetts, the boxed frame has played its part in transforming the materials into works of art that powerfully engage the viewer. I have compared the intentions, motivations, and effects of these three artists with the work of Cornell. The final chapter will pull all the threads of this study together, and will reconsider the various elements of the power of Joseph Cornells boxed constructions. Conclusion This concluding chapter seeks to summarise the findings of the study and arrive at a new understanding of how Cornells boxed constructions exert their powers of engagement on the viewer. Throughout this study, I have kept my initial questions in mind. In my introduction I asked where the power of engaging with a Cornell box originates: does the power come from the box or from what is in the box? What part does the viewer play in the equation? As I studied each element of the enquiry, many answers began to emerge. Firstly, concerning the power of engagement with the viewer, I found that a spirit of curiosity is fundamental to making the first connection. Curiosity is a natural, energetic and active human state that seeks answers. The idea of what can be in this box? sets up a chain of expectation, priming the curious viewer to want to know the answer, and so that person is likely to accept the invitation to look inside. This willingness to engage leads the viewer to enter into a relationship with the artist by investigating the work further. Once glimpsed, some sort of connection has been made. What follows may be a brief encounter, or it may be a deep and lingering fascination for what is discovered within. A spirit of playfulness and an open mind connects the viewer with the scene inside the artists window, and the message of the artist then becomes available for free association. At this point, the interested viewer may be seeking to understand the intention of the artist, or simply enjoying the flashes of memory and the personal associations that the work induces with no interest in the artists message at all. The essential point is that an engagement has occurred. The viewer has accepted the challenge or the opportunity to find points of contact, to be reflective, or to revisit personal memories which may resonate from the contents of the box. In summary, curiosity is the key, and the inquisitive viewer feels compelled to cooperate. Concerning the power of the box itself, this study has shown that from childhood onwards, boxes are an integral part of everyday life, with associations of excitement, fun, awe, intrigue and joy. In this sense, the box as a device has an appeal all of its own. Even if the box were empty it is likely that a curious person would still need to look inside, just to be sure that nothing was being missed. The box, with its depth and space, carries the opportunity for more senses to come into play than a conventional two-dimensional frame, which is an added bonus. The more senses that are excited in the viewer, the greater will be the impact on the imagination. My conclusion about the boxed frame is that it has a special appeal of its own for all the reasons discussed, evoking the curiosity that is essential to capture the viewers interest. What is contained in the box is the third element of the enquiry. The contents of the box may have an instant appeal that transfixes the viewer, or the curiosity may be short-lived and easily satisfied by a quick uninvolved glance. The reaction of the viewer will depend on a variety of factors, such as ones interest in topical issues, ones sensory reaction to what is viewed, ones tolerance of enigmas, ones appreciation of the particular colour and form used, and other similar considerations. Clearly, some scenes will resonate more with one person than another, as with all personal preferences. A deeper understanding of a particular artists imagery and symbolism would enhance the experience of appreciating that body of work. This is especially true of Cornell, whose rich symbolism and imagery is multi-layered. The study looked at the work of three artists who have used the box as a containing frame for their work, with a range of intentions, style, and message. It was shown that Bennett uses his frames to design an aesthetic experience for the viewer, Saar wants to publicise the burning political issues of racism and gender in order to provoke reaction and social change, while Kusumoto is externalising her inner feelings of nostalgia and longing, to keep alive and savour her childhood memories of Japan. These artists have used the physical space of the frame to create an earthly message, a display that inspires their viewers with here-and-now social, personal, and political issues. Cornells work was shown to be on a different level, since he did not primarily create his constructions with a viewer in mind. Creating his pieces arose from a strong compulsion to rearrange and reinterpret earthly experiences so that they were aligned with a purpose beyond earth, almost as in a vision or a prayer. In this way of connecting to unseen things, Cornell linked in to a potent energy which, even if not comprehended by the viewer, still exerted an uncanny power over him. His work expressed mans connection with infinity, the world beyond earth which Cornell believed was an illusion. His many threads of poetic knowledge were woven together and transformed into layers of meaning that lead the viewer back to contemplate the source of creation through the elements and symbols of his work. In Cornells case, the boxed construction was surely the only possible frame that could contain all the elements of his multi-faceted vision. Summarising all the points that have emerged from the study, it is clear that there is a strong link between the attitude of the viewer and the device of the box. Curiosity is the link between the two. The box has its own power because of our associations from childhood onwards. The viewer cooperates with this power by demonstrating the human characteristic of anticipation, curiosity, and a yearning to be entertained. At the start of the study, my intuition was that Joseph Cornell exerted a unique power of engagement with his viewer because of the special nature of his poetic imagery in the boxed constructions. Now, at the end of the enquiry, my hunch has not altered but it has expanded. I now believe that the power is a shared force. I believe that the power originates from all three areas, from the box itself, from the latent curiosity and the willingness to cooperate on the part of the viewer, and also from the contents within the box. The last factor is the one that decides how long the viewer remains spellbound and connected to the work in the box. The starting point for Cornells work was his life experience, his perceptions, and his continued wonderings. I believe that the seven phases I identified in his early life are the key to his unique and powerful artistic expression, as this study has shown. Ken Johnson, writing in The Boston Globe, says: the feeling one gets with Cornell is that being boxed in whether by familial circumstances or by neurotic shyness is what led to the cultivation of an extraordinary lively and adventurous inner life. He didnt think outside the box; rather, he thought deeper into the box by transforming its interior into a space of infinitely elastic possibility. Every box sculpture he made represents the triumph of a wide-ranging imaginative vision over the deadening captivity of external, terrestrial existence. (Quoted from The Boston Globe , see print out) The trio of curiosity, the device of the box, and the unique message of Cornell, indeed exert a great power of engagement with the viewer, which I now understand to be the human quest for knowledge and understanding. I conclude with Cornells own words: All things are interrelated. As above, so below. We are fragments of an unutterable whole. Meaning is always in search of itself. Unsuspected revelations await us. (SIMIC, C) where from?

