Labeled behavior Essay

After his release from Wiltwyck, dam lived with his dad in a run-down tenement in the Bronx. butch admired his father for his flagitious exploits and his time imprison. dikes dad got drunk a lot and beat on dyke. manners degenerated into a nightmare and a series of tragedies for Butch. Rather than continue to live being beaten, Butch robbed a taxi driver at knife point and turned himself in to the police. The robbery was also instigate of his dream to become a real criminal. It was as if going to prison was the only future he could envision.Butch imploded from all the terrible forces within him, including his shattered home life and the terror of living by the code of the street. He became violently angry without provocation and acted as if he were mentally retarded. He claimed to assure voices and tried to choke another boy. Butch was sent to Bellevue hospital for evaluation. The psychiatrist evaluating him found him seething with yellow bile and ready to explode at any mom ent. Butch was also l whizzly and needed someone to love. Nevertheless, he was capable of explosive, homicidal behavior.He was labeled as having childhood schizophrenia, which psychiatrists at the time assigned to anyone excited or claiming to hear voices. At age 14, Butch was sent to Rockland State Hospital. Butch became calmer there when he was removed from his parents troubles. A social worker discovered that his mother Marie was a prostitute and his father James, an alcoholic, was in the advanced stages of syphilis. The author speculates that congenital syphilis may have contributed to the familys troubles.The psychiatrists at Rockland State Hospital diagnosed Butch as having childhood antisocial behavior marked by irritability, inattentiveness, and impulsivity. In bounteouss, the syndrome is go throughn as psychopathy or antisocial personality disorder. Discussion (1) Heredity Study For the first time a family history of congenital syphilis is noticed. The disease attacks t he brain. Personality changes are another symptom. There is no track to know whether or not Butch was suffering from congenital or contracted syphilis and its set up without blood tests on him and the other family members.From the family history, this is a distinct possibility even back to slavery days. (2) differential gear Opportunity Theory People deprived of their basic needs such as food, water, shelter, safety, love, and self obedience will seek them any way they can get them. They may give up on their educational goals or not know about them. They fight because they know no other instrument of resolving conflict. After being beaten by his alcoholic father, Butch turned to discourtesy to refund to prison, a place where he would be safe, because he did not know how to escape legally.This theory fails to explain why other people in the same situation escape to live with other family members or turn to friends or some other source of safety other than commit a crime in or der to return to prison. (3) Crime and Labeling Theory Butchs grandmother Frances has repeatedly told him he has the devil in him, like his father did. She really believed this. He is labeled at the Childrens plaza when he begins to hear voices and hallucinate. He is sent to Wiltwyck, which is a residential treatment center for emotionally sickish boys, and he is given that label.He is labeled as paranoid, aggressive, and prone to violence. Once these labels are attached by professional diagnosticians, it is difficult to remove them. The labels themselves cannot explain Butchs actions or why he hears voices and hallucinates. The labels signalise what Butch says is happening. Example of Behavior 3 Butch tries to sell 150 pornographic pictures and their negatives to Dave Hurwitz in his pawnshop, called Daves Tailor Shop, in Milwaukee. Butch stole the pictures from his employer, the Evans Color Lab, which saw no reason to reputation the crime.Hurwitz told Butch to come back tomorr ow, and he would pay him $50 for the pictures. The next morning, Butch confronts Dave, who denies all acquaintance of the pictures. Butch sees his photos behind the case register and reaches around to reclaim them. Hurwitz starts pushing him out of the shop. Everything in Butchs life comes together. Here is a man calling him a liar, trying to hustle HIM, and sniffy him. Since he was a boy, he had learned that disrespect was the worst thing a man could do to you. He had been taught to use physical violence to meat that threat. The thought streak through Butchs mind was, He is disrespecting me. Butch goes wild with rage and grabs the long hunting knife from the sheath on his back. He stabs Hurwitz six times and a customer, William Locke, six times before he leaves, almost running over a witness at the door. Butch turns himself in, confesses to the police, never requests a lawyer, and receives life in prison, returning to the only safe place he knows. Discussion (1) Heredity Study We do not know if Butchs genetics predisposed him to crime. There are no blood studies confirming the transmittable syphilis. There are many people with genetic abnormalities who do not become criminal.It is obvious that Butch has now learned he is safe in prison, and that the security there fits his needs. If genetics were involved, Butchs male ancestors should exhibit the same behavior. The theory is not testable here. There is no way to ask Butch why he feels this way. It also does not explain his uncontrollable rage when the pawnbroker tries to avoid paying him. (2) derived function Opportunity Theory Butch has access both to a job and to illegal means of reservation a living. He stole from his employer and continued his life of crime despite the better example and the grapple he learned.Not all people with a trade and a job take return of their employers, even if their family male role models are criminals. (3) Crime and Labeling Theory By now, Butch has been labeled by professionals as a young sociopath. This describes behavior but cannot stop it or predict it. This is a account path. A person who is labeled as a sociopath will behave as one and the label will be confirmed. Sometimes no other reasons are sought for criminal behavior. The adult Butch has received no therapy or other treatment for any of his labeled behavior.

A Guide to Critical and Creative

Similar unsoundness in one residential argona suggests that there moldiness be a connection between the environment and the illnesses. Acting on that hunch, I would conduct interviews with the families and people that ar affected. All ideas and procedures in this easy can be found in chapter 10. (Ruggiero, 2012). I would ask them when did the symptoms suck in and what their official diagnosing, if any, has their doctor gave them. The assumptions that the earthly concern itself has to be the source of the contamination could thwart the investigation. To critic exclusivelyy think or so the issue I will wipe out to brainstorm well-nigh questions to be answered.What company or companies construct the houses? Who was in charge of overseeing the drawing codes? What companies were the building materials bought from? Is this company following completely rules of the EPA? What industries are close by? What do they produce and what is their environmental impact? At this beat, I ca n non get that everyone will be unclouded for interviews or share my passion for investigating the issue. I will make in mind that some of the information will be hear-say or secondhand information that whitethorn not be accurate.This showcase of information may winding to more interviews to check the source of the information. I would do research at the library to check maps of the area before it was genuine. The court house would have information about the land to look into also. Close by communities that have been developed years in the beginning may hold clues. I would ask around in those communities for a few leads on whom I may interview there. The symptoms and diagnosis of the people involved was the first clue as to what is the communal denominator of this issue. analyze the land before it was developed may lead to answers.This was the first assumption or hunch. The answers received from this break of the investigation may not add together up to the symptoms tha t could arise from the state of the land before it was developed. The abutting investigation would involve the materials that the homes are built out of. Even if the same contractor did not build all the houses, I must find out if the contractors may have used a common supplier. All through the investigation, the symptoms and illness must match the possible features. To critically think about the issue, all possibilities must be considered.It could be that two materials that by themselves are harmless, were used together to create a harmful environment. It is possible that the contractors may not want to speak about their practices concerning the development of this community. This would be the time to look for ex-employees to interview. I may face criticism for my efforts to find the cause of the illnesses. The criticism may be very helpful to my investigation. No matter how much I think I am sort or perfect, there is forever room for more information and improvement.I must tak e into consideration how my ideas match up with the information dispassionate with both positive and negative feedback. Trying to save face and convince people that my ideas are sink are not important. My curiosity will lead me to ask questions that lead to answers that lead to more questions. I will fight the erg to become trapped by my previous miscalculations. The facts in the case and the process of excretion will help lead the way. I must stay diffuse to the possibilities that a previous eliminated cause or idea may still have a determination to play in answer the problem.Similar illness in one community suggests that there must be a connection between the environment and the illnesses. Acting on that hunch, I would conduct interviews with the families and people that are affected. All ideas and procedures in this easy can be found in chapter 10. (Ruggiero, 2012). I would ask them when did the symptoms start and what their official diagnosis, if any, has their doctor gav e them. The assumptions that the land itself has to be the source of the contamination could hinder the investigation. To critically think about the issue I will have to brainstorm some questions to be answered.What company or companies built the houses? Who was in charge of overseeing the building codes? What companies were the building materials bought from? Is this company following all rules of the EPA? What industries are close by? What do they produce and what is their environmental impact? At this time, I cannot assume that everyone will be open for interviews or share my passion for investigating the issue. I will keep in mind that some of the information will be hear-say or secondhand information that may not be accurate.This type of information may lead to more interviews to check the source of the information. I would do research at the library to check maps of the area before it was developed. The court house would have information about the land to look into also. Close by communities that have been developed years earlier may hold clues. I would ask around in those communities for a few leads on whom I may interview there. The symptoms and diagnosis of the people involved was the first clue as to what is the common denominator of this issue. Investigating the land before it was developed may lead to answers.This was the first assumption or hunch. The answers received from this part of the investigation may not match up to the symptoms that could arise from the state of the land before it was developed. The next investigation would involve the materials that the homes are built out of. Even if the same contractor did not build all the houses, I must find out if the contractors may have used a common supplier. All through the investigation, the symptoms and illness must match the possible causes. To critically think about the issue, all possibilities must be considered.It could be that two materials that by themselves are harmless, were used togeth er to create a harmful environment. It is possible that the contractors may not want to speak about their practices concerning the development of this community. This would be the time to look for ex-employees to interview. I may face criticism for my efforts to find the cause of the illnesses. The criticism may be very helpful to my investigation. No matter how much I think I am correct or perfect, there is always room for more information and improvement.I must take into consideration how my ideas match up with the information collected with both positive and negative feedback. Trying to save face and convincing people that my ideas are correct are not important. My curiosity will lead me to ask questions that lead to answers that lead to more questions. I will fight the erg to become trapped by my previous miscalculations. The facts in the case and the process of elimination will help lead the way. I must stay open to the possibilities that a previous eliminated cause or idea may still have a role to play in solving the problem.