Mozart Essay - 1525 Words

Wolfgang Amadeus Mozart This paper discusses Mozarts life, his compositions and his importance to the world and the world of music. It explains how Mozarts music is still some of the most popular classical music played today and his life is still studied because his music is so well known and liked. An Austrian composer and performer who showed astonishing precocity as a child and was an adult virtuoso, musical genius Wolfgang Amadeus Mozart was born to Leopold Mozart and Anna Maria Pertl in Salzburg, Austria on January 27, 1756. Leopold Mozart was a successful composer and violinist and served as assistant concertmaster at the Salzburg court. Mozart and his older sister Maria Anna quot;Nannerlquot; were the couples only†¦show more content†¦In 1769, father and son traveled to Italy and toured for more than a year in Rome, Milan, Florence, Naples, and Bologna. While in Italy, Mozart completed another opera, Mitridate, re di Ponto, received a papal audience, passed admission tests to the Accademia Filarmonica, and performed many concerts. Mozart then returned to Salzburg, but traveled to Italy for two shorter journeys in October 1771 and October 1772 through March 1773. During this time he completed two more operas, Ascanio in Alba (1771) and Lucio Silla (1772), eight sy mphonies, four divertimentos, and several other works. nbsp;nbsp;nbsp;nbsp;nbsp;Archbishop von Schrattenbach, who was a great supporter of Mozart, died in 1771 and was succeeded by Hieronymus von Colloredo. Although Archbishop Colloredo was a less generous employer, Mozart continued in his Salzburg post and worked diligently from 1775 to 1777. However, in an effort to secure a better position, Mozart obtained leave from Salzburg, and set out with his mother in 1777. They traveled through Munich, Augsburg, and Mannheim, but Mozart was not offered a post. The next year they continued on to Paris, where Mozart composed the Paris Symphony. In Paris, Mozarts mother fell ill and soon after the symphonys premiere, she died. nbsp;nbsp;nbsp;nbsp;nbsp;Several months later, Mozart returned to Salzburg and was given the post of court organist as well as Konzertmeister. He produced numerous works during thisShow MoreRelatedThe Mozart Effect Essay1461 Words   |  6 Pagesâ€Å"Mozart effect† is a believe that listening to music could enhance individuals’ intelligence, and therefore lead to better performance in various spheres, such as languages and arithmetics. There are researches pointed out that listening to music while tasks performance would result in significant boost of scores. The effect of listening to Mozart’s music on spatial seasoning was looked over in 1933 by Dr. Rauscher, three common tests about abstract spatial reasoning were given to the participantsRead More Mozart Essay920 Words   |  4 Pages Wolfgang Amadeus Mozart is one of the greatest music composers who ever lived. His name and the word genius are often bandied about together by music writers and critics and many would argue rightly so. Mozart had a fantastic ear for writing a catchy tune with perfect orchestral arrangement. His compositions have a rich and distinctive sound; it can be said that in his brief lifetime (only 35 years) that he wrote a masterpiece in every genre of classical music without much apparent effort. OriginalRead MoreSummary : Mozart 1016 Words   |  5 PagesJohannes Chrysostomus Wolfgangus Theophilus Mozart Lydia Molina Mr. Dresser General Music 27 May, 2015 Mozart Johannes Chrysostomus Wolfgangus Theophilus Mozart, known for his string of operas, concertos, symphonies and sonatas, he helped shape classical music as it is today. â€Å"Born on January 27, 1756, in Salzburg, Austria, Wolfgang Amadeus Mozart was a musician capable of playing many instruments at age six. Over the years, Mozart aligned himself with a variety of EuropeanRead More The Mozart Effect Essay1215 Words   |  5 PagesThe Mozart Effect Ever since human intelligence has been a factor for survival, people have been trying to think of new, innovative ways to increase their mental capabilities. In the past, people have taken pills, prepared home-made concoctions, and have even shaven their heads to clear their minds. Even now, new ideas, such as magnetic mattresses for better blood circulation to the brain, are patented and sold promising mental wellness and stability – and making money for the inventor. WhenRead More Mozart Essay663 Words   |  3 Pages MOZART nbsp;nbsp;nbsp;nbsp;nbsp;Mozart is perhaps the greatest musical genius who ever lived. Mozart s full name is Wolfgang Amadeus Mozart. Most people called him Mozart or Wolfgang. Mozart was born in Salzburg, Austria, January 27, 1756. nbsp;nbsp;nbsp;nbsp;nbsp;Mozart is the greatest musical child prodigy who ever lived. He began composing minuets at the age of 5 and symphonies at age 9. His father took him on a series of concert tours together with his sister, Maria Anna;Read MoreThe Mozart Effect and Infant Intelligence1408 Words   |  6 PagesIn modern society intelligence is highly competitive and subject to scrutiny; therefore, it is understandable that a child’s intelligence is a primary concern for many parents. The Mozart effect, popularised in the 1990s, resulted in many parents believing that simply exposing their child to music composed by Mozart would improve their intelligence (Campbell, 1997). The claim was founded by research published in the journal Nature, which suggested that spatial reasoning could be temporarily enhancedRead MoreThe Mozart Effect Essay931 Words   |  4 PagesIt has long been believed that music can evoke specific thoughts and feelings from the listener. But can music –specifically the music of Wolfgang Amadeus Mozart- summon hidden intelligences within the human brain? That is the question scientists are trying to answer. In the mid-nineties, scie ntists, Frances Rauscher, Gordon Shaw and Katherine Ky, claimed that music could boost the listener’s intelligence up to 9 points (Steele 2). To many, this allegation seemed a bit far-fetched and soon otherRead MoreEssay On Mozart Effect1061 Words   |  5 PagesThe Mozart Effect, broadly stated, is the idea that music can help with many other aspects of a student’s education. Its research started decades ago and is still highly debated today, with some condition to the findings. However, in Bob Duke’s article, he explains why it doesn’t matter whether of not it helps tests scores. He believes we should not be using this as an excuse for keeping music programs because there are countless better reasons. Duke’s article highly reinforced why I personally believeRead MoreThe Works