Iran Awakening

Jessica Muhr May 2nd, 2012 History of the Middle due east Iran Awakening One Womans Journey to Reclaim Her Life and Country This book, Iran Awakening, is a novel written by Nobel laureate Shirin Ebadi. Ebadi weaves the story of her life in a very own(prenominal) and unique way, telling the account of the overthrow of the shah and the establishwork forcet of a new, religious fundamentalist regime in which opposition to the government are impri word of honored, tortured, and murdered.By simply reading the Prologue, one can see the applaud Ebadi has for Iran and her populate. This love that Ebadi has for the oppressed of Iran is a theme that appears through with(predicate)out the book and seems to be a large factor slow her drive to stand up for those who cannot stand up for themselves. In the foremost chapter, Ebadi recounts her childhood from her birth on June 21st, 1947 in Hamedan, to her childhood in Tehran. Something that whitethorn come as a surprise to a lecturer was the equality between potent and female in Ebadis home.This equality, however, was not common in most(prenominal) Iranian households, Male children enjoyed an exalted status, sp crudeed and cosseted They often felt themselves the center of the familys orbit affectionateness for a son was an investment, says Ebadi. In Iranian culture, it was considered natural for a get down to love his son more than his daughter. In Ebadis home, though, she describes her parents affections, attentions, and discipline as equally distri scarceed.This equality in the home seems to play a large role in creating the strong, determined charr Ebadi would come to be, My fathers championing of my independence, from the play yard to my subsequent last to become a judge, instilled a confidence in me that I never felt consciously, but came to regard as my most valued inheritance. (Ebadi, 12). One may also find it enkindleing that as a child, Ebadi did not get by anything of administration until the coup d etat of 1953. On August 19th, 1953, the beloved Prime Minister Mohammed Mossadegh was toppled in a coup detat.Ebadi says that, as children, this news professionalgram meant nothing. But the adults could see what Ebadi, at the time, could not. The book makes it clear that, to those of Iran who were not paid to think otherwise, Mossadegh was revered as a nationalist hero and the father of Iranian independence for his bold move of nationalizing Irans oil industry which had been, until then, controlled by the West. Therefore, it was obvious that this was the beginning of a vast change for Iran. Before the coup, Ebadis father, a colossaltime supporter of the prime government government minister, had advanced to become minister of agriculture.In this new regime, Ebadis father was coerce out of his job, fated to languish in lower posts for the rest of his career. This was what caused a silence of all things semipolitical in the Ebadi home. Entering constabulary school in 1965 was a turning point for me, says Ebadi. The vast interest in Irans politics was shocking to her after coming from a home in which politics were never spoken of. After toying with the idea of studying political science, Ebadi decided on act a judgehip which is exactly what she did. In March of 1970, at the age of twenty-three, Ebadi became a judge.In 1975, after 6 months of getting to have it off each other Ebadi married Javad Tavassoni. Her conserve, unlike galore(postnominal) Iranian men, coped well with her master key ambitions. In the autumn of 1977, there was, what Ebadi describes as, a shift in the streets of Tehran. The shahs regime was attempt to reduce the power of the judiciary by setting up the Mediating Council, an extrajudicial outfit that would have allowed cases to be judged outside of the processal justice system. Some of the justices wrote a protest letter arguing against the council, demanding that all cases had to be tried before a court of law.This was the firs t collective action taken by the judges against the shah. Ebadi signed the letter. In January of 1978, chair Jimmy Carter arrived in Tehran, Iran and described it as an island of stability, something he later came to regret. Not long after President Carters statement, a news makeup article aggressively contend Khomeini inspired a revolt among the people of Iran, calling for his Khomeinis return the police shot into the crowd and killed many men. By the summer of 1978, protests had grown larger, making it impossible to avoid them. In early August, a move cinema in Abadan was burned to the round. This horrific slip burned 400 people alive. The shah blamed this notwithstandingt on religious conservatives Khomeini accused the SAVAK, the regimes secret police, which was a force of legendary heinousness against the governments opponents. This t religious cultdy upholded many Iranians against the shah. They now realized that the shah was not merely an American puppet. Ebadi herself says that she was draw to the opposition. She says that it did not seem a contradiction for her, an educated professional woman, to back it (Ebadi, 33). She had no idea that she was financial support her own fifty-fiftytual defeat.Ebadi uses something close to irony as she describes a morning when she and several judges and officials stormed into the minister of justices office. The minister was not there, instead a startled elder judge sit behind the desk. He looked up at us in amazement and his gaze halted when he maxim my face. You You of all people, why are you here? he asked, bewildered and stern. Dont you know that youre supporting people who will take away your job if they come to power? Id rather be a free Iranian than an enslaved attorney, I retorted boldly, self-righteous to the core. (Ebadi, 34) On January 16th, 1979, the shah fled Iran, ending both millennia of rule by Persian kings. The streets were over-crowded with euphoric citizens, Ebadi herself existence on e of them. On February 1st, 1979, Khomeini returned to Iran. For to the highest degree a month, the domain of Iran hung in the balance. In most of the cities an emergency military had gone into immediate effect and Khomeini had ordered people to go back into their homes by nightfall with the instruction to go onto their roof at 9pm and scream, Allaho akbar, God is great.On February 11th, Khomeini exhorted people to defy the 4pm curfew the military had imposed by coming out into the streets. Ebadi remembers going into the streets, hearing sounds of the gunshots echoing, and winning in the frenzied scene of emotion. The next day, the 22nd of Bahman on the Iranian calendar, the military surrendered and the prime minister fled the country. The country rejoiced, including Ebadi herself. She says, looking back, she has to laugh at the feeling of pride that washed over her for it took scarcely a month for her to realize that she had willingly participated in her own defeat. Ebadi, 38) Merely days after the revolutions victory, a man named Fathollah Bani-Sadr was appointed provisional overseer of the Ministry of Justice. Expecting praise from this man, Ebadi was shocked when he said, Dont you think that out of obeisance for our beloved Imam Khomeini, who has graced Iran with his return, it would be better if you covered your hair? This headscarf invitation was the first in a long string of restraints on the women of Iran. After organism away for less than a month, Ebadi could already see the changes that had taken place in Tehran. The streets were renamed after Shia imams, martyred clerics, and Third World heroics of an anti-imperial struggle. (Ebadi, 41) Her fellow co-workers, male and female, were dirty and smelled. The bow tie had been banned, being deemed a symbol of the Wests evils, smelling of cologne signaled counterrevolutionary tendencies, and riding to the ministry car to work was evidence of class privilege (Ebadi 42). Rumors spread that Islam barr ed women from being judges. Ebadi was the most distinguished female judge in all of Tehran.So, upon hearing these rumors, she tried to counter her worries with her connections but fifty-fifty this small comfort proved to be in vain. In the final days of 1979, Ebadi was in effect stripped of her judgeship. She stubbornly stood, though six months pregnant, as the committee flippantly tossed a sheet of paper at her and said, Show up to the research office when youre done with your vacation, her vacation being her maternity leave. The men then began to talk more or less her as though she was not there, saying things like, Without even starting at the research office, she wants a vacation another said, Theyre disorganized and another, Theyre so unmotivated its clear they dont want to be working The point Ebadi was exhausting to make is clear by the telling of these statements. Most men, especially those in the government, had lost what little respect they had previously held for wo men prior to the Revolution. That much, at least, seemed very clear. The post-Revolutions effect on women was a grim one. As Ebadi read in a newspaper piece titled Islamic Revolution, the life of a womans was now half(prenominal) that of a man (for instance, if a car hit both on the street, the cash compensation due to the womans family was half of that due the mans), a omans testimony in court as a witness now counted sole(prenominal) half as much as that of a mans a woman had to ask her husband permission to divorce. The drafters of the penal code had apparently consulted the s emergenceh century for level-headed advice. (Ebadi, 51). Ebadis head pounded with rage as she read this news. The grim statues that I would spend the rest of my life fighting stared back at me from the page, she writes. One effect of the new Islamic penal code was the imbalance it caused within Ebadis marriage. The day Javad and I married each other, we joined our lives together as two equals, she writ es. But downstairs these laws, he stayed a person and I became a chattel. They permitted him to divorce me at will, take custody of our time to come children, and acquire three wives and stick them in the house with me. (Ebadi, 53). Ebadi knew her husband had no intentions of putting this new law to use, but she still could not accept the distraction the imbalance between them was causing her. At length, Ebadi came up with a solution within the be given of the next morning, her and her husband drove to the local notary where her husband readily signed a postnuptual agreement.This granted Ebadi the right to divorce her husband without permission, as well as primary custody of their children in the event of a separation. Why are you doing this? the astonished notary asked Javad. My decision is irrevocable, Javad replied. I want to save my life. This eased Ebadis feeling of unrest greatly, her and her husband were equals again, but a small part of her was still at unease. After a ll, I couldnt drag all the men of Iran down to the notary, could I? (Ebadi, 54). September 22nd, 1980 marked the day that Saddam Hussein launched a full-blown attack on Iran.Though the popular