Of Haydn And Mozart940 Words   |  4 PagesHaydn and Mozart are often recognised as the two composers who were responsible for bringing Viennese Classicism to its greates t height. In the public eye, these two great composers could not be more different, whether it is in terms of their characters or values. This essay sets out to explore the similarities and differences in the early lives of these two gifted individuals, Wolfgang Amadeus Mozart and (Franz) Joseph Haydn, through their backgrounds and music education. Mozart, who was bornRead More The Mozart Effect Essay1250 Words   |  5 PagesThe Mozart Effect is a study that shows listening to classical music can have positive effects on learning and attitude. This occurrence is called the Mozart Effect, and it has been proven in experiments by many scientists. This research has caused much controversy between believers and nonbelievers, because The Mozart Effect is said to enhance the brain and reasoning; it is also used to reduce stress, depression, or anxiety; it induces relaxation or sleep; and the Mozart Effect activates the body

Why Vietnam Invaded Cambodi Political Culture And The...

To commence, I decided to read historical novels associating with the Cambodian-Vietnamese Conflict. The Martin Luther King Jr. Library was the only library I could think that held historical chronicles. Primarily, I wanted to find a book called Why Vietnam Invaded Cambodia: Political Culture and the Causes of War by Stephen J. Morris. By quickly finding and examining the book on the Internet, this novel book was perfect for my topic; the title of the book was even a large giveaway for my topic. However, the library lost the novel; I looked everywhere on the shelves and came up with nothing. So, I had to improvise to find similar books; eventually, I found two novels that would greatly satisfy my research topic. One was The Rise and Demise of Democratic Kampuchea by Craig Etcheson. The other novel was A History Of Cambodia by David Chandler. After studying sections of these books, I located various details which dealt with my topic. While analyzing The Rise and Demise of Democratic Kampuchea, the section called â€Å"Open Conflict Between Socialist Nations†, revealed many components that led to a mandatory invasion of Cambodia. The Khmer Rouge strived to reconquer the Mekong Delta, the region bordering Cambodia in the present day, of Vietnam. It turns out that Cambodia used to exert authority over the region, but throughout many decades, sovereignty transferred to the Vietnamese. In 1952, â€Å"the radical faction of the Khmer Students’ association in Paris-including ‘Pol Pot,’ Ieng

A Research Based Method That Will Help At Risk And Special...

This research proposal will use action methodology to find research based method that will help at-risk and special education students that struggle in math especially with the new Common Core standards. Topic Many states and parents are in turmoil over the Common Core standards. There are many misunderstandings about the Common Core that makes it hard for school districts to implement without resistance from the local population. The Common Core came about because a group of Governors were discussing the differences in student education in different states. The Governors noticed that students in different states received different educations. To ensure that all students no matter where the live or go to school would receive a quality education. In 2009 a group of governors called the National Governors Association for the Best Practices (NGA) enlisted the help of the Council of Chief State School Officers (CCSSO) together they worked on creating a system to ensure that all students received the same quality of education. They created a listed of standards that all students should be able to achieve and that all states should be able to implement using whatever curriculum that the state s saw fit. On June 16, 2012, the state of Wyoming adopted the Common Core Standards with the idea that they would be fully implemented by the 2014-2015 school year. With the standards having to be implemented within less than a year, students switched learning styles in my district,Show MoreRelatedTeaching Reading Comprehension Strategies For Middle School Aged Students With Specific Learning Disabilities889 Words   |  4 PagesIntroduction My topic of study is focused on teaching reading comprehension strategies to middle school aged students with specific learning disabilities and other low achieving readers in a special education setting. This medication in my plan has come because I have accepted a job teaching special needs students at Parkview Middle School, in Jeffersonville Indiana. I will be teaching reading, and social studies in a resource setting and math in collaborative setting. Goals of Teacher LeadershipRead More Fundamentals of Research Essay1596 Words   |  7 Pagesremains the same. Many regard research as gathering information and using facts to support findings (Leedy Ormrod, 2010, pg. 1-2). Nevertheless, Leedy and Ormrod (2010), define research as a systematic process of collecting, analyzing, and interpreting information (data) in order to increase our understanding of a phenomenon about which we are interested or concerned (Leedy Ormond, 2010, pg. 2). Nunans definition (as cited in Mustafa, 2011), describes research as having a question, problemRead MoreEvaluation Of A Research Methodology925 Words   |  4 Pagesthe Research Methodology This research methodology is an action plan because the researcher is trying to create a improvement plan in her own school. This will be working with at-risk and special education students in the math classroom and ways to better serve those students using differentiated instruction and technology to help lessen the educational gaps those students have and to raise MAP scores. Proposed Research Design The proposed research plan will include two classrooms of at-risk andRead MoreEvidence Based Practice : An Important Aspect Of Many Professions772 Words   |  4 PagesEvidence-based practice is an important aspect of many professions, especially ones based in science. Psychologists base their work on the science of psychology and follow a code of ethics, part of that code is competence. The practices used by psychologists need to be based on scientific research that has been peer reviewed. This helps the psychologists avoid making mistakes by using practices that could be harmful or that do not work. Identifying and assessing evidence-based practices beforeRead MoreTwo Methods Of Formative Assessment1377 Words   |  6 PagesAMAL