dis nub with the revolution had by no means abated as Ebadi mentions, during the war, the newspapers still had long lists of the executed, all the former regimes officials and counterrevolutionaries who had been shot or hung, and sometimes pages filled with macabre photos of gallows and nonviable bodies. Despite all of this, the people went on, just as they had through the upheaval after the revolution. In short, the hug drug after the revolution was one filled with much strife, war, and repression.This strife first became personal to Ebadi in the form of the political imprisonment and murder of her brother-in-law Fuad at the young age of 24. Fuads death made me even more obstinate, she writes. We had been told not to discuss his death with anyone, so I talked about his execution night an d day. In taxis, at the corner shop, in line for bread, I would approach perfect strangers and tell them about this sweet boy who was sentenced to twenty years in prison for selling newspapers, and then executed. (Ebadi, 89)This tragic event in Ebadis life, the hot outrage that it made her feel, is remembered as the spark which would lead to her return to legal practice in the 1990s. Things had, of course, continued to happen since Fuads death in the fall of 1988. In 1989, Khomeini had died, the komitehs harsh, unnecessary punishments grew more serious and frequent Ebadi writes of one instance in which her friends fiance is whipped 80 times with no legal grounds whatsoever. The extreme laws against women grew more and more severe.When Ebadi was arrested for the first time (for a crime of wardrobe), she mentions an elderly woman who was arrested for the crime of corrosion slippers. Yet over time, it again became fashionable for the daughters of traditionalistic families to attend college, Ebadi writes. Throughout the nineties, the number of women with college degrees rose steadily, and eventually the women began to outnumber the men in universities by a small margin. This new wave of educated women emerging from Iran created a people that was no longer content to slip back into their old, traditional roles in the home.This new attitude was often met by extreme clashes within the family. Ebadi writes of one such woman who, upon requesting a divorce from her husband, was refused by her father. Facing a lifetime of unhappiness, the woman doused herself in gasoline and set herself ablaze. In 1992, Ebadi again began practicing law, this time exclusively taking on pro bono cases. She pored over religious texts, attempting to gain sufficient knowledge to argue against particular interpretations that would claim that, within Islam, homophobic interpretations were to be made.Ebadi began to take on only the cases of women and children, for these were the ones who w ere constantly at the mercy of a sick, twisted government. Ebadi took on many cases one was that of the family of Zahra Kanzemi, an Iranian journalist who had been killed in police custody in 2003. Another was that of a student who was beaten to death by paramilitaries during a 1999 protest Ebadi herself was imprisoned during the course of this case. While jibe through the paperwork for a case representing the children of a couple who had been slain in their home, Ebadi stumbled across the official warrant of her own assassination.The response Ebadi has to this shocking information was one of the major instances that. I believe, greatly endears her to the reader as an extremely brace and powerful woman. I wasnt scared, really, nor was I angry, she writes. Instead, Ebadi simply wanted to know why. One thing that is truly unique about Ebadi is the way in which she writes about her life choices. She writes about them as if they were natural, obvious, and just the thing anyone would h ave done in her place. In reality, this is not so.Many others around Ebadi had the schooling and ability to make the same choices that Ebadi had made, but they did not, some even emigrating during the Iran-Iraq war. For Ebadi, patriotic to the core, the only choice was to stay. She has a love for her country that defies the instability and repression the government tries to place upon her. Ebadi knows, deep within herself, that the government is not the country. The only moral choice she could live with was to fight injustice with law the very law the injustices claimed themselves to be. Following the domesticize Era, you can see Ebadi breathe a huge sigh of relief.The years of constant disquiet over everything, even her girls birthday parties, were behind her. The days when young people would be whipped for venturing into the mountains together, women would be detained or lashed for simply wearing a smudge of makeup or nail-polish, or for wearing any color clothing besides navy or black tones, were happily retired. Moderate President Khatami sought to pull back the systems interference in the peoples secret lives, but as Ebadi states, President Khatami deserves only a measure of credit for this shift.Really it was because my daughters uncowed generation started fighting back, and, through the force of their sheer numbers and boldness, made it unfeasible for the state to impose itself as before. This book was, in my opinion, a fantastic portrait of a life lived in truth. It was a delight to see how Ebadis simple courage and outright stubbornness made a vast difference in the lives of many, even in the face of extreme adversity, like her own possible assassination. In conclusion, I will erstwhile again quote Ebadi, as she articulates the dignity of the reform movement within Iran. It so happened that I believed in the secular separation of religion and government because, fundamentally, Islam, like any religion, is subject to interpretation. It can be co nstrue to oppress women or interpreted to liberate them I am a lawyer by training, and know only too well the permanent limitations of trying to enshrine inalienable rights in sources that lack amend terms and definitions. But I am also a citizen of the Islamic Republic, and I know the futility of go up the question any other way.My objective is not to vent my own political sensibilities but to push for a law that would save a family like Leilas a child who was raped and murdered from neat homeless in their quest to finance the executions of their daughters convicted murderers. If Im forced to ferret through musty books of Islamic polity and rely on sources that stress the egalitarian ethics of Islam, then so be it. Is it harder this way? Of course it is. But is there an alternative battlefield? Desperate wishing aside, I cannot see one. Shirin Ebadi

Economic Activity as Reflected in Painting:

scotch ACTIVITY AS REFLECTED IN PAINTING THE CONTRASTING VIEWS OF ECONOMISTS AND ART HISTORIANS 1 Manuel Santos-Redondo Universidad Complutense de Madrid las diferencias con respecto al Documento de Trabajo disponible en la Web estan subrayadas 1. Introduction The Money changer and his Wife is in all likelihood the celluloid around widely used to enlarge scotch drill, and so it is (supposedly) well known by economists, musical compositionagers, and accountants. The report book which fall outs in the submit is the reservoir of ca-caer AECA (Spanish Association of Ac figuring and business sphere of influence Administration) logotype.It is a Flemish characterization from the early 16th century. non so many economists atomic number 18, however, aware that in that respect are two polar translations of this picture one by Quentin Massys, miscellaneous ab protrude 1514 (now in capital of France, the Louvre), and an opposite by Marinus (Claeszon) forefront Reymerswaele , create in 1539 (now in Madrid, in the Prado). There are characteristicificant changes betwixt the two versions. This being the Scholastic period and also the geological era of the mercenary-grade revolution in Europe, we would expect this picture to direct some sort of economic think uping, and for the changes in the pictures to reflect these changes in economic activity and economic concept.We will argue in this paper that thither does exist such a sum and that also the very classic changes between Massyss and Reymerswaeles pictures study very much to do with the economic changes in Europe in the beginning of the 16th century. near subterfugeificeric production historians withstand seen in Massys and Reymerswaeles icons a sarcastic and object less(prenominal)onising symbol, The Money Changer and his Wife being the office of greed. Others think that the picture shows economic activity in a honest management.Flanders at that time was the meat of a easy in debrisrial and moneymaking(prenominal) activity, and also was the centre of a moneymaking(a) trade in pretends of art. Both things led to a representation of the transactional activity of propertychangers, princelysmiths, and bankers in a authority that shows those activities as expert professions. The second view is the one implicitly shared by economists when choosing this picture to adorn many books on economics or care. Some scholars lay down proposed more subtle recitals.Marjorie Grice-Hutchinson, the historian of economic thought who first aroused the interest of economists in the Spanish Scholastics of School of Salamanca, considers Massys painting to be an spokesperson of the intention of Scholastics to make compatible the commercial customs of the time with Church doctortrine on usury. correspond to her interpretation, Massys painting would mean the money lender takeing and, at the alike(p) time, discussing with his wife the fairness of a hitticular co mmercial deal, helped by the sacred book his wife is reading.It is main(prenominal) to circuit board that, 25 historic period on, the book in Reymerswaele painting is no longer a religious work but an accounting book. But art historians claim that there is still some symbolism in the painting which gives it a object lessonising and satiric intent. According to them, this symbolism was clear to contemporaries but not to us or sometimes would have been intention whollyy difficult to notice for those contemporaries who were not in the same religious mathematical group as the catamount or his client. For instance, the long, curved fingers of the bourgeois couple allegedly represented greed.But Reymerswaele painted the fingers of Saint Jerome in the same way , so it must have an aesthetic intention and not a symbolic one. In the sour of reviewing the different interpretations provided by art historians of this picture and some differentwise alike(p) ones, we shall see that t hey are reconciled with the views that nigh art historians share ab erupt the economy (as Hayek points extinct in his chapter of The fatal conceit, 1988, The Mysterious World of Trade and Money) quite an than based on any bearing interpretation of the painting and history.Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art historians see a moralizing and satirical intention. My view is that art historians prepossession towards commercial and financial activity leads them to a wrong interpretation of the paintings. When the cougars wanted to be satirical and moralizing, they did it in a way that is clearly recognizable by us today. And that this is not the case with the The Moneychanger and his Wife, in either the version of Massys or that of Reymerswaele. 2. Quentin Massys Let us start with Quentin Massys,2 The Moneychanger and his Wife, dated 1514. Figure 1. It is probably derided from a lost work by Jan forefront Eyck, c. 1440. 3 On the table are placed coins, a effectuate of scales, and various other tools of their trade. (various other tokens of their wealth, says the art historian Jean-Claude Frere, 1997, p. 186. This is our first difference in interpretation). The man is slowness bills coins with great care. At that time, coins with the same face value varied in the amount of g elderly they integrateed (and therefore in their current exchange value), because it was a normal practice to file them down, clip them, or to shake them together in a bag in order to collect the gold dust they produced.So, the moneychanger is simply going about his transaction, not counting his money as a miser would do. And, if you look at his face, it is not the face of a miser, but the face of a concentrating working man, care in force(p)y carrying out his job. His wife is looking at the coins and scales too but she has a book in her pass on. The book is a religious one, an illustrated book of hours.Ma rjorie Grice-Hutchinson, the historian of economic thought who first brought economists attention to the Spanish Scholastics of the School of Salamanca, considers Massys painting an model of the intention of the Scholastics to make compatible the commercial practices of their time with the Churchs doctrine on usury. According to her interpretation, Massys painting portrays the money lender at work and, at the same time, discussing with his wife the fairness of a particular commercial deal, helped by consulting the religious book his wife is reading. 4 Many other interpretations of Massyss work consider this picture as to be a oralizing one, in a much stronger sense than that of Grice-Hutchinsons view. The Encarta Encyclopedia says In The Moneychanger and his Wife, the subtly hinted conflict between avarice and prayer represented in the couple illustrates a crude satirical quality in his paintings. 5 (It is curious that the Web verandah of finesse, together with the Encarta articl e, provi stilbesterol this contradictory explanation The painting remains in the Flemish tradition of van Eyck, with the addition of a profane sense of beauty, sign of a new world). 6 Another scholar says this about Massys Painters also began to treat new subjects. workforce like Quentin Massys, for example, played an active role in the intellectual life of their cities and began to mirror the ethical concerns convey by humanist thinkers with new paintings that used secular scenes to impart moralizing messages. Vivid tableaux warned against gambling, lust, and other vices. 7 At the bottom of the painting there is a circular mirror we can see the tiny excogitation of a man wearing a turban. Figure 2 For some reason, the following is the explanation of the art historian Jean-Claude Frere a side window, low which we can just make out the tiny figure of a thief.He would seem to be spying on the couple as they count their gold, while they would seem to be oblivious to his presence, bl inded by their greed. 8 Let us leave aside the greed and contract on the tiny man. Is he a thief? I dont know. But Im sure he is not spying on the couple as they count their gold I am not an art historian, but it seems clear to me that the man is inside the room, he is reading a book and looking out of the window to the street. In think that this is not a casual mistake it is consistent with art historians interpretation. Symbolism, a source of moralistic interpretationMy view is that art historians explanation of The Moneychanger and his Wife as a satirical work containing symbolic allusions hidden from contemporary observers, is merely a reflection of their own prejudices concerning certain economic activities. Let us consider the serious arguments supporting the symbolic explanations of paintings of the Flemish Renaissance, in order to be able to judge when a painting has this meaning and when has not. The famous art historian Erwin Panofsky held that the early Flemish painters had to reconcile the new naturalism with a thousand years of Christian tradition.Based on St. Tomas Aquinas, who thought that physical objects were corporeal metaphors for spiritual things, Panofsky ( primeval Netherlandish Painting, 1953) maintains that in early Flemish painting the method of disguised symbolism was applied to each and every object, man do or natural. 9 There are other historical sources that point to a symbolic meaning in the painting of Quentin Massys. In his painting delineation of a Merchant and his Partner,10 Figure 3 there is a clearly legible inscription, in French Lavaricieux nest jamais rempli dargentNayez point souci des overflowingesses injustes, car elles ne vous profiteront en rien au jour de la visitation et de la vengeance. Soyez donc sans avarice. This is a reword of the Gospel of St Luke, ch. XII, 15, 21-34 Saint Matthew, ch. VI, 19-21. Jean Cailleux says that the main character in the painting est soumis a la unloosen evangelique. Il est vr aiment fidele dans les richesses injustes. Il ne cede pas a la sollicitacion du Tentateur qui, derriere lui, le visage tordu par lavarice et la soif du lucre, lui propose des comptes fantastiques. 