ABDULAZIZ SUMMARY This paper is about two methods of formative assessment used to improve students’ achievements, The present literature on assessment suggests that assessment for learning (formative assessment) not only represents a tool to assess students’ learning but it also serves as a pedagogical tool to enhance learning and thinking. Moreover, formative assessment is used collaboratively by both teachers and learners to enhance learning; adjust teaching and learning activities; and provideRead MoreBenefits Of A Tutoring Program1699 Words   |  7 Pagesidentified based on the following data: Phonological Awareness Literacy Screening (PALS) assessment, Bi-Weekly testing, Benchmark testing, and Standards of Learning (SOL) assess-ments. The purpose of this proposed program is to minimize the amount of stu-dents that are referred to child-study. Bringing a student before the child-study team can lead to that particular student being found eligible for special education services. If a student is labeled under a disability of special education it oftenRead MoreHow Does Rti Helps School Districts Recognize Students Who Are Below Grade Level And Provides Progress Monitoring?988 Words   |  4 PagesRTI helps school districts recognize students who are below grade level and provides progress monitoring, interventions and intense instruction (O’Meara). The RTI framework consists of three components, the assessment process, tiered interventions and the problem solving method (Appelbaum). Tier 1 provides instruction that is curriculum aligned, utilizes differentiated instruction and feedback on progress (Searle). If a student is struggling in tier 1, they are moved to tier 2. Tier 2 offers studentsRead More Response To Intervention Essay1457 Words   |  6 PagesRTI, is an acronym that has become commonly used in education after No Child Left Behind was implemented, but what does that acronym mean? Brown-Chidsey and Steege quoted Dave Tilly, a school psycholo gist, as saying that RTI actually means â€Å"really terrific instruction!† RTI is defined differently in different states. Some would argue it is Response to Intervention, while others say that it means Response to Instruction. Brown-Chidsey and Steege state that whether you say intervention or instructionRead MoreRoadmap to RtI Pre-K Essay678 Words   |  3 Pageslikelihood that the students can be successful and maintain their class placement by early recognition and deliver appropriate instructional interventions. With this tool teachers can address the needs using research-based learning. All of the students’ progress is assessed early and often. A common concern shared by the parents and teachers is how to help the student who experience difficulty learning in school. A goal shared by the parents and teachers is seeing that the student excels. There areRead MoreStudents With Disabilities : Instructional Practices For Literacy Essay1188 Words   |  5 Pages Students with Disabilities: Instructional Practices for Literacy A Review Of The Literature Alicia M. Genco Charleston Southern University â€Æ' Abstract Students with disabilities are at a higher at-risk for dropping out of high school at a greater rate than typically developing peers (Pyle Wexler, 2012). Students with identified disabilities are required to a free and appropriate public education (FAPE) according to law, and these students have unique needs that general education curriculum

The Classic Features Expressed in Love-Based Movie free essay sample

It is known as the virtue representing human kindness, compassion, and affection. Yet, on the other hand, it is also the starting point of complex emotional concepts such as anger, harshness, impatience, envy, mistakes, revenges, and expectations. On account of various subsets of the theme of love, many movie directors have always had a keen interest in detangling the intangible idea of love and its subordinating emotions throughout their movies. However, it has always been an extremely challenging task to express and deliver the feeling of love through medium. Movies provide more than entertainment. Movies are cultural artifacts created by specific cultures, therefore they always reflect cultures and history of the region, and in return affect the audience. The author believes that the intertwining features of the movie are to evoke people’s emotions, and get one’s thoughts out to other people and reach them by expressing his views. Unlike stories in literal form, a movie has sound and images, and this makes it easy to get into the story, and at the same time, harder to get distracted. Even though visual basis of ovies gives it a universal power of communication, it is common that the misuse of artistic, theoretical, or technical aspects could lead audience to have substantially different perceptions from the original contemplations of the director. Therefore, directors are very cautious when making romantic films. Romance movies are the love-based movies that are gaining increasing popularities on worldwide scale in current society due to the globalization. Romance movies are normally, in plot-driven presentations, portraying realistic characters, settings, life situations, and stories involving intense character development and interaction. It is difficult to describe what a romantic movie entails and there is a differential factor between the age groups as well as the time and the setting of the movie. But, romance movies tend to keeps people in suspense and keeps them anticipating for what will happen next. Also, by nature of the movie, romance movies reflect the concept of love which is heavily influence by local culture and history. This paper will mainly focus on similarities and differences of three regions romance movies, namely, Hong Kong, Japan, and Korea by analyzing selected romance movies in each region. . Hong Kong Romance Movie – Chungking Express 3. 2. Historical Attributes and Social Identities Implied in the Movie Chungking Express was made in 1994, while Hong Kong was undergoing changes and moving rapidly closer towards the millennium, and the landmark historical moment of handover to China in 1997. Hence, Chungking Express is likely to be categorized in the post-modernist movie of Wong Kar Wai, when Hong Kong seemed to have so many possibilities for the future in both bad and good ways. At that time, Hong Kong residents fell into dilemma, they were worried that political changes would result in a decrease of freedom, an undesirable change in lifestyle, and a negative effect on the economy, yet at the same time, they were happy to be returned to their motherland. This status of uncertainty made many people immigrated to other countries, but many of them came back shortly after, around 1995, because the economy of Hong Kong was still proved to be strong, and it suddenly seemed that the future would be better than what they had once thought. They were no longer worrying about the potential harms that might arise after handover but started to have some faith in Hong Kong’s future. In the movie, Cop no. 663 had the same feeling with Faye, he had faith in her, he firmly believed that Faye will remember their date and will come back one day. This is symbolizing people in Hong Kong started to believe that good times were going to knock on their doors after the handover. It is not hard to seek various metaphors in the first part of movie regarding on the history of Hong Kong at that time. The author believes that Brigitte Lin symbolizes China Cop no. 23 represents Hong Kong, and the English bartender obviously is the metaphor of British Force. In the movie, the English bartender convinced Lin to smuggle drugs with some Indians, but they cheat her and run away with the drugs. Hong Kong was initially founded because the British company wanted the lucrative trade of opium with China, and by that time India was already colo nized by the Britain. Cop no. 223 counts the number of pineapple cans, as many Hong Kong residents counted the days to July 1, 1997, and the feelings he had on the date May 1 is exactly reflecting the feeling Hong Kong residents had towards the handover. They want it to come, but at the same they were so afraid to confront with that day. However, deeply in their heart they know the date will eventually come and they have to get ready to have new lives. At the end, Lin shoots the English bartender and throws away her blonde wig. This represents China telling Britain to remove all signs of its country’s influence on Hong Kong. The 1984 Sino-British Joint Declaration which outlined the handover of Hong Kong, and catalyzed the emergence of new ‘national’ identity and culture in a city-state of Hong Kong. Cultural identity of Hong Kong was that, although inevitably defined by its closeness to mainland China and its western link as British colony, had not prevented Hong Kong from creating its own culturally specific identity. Chungking Express offers the audience a melting pot of Chinese, Japanese and western culture that is uniquely Hong Kong’s. See, in the movie, Cop no. 223 speaks four languages both in his narrations and when he is socializing, this is emphasis of Hong Kong’s multi-culturalism, international facets. 3. Japanese Romance Movie – Love Letter . 3. Romanticized Nostalgia for the Past After World War II, Japan was able to stand up again from the ashes of nuclear attack like a phoenix, and soon became a prosperous industrial nation, this period of rapid recovering was often called as the â€Å"Golden Age† in Japan. However the Golden Age did not last long. In 1989, the death of Emperor Hirohito declared the end of happy and prosperous period of Showa era and announced the beginning of the Heisei period which marked Japan’s prolonged political, as well as the economic and social decline. This big turning point of Japanese history not only burst the bubble economy and triggered a series of social problems, but also deeply attacked Japanese national confidence and pride. During this period of time, people started to miss the â€Å"good old days† of Showa era, and sought a number of methods to heal and cure the wounded confidence and national pride of past Japanese. These kinds of attempts to boost national confidence and pride have often taken the form of memorizing the â€Å"Golden Age† they have experienced in the past. Love Letter is a contemporary Japanese love story, about two women who loved the same man. They wrote letters to each other about the man they both loved, and eventually discovered in the process that the past is not what they thought it was. At the end, one of the women, Hiroko, having realized that she is not her fiances true love, decides to move on with her life. Japanese people were happy in the past, but now comparing the present-state of Japan, the past is not what they thought it was, it somehow resulted the tragedy of today’s Japan, and now people have to once again boost up their energy to re-build and strengthen today’s Japan. In a sense, two situations are very resembling under the author’s interpretations. Also, judging from clues in the movie, two young Itsukis’ (female and male) probably went to high school in the 1970s or 1980s when Japan was at the peak of its success, and we can infer that their teenage years were always blessed with beautiful memories and sweet moments. This blockbuster movie Love Letter was nominated for numerous film awards, and the actors and actresses (mainly actresses) were able to gain great popularities and acknowledgement in Japanese film industry. The city of Otaru, which was the main setting, became the famous tourist spot in Japan. It is not hard to infer that the movie Love Letter has brought a big impact in Japanese society, thus even today, almost two decades after the movie was firstly publicized, a lot of people still remember this composition. Also, it became the most significant influence on post-1990s Japanese melodrama involves the protagonist’s loss of a loved one. The post-1990s Japanese melodrama involves the protagonist’s loss of a loved one, normally follows such plot: she cannot overcome the trauma until the deceased returns. Furthermore, the deceased usually returns to encourage those living in reality to look to the future. At the end, the protagonist generally let go of the past to start a new chapter in life. Whether or not out of purpose, a lot of movies after Love Letter dealt with the topic of â€Å"death†. Is this selection of the theme of death merely for the purpose to evoke tear? The author does not think so. The author believes that symbolic meaning of â€Å"death† is also conveying nostalgia for Japan’s golden age before the bubble economy. Also, symbolic meaning of death shows that Japanese people’s obsession with pure love, and their belief that the death does not meaning the end of love and the beauty of the love. . Korean Romance Movie – The Classic 5. 4. Disclosure of National Traits Formed from Korean History Tracing back to Korean history, since Shilla unified the Korean Peninsula in the year if 668, Korea has been ruled by a single government and has maintained its political independence and cultural and ethnic identity. However, the state of Korea w as formed and settled long ago, it had frequently affected by the foreign invasions from Mongols, Manchus, and Japan. In the late 19th century, Korea became the focus of intense competition among imperialist nations such as China, Russia, or Japan. In 1910, Japan annexed Korea and instituted colonial rule before the National Liberation Movement in 1945, but soon after the return of the land, territorial division occurred and hence formed the current state of South Korea and North Korea. Looking at the history of Korea, from the ancient time, Korea’s geographical placement was always at the risk of being invaded by other nations, and was been under threat from the Japanese military for hundreds of years. This kind of traumatic history of Korea shaped the inter-emotion of â€Å"resentment† deep inside of Koreans’ heart and it was delicately displayed in Korean movies. The sorrow of not being able to control their own destiny constitutes the protagonists’ inescapable and fate, as demonstrated in Kwak Jae-Yong’s movie The Classic. Two loving souls cannot simply peacefully love each other, their relationship was never kept safe and secure. There are always external factors that hinder the loving relationship. In The Classic, Tae-Soo falls in love with Joo-Hee, while Joo-Hee and Joon-Ha were always madly in love. External factors were not simply about the involvement of the third character, there are bigger issues such as marriage of convenience, Vietnam War, and variation of social classes and status. The hopeless love and the inescapable fate of the characters reflect Koreans’ effort to change history, but the endings showed that nobody can change the past. Yet, the new love in the later generation portrayed the hope of Korean people to rewrite their traumatic history, and reveal the deep wounds in their hearts that cannot be healed easily. Time-manipulation and flashbacks are common narrative patterns in Korean romantic melodrama. Ji-Hye, the daughter by reading her mother’s letters unrevealed the tragic love story of her mother and it was partially told in flashbacks. Two separated souls can be regarded as an allegory for the tragedy of Korean national division. The director Kwak Jae-Yong intentionally put Ji-Hye and Joo-Hee in a similar love triangle. However, at the end, differentiated from Joo-Hee’s tragic love story, the director gives Ji-Hye a rather happy ending, so that we could have optimistic and positive view on our generation (future). The paralleling love stories of a mother and daughter shows that the past was sad and tragic but the new will serve as a spiritual panacea, and contribute to a vision of peace and blessings and even the national unification. It serves as a bandage for the wound originating from the inevitable, tragic fate of Joo-Hee and Joon-Ha. This contrasting joyful ending can be perceived as an analogy of a panacea for the historical trauma of the older generations. 5. Compare and Contrast: Similarities and Differences 6. 5. Deep Influence of the History and Culture Chungking Express, Love Letter, and The Classic are three of the most famous romance movies representing Hong Kong, Japan, and Korea. They are selected here because they have one big notable similarity: they portray the various manifestations of love influenced by the local culture and history. The history is taking a huge role in these three movies, but somehow reflected in different ways. A scene from Chungking Express, the Cop no. 633’s dialogues with objects in the house transcend the daily routine of normal people, and the narration of Cop no. 233 shows the emptiness and the loneliness of people in Hong Kong with the new cultural feature of Hong Kong which is â€Å"space of disappearance†. Also at the end, Cop no. 33 quit the job as British policeman and decided to settle down and run a local corner-shop shows that Hong Kong is finally out of British control and now be able to enjoy life as Hong Kong people with Hong Kong’s unique identity. Love Letter, on the other hand is less political, but more emotional, touching movie that seems to reflect Japanese citizens’ nostalgia towards good old days because the change in era caused so much negative effect in Japanese society. The Classic manifested people life in 1950s and showed how one’s fate could be so twisted that it could never possibly be recovered, just like Korean history. In Chungking Express and Love Letter, directors tend to express the present happening (which became the history in our point of view) historical incidents and citizens’ mind influenced under this system. However, in The Classic, it described the characteristic of Koreans which is formed gradually over time, in other words, the accumulated emotions due to the unstable historical background. The Artistic effects directors have used to approach the audience is also worth noticing, In Chungking Express, the directors used the handheld camerawork so that the audience can feel the chaotic atmosphere of the environment. And the seemingly disjointed stories incorporated with such camera work, it explained what is â€Å"a picture is worth a thousand words†. The insertion of the background music is a great effect in the movie, â€Å"California Dreaming† associated with this story, it compose a much sadder emotion. Faye desperately wants to fall in love, she wants to be close to Cop no. 633, even it means rummaging through his stuff. At the end, when Cop no. 633 noticed everything, she instead of yearning for his love decided to leave. The heavy reliance in music to convey emotions can also be found in The Classic and Love Letter. In The Classic, the romantic scene of Sang-Min and Ji-Hye running through the rain under Sang-Min’s coat was accompanied with guitar-based folk music which as a result composed remarkable moment. In Love Letter, the slow classic music with the white snow background, made HatsuKoii (first love) purer and more tear-jerking than ever. These effects are sufficiently strong to make viewer associate and remind the beautiful scene of the movie immediately after listening to these background music. . Conclusion Famous screenwriter Anthony Burgesss once said, â€Å"It is funny how the colors of the real world only seem really real when you watch them on a screen. † Though romantic type of movie’s main purpose is to deliver the strength of love, which is powerful enough to turn frowns to smiles and occasionally similes to frowns, however, audience have to always bear in mind th at a movie is cultivated by various political, economic, social and cultural forces in a society, and hence, it is an extremely important medium which portrays social norms and values.

Consumer Behavior for Group and Interpersonal -myassignmenthelp

Question: Discuss about theConsumer Behavior for Group and Interpersonal. Answer: External influences Group and Interpersonal influence Reference groups are considered of the segment that helps in providing significant relevance on the consumers and the impact is assessed by the behavior, evaluations and aspirations of the consumers. These groups help in influencing the ways in which the consumers can look for and receive their values for the consumption of the product. It can be seen that most of the customers who are most 35 years of age have covered themselves under the life insurances that will provide them with the group schemes along with super funds (Hawkins, Mothersbaugh and Best 2013). This will help the other customers who are between this particular age group to take up the life insurance plans, as the customers who are already covered in this scheme will help in explaining it in a better way to the other people. The word of mouth policy can help the insurance companies in insuring the customers who are not covered under any plan. Therefore, the influence of the reference groups helps in creating a positive impact on the customers who are yet to approach the life insurance companies for taking up a plan (Oliver 2013). Role of Situational influences The marketers have to identify the factors that will help in attracting the customers towards the product. The factors of culture have to be studied in a proper manner by the marketers, as it is one of the important aspects that help the society in influencing the behavior of the consumers. The cultures of the society constitute of different religions and nationalities, which will help the marketers in selling their products in a better manner. An example of this would be that the marketers can help in designing the products according the tastes and preferences of the reference groups, which will help in attracting more number of consumers (Cohen, Prayag and Moital 2014). The social factors such as the influence of the family needs to be taken in to consideration as well, as the marketers will be able to evaluate the product in a better manner with respect to the roles that the husbands, parents and wives play. The decision to purchase a particular product can be influenced by one of the members of the family, which will help in purchasing of the product (Rani 2014). The marketers need to capitalize on the personal factors of the customers as well such as the lifestyle of the consumers, age and the economic background of the people. the behavior of the consumers are influenced to a great extent, as it will help the consumers in purchasing the services and the goods with the availability of the time. The different cycles of life such as single, unmarried and married people will help the marketers in developing the products in an efficient manner so that it can help in attracting the customers (Lantos 2015). The occupation of the people helps in determining the economic background and the capacity that they have in purchasing the products that are being offered by the marketers. An example of this would be the high and low income group of people respectively, for whom the products have to be designed by the marketers according to their financial conditions. The lifestyle of the customers is also a way of identifying the potential behavior of the consumers, as it helps in determining the society in which the consumers are living. It can be expressed with respect to the surrounding environment of the customers, which will help the marketers in assessing the products that will help in attracting the customers (Muruganatham and Bhakat 2013). Culture and sub-culture Schwartz 10 core values The values that are presented by Schwartz are the motivational goals that help the humans in identifying their basic needs so that the actions can be coordinated in a better manner, which will help the individuals in prioritizing their needs. The values are as follows: Benevolence- The target market of the MLC Life Insurance are the people who are between the age group of 30-39 years and are expected to start a family. This core value will help in the enhancement and preservation of the people with whom the individuals maintain frequent contacts such as their family. Most of the target market that has been identified by the company has started their family or are about to start their family, which will make them responsible for their future (Schwartz et al. 2014). Universalism- The consumers are tolerant and help in the protection of the welfare of the people, as they are raising their own family or are expecting to raise a family. This will help the customers in caring about their surrounding people and the environment. Self-direction- Most of the consumers will have a though process that is pertaining to their independent thoughts about their own family so that they can choose and create their own goals. This will help the marketers in assessing and evaluating the products in a better manner so that the decisions that are taken by the families can be independent in nature. Security- The consumers will be looking for security, as they are willing to settle down as a family. The social as well the family security will increase for the customers when they will purchase the insurance policies from the company, which will help in covering their damages. The planning of the future will be done in a secured manner so that it will help the families to live in a controlled environment (Schwartz 2013). Conformity- The start of the family by the consumers will restrict them from leading the lives that they used to in the previous situations, as it may result in harming the surrounding people due to the violation of the rules within the society. As most of the customers of the target market are obedient and disciplined, it will help in selling of the products of the company. Hedonism- The range of the target market that is the consumers for the life insurance company needs to enjoy their life without any hesitation. The consumers need to indulge themselves in different activities so that they can enjoy their life. Achievement- The families of the target market will help the individuals in achieving their goals in the short run so that it can help them in the future. It will help in making the individuals ambitious and capable so that they can influence the society in a better way. this will help the consumers in planning their future in a better manner so that they can secure it for their next generation. Tradition- The consumers will be familiar with the customs and the rituals that are followed in their homely environment so that they can mutually respect the culture and religion of other people as well. Stimulation- The stimulation needs to be provided by other members in the society in purchasing the product, as they will be able to benefit from the product or the service. It helps the consumers in dealing with their challenges in a normal manner in their regular lives. Power- The status of the consumers in the society and the control that they have over the resources and the people will help them in being recognized within the society. The power to influence the people will help the individual in getting better control over the society (Griskevicius and Kenrick 2013). The target market for the company will be covered under the core values as opined by Schwartz because most of the customers want value for their money, which will help the insurance company in designing the products according to the tastes and preferences of the customers. The society that the company will cater to is between the ages of 30-39 years and is expecting a child or already has a sibling. They are full time employees of various companies and the income of the entire household is less than $80,000. The attitudes of the target market are that they have a balance between their work and life and have an idea about the insurance market. These people have a planned future, which will help them progressing in a better manner. The consumers are conscious about the price, as they want the products that will help in yielding value for the price that they pay (Claiborne and Sirgy 2015). The target market have all the values imbibed within themselves, as they are about to start a family. This will help them in increasing the social responsibility within the society so that they can lead a better life. Since they belong to the middle income group, they will try to save for their future by investing in the life insurance plan and make their future secure. The product will appeal to the specific target market because most of the consumers are settling down in their lives, which will help in selling out of the plans. The target market will be willing to purchase the product, as they need to a clear idea about the product that will be circulated in the insurance market. This will help in increasing the level of consciousness among the customers with respect to the product (Mullen and Johnson 2013). Needs and Motives The service that will be provided by the insurance company is available on a ready basis, as it will help the marketers in making the consumers understand about the product. The process of consumption for the consumers will be based on the perception that they have regarding the product issued by the company. The product is then sensed by the consumers, which allows them to understand the viability of the product along with the future need of it. The second stage is the cognitive organizing that helps the consumers in assembling the information of the product in their brains so that it can be recognized in a better manner. Cognitive refers to the process of thinking that is done by the individuals. The stimulus of the consumers will help them in gaining a better insight about the quality of the product so that they are willing to purchase it (Cantallops and Salvi 2014). The theory of hierarchical needs by Maslow can be distinguished by the psychological needs, which are the basic needs of the consumers such as the food, air and clothes that will help them in living in the society in a proper manner. The safety needs are inclusive of the physical and the environmental safety of the consumers so that they can lead a better life. The safety and security that will be provided to the consumers will help them in securing their future in a proper way by investing their income in the right processes. The insurance that will be taken up will help the consumers in securing their future with that of the present, which will give them protection during the time of emergencies or accidents (Lades 2014). The social needs of the consumers will help the consumers in being tied with their close ones and acquire the affection and love for them, which will help them in creating a sense of belongingness. The esteem needs of the consumers helps the consumers in earning self respect and competence in an external manner, which leads to the recognition of the consumers on an external manner. The manner in which the individuals will lead their lives will help them in being recognized within the society. The need of self-actualization helps the consumers in becoming potential for growing within the community or the society where the individual resides. It will help the consumers in gaining more knowledge and accessing more information about the product so that they can sense the benefit of purchasing it (Nwachukwu and Dant 2015). Strategic implication The marketers need to adopt new strategies for the modern era so that it can help in affecting the behavior and the attitudes of the consumers. The marketers need to analyze the taste and preferences of the consumers in the changing time so that the product can be developed in a modern manner. The marketers need to analyze the target segment and decide on the variations that will be made available for the product so that it can help in attracting the customers. They need to come up with different solutions that will help in selling of the product in an easy manner. The channels of distribution need to be evaluated by the marketer so that it will act as an incentive in attracting the customers towards its products. The marketer needs to analyze the online channel as well, which will make it easy for the consumers in accessing the product provided by the company (Rani 2014). Reasoning versus operant conditioning The concept of reasoning helps the individuals in restructuring the process of thinking so that it can help in recombining the information that is present along with the new information that will help the individual in forming new concepts and associations. However, the operant conditioning concept is the response that allows the individual in repeating the same task in the same situation in the near future. The consumers will likely be taking up the insurance policies over a repeated manner if they find that it is suitable for them and will try to make the other members repeat the process. They will firstly try to analyze the information about the policies so that they can have a better knowledge regarding it and will repeat the action over a period to use the benefit that is derived from the policy (Claiborne and Sirgy 2015). Marketing strategy The marketers need to analyze the market segment and gather all the information so that they can design the product in an organized manner. The product has to be understood by the target segment so that they can purchase it. The price needs to be justified for the target segment, as it will help in selling of the product in an easy manner, which will help in increasing the profit of the company. The product needs to be promoted through the various media platforms so that the details about the product can be communicated among the target segment in a proper manner. The use of online and print media will help in promoting the product in a better manner, which in turn will help the consumers in getting attracted towards it (Mullen and Johnson 2013). Conclusion Thus it can be concluded that the marketers of the life insurance company needs to analyze the market for the given target segment in a proper manner so that it can help in selling out of the product. The reasoning and the operant conditioning will help the consumers in analyzing the product before they can purchase it so that the task can be repeated continuously among the different members of the family as well. The theory suggested by Maslow will help the consumers in specifying its needs by the consumers according to the level of importance. Reference List Cantallops, A.S. and Salvi, F., 2014. New consumer behavior: A review of research on eWOM and hotels.International Journal of Hospitality Management,36, pp.41-51. Claiborne, C.B. and Sirgy, M.J., 2015. Self-image congruence as a model of consumer attitude formation and behavior: A conceptual review and guide for future research. InProceedings of the 1990 academy of marketing science (AMS) annual conference(pp. 1-7). Springer, Cham. Cohen, S.A., Prayag, G. and Moital, M., 2014. Consumer behaviour in tourism: Concepts, influences and opportunities.Current Issues in Tourism,17(10), pp.872-909. Griskevicius, V. and Kenrick, D.T., 2013. Fundamental motives: How evolutionary needs influence consumer behavior.Journal of Consumer Psychology,23(3), pp.372-386. Hawkins, D.I., Mothersbaugh, D.L. and Best, R.J., 2013.Consumer behavior: Building marketing strategy. McGraw-Hill Irwin. Lades, L.K., 2014. Impulsive consumption and reflexive thought: Nudging ethical consumer behavior.Journal of Economic Psychology,41, pp.114-128. Lantos, G.P., 2015.Consumer behavior in action: Real-life applications for marketing managers. Routledge. Mullen, B. and Johnson, C., 2013.The psychology of consumer behavior. Psychology Press. Muruganantham, G. and Bhakat, R.S., 2013. A review of impulse buying behavior.International Journal of Marketing Studies,5(3), p.149. Nwachukwu, S.L. and Dant, R.P., 2015. Consumer Culture in Developing Economies: Is it Really So Different?. InProceedings of the 1990 Academy of Marketing Science (AMS) Annual Conference(pp. 35-40). Springer, Cham. Oliver, R.L., 2014.Satisfaction: A behavioral perspective on the consumer. Routledge. Rani, P., 2014. Factors influencing consumer behaviour.International journal of current research and academic review,2(9), pp.52-61. Schwartz, S., 2013, May. Value priorities and behavior: Applying. InThe psychology of values: The Ontario symposium(Vol. 8). Schwartz, S.H., Caprara, G.V., Vecchione, M., Bain, P., Bianchi, G., Caprara, M.G., Cieciuch, J., Kirmanoglu, H., Baslevent, C., Lnnqvist, J.E. and Mamali, C., 2014. Basic personal values underlie and give coherence to political values: A cross national study in 15 countries.Political Behavior,36(4), pp.899-930.