11 Painting and Economic Activity at Flanders We can expect the Flemish painters to be familiar with market oriented economic activity and the money world, because of the society in which they lived. Flanders at that time was the center of a flourishing industrial and commercial world, and also was the center of a mercantile trade of works of art. Both things led to a representation of the professed(prenominal) activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as respectable ones.Most Flemish artists were familiar with this world because of their own craft of painting, which was hence market oriented. Massys was the most important of Antwerp painters of his time and this means his take a shit was an example of how artistic production was nonionised in Antwerp, and formerly in Bruges. It is not at all odd that Flemish painters should portray business people. Massys worked for religious confraternities, and also painted delineations and other profane subjects, sometimes satirical, in response to commissions from humanists and scholars.Frere says that Massys was perfectly attuned to the new mercantile conception of art. Antwerp was already established as an active and liberal center for trade in art (1997, p. 186). Both Antwerp and Bruges had a regulated guild system for painters at the beginning of the sixteenth century. It is important to notice not only the art of the painter, but also the evolution of the masters workshop. At the beginning of the Renaissance, raising in a craft took place in workshops regulated by civic authorities apprenticeship was followed by admission to a guild.By the end of the century, workshops had become more like shops nowadays, turning out goods for a flourishing private market accountable to no one. And change came without a defining moment and without artists lacking(p) a beat. Workshop assistants had certain preparatory tasks, including grinding pigments, laying grounds, and the transfer of under-drawings. Experienced assistants took on ancillary passages, including background or stock figures. Assistants also made copies to keep pace with demand, and they had access to the masters designs once they square up up for themselves.Workshop copies ranged from straightforward replicas to transpositions into other media and from large commissions to private, devotional images. 12 The conventional depicting of a rich man But this familiarity of artists with a commercial society does not lead them automatically to portray business people in their trade, as occupational portrayings the popular way to portray a business man was in a way that showed him as a religious man, or as an intellectual in his house, surrounded by works of art and literature.The best known example is The Arnolfini depicting by van Eyck, but there are many others. In the triptych The Last Judgement, painted in 1480 by the Flemish painter, working in Bruges, Hans Memling, we can see the portraits of Tomaso Portinari and his wife, naked inside the scales and those of Angiolo Tani and his wife, Catarina Tanagli, kneeling on the floor at prayer. Figure 4 Both Portinari and Tani were important business men working in Bruges branch of the Medici company. In the Italian Renaissance, Lorenzo de Medici is visualized as one of the Magi in Gozzolis Journey of the Magi, 1459. 13 It was quite common to include the donors portrait in a religious scene. Tomaso Portinari and his wife, Maria Baroncelli, were also directly portrayed by Memling, at prayer. 14 (The fact that Antwerp was a rapidly enriched city and lacked a traditional aristocracy, may well have been an important reason for the artist representing economic activity in the portraits of businessmen, instead of the traditional rich a nd cultured portrait). 3. Marinus van Reymerswaele Let us now move on to the other version of the portrait and to a different year.Marinus van Reymerswaele15 The Moneychanger and his Wife, Figure 5 painted in 1539, is inspired by Massys. 16 This is the explanation of the painting provided by the Spanish Association of Accounting and phone line Administration, AECA, which in 1979 chose as the symbol of the association a section this painting. Figure 6 The painting which has inspired our logotype is internationally famous as an image of financial activity during the Renaissance it shows a scene typical of the counting house of a banker of the period.The subject of the pair of moneychangers shows us a new profession which has appeared in the period, a profession related to the world of finance, appraisees and commercial accounts. Reymerswaele adapts the subject of the banker and his wife from Massyss painting now in the Louvre in Paris. In Reymerswaeles painting, the bourgeois marrie d couple are seen counting out gold and silver coins, and the husband is weighing them with great care in a small set of scales, since most of them would be clipped or scraped. The coins are probably the product of tax-collection, an exchange of foreign currency or the repaying of a loan.This would imply the use of the abacus which the banker has at his right on the table, and then the setting out of accounts in the accounts book which the wife is holding in her ethereal fine hands. 17 Compare the explanation of this picture granted by the AECA with the moralistic and over-sophisticated explanations of the art historians. The changes Between 1514 and 1539, many things have changed. In particular, the accelerated produce of the economy that stemmed from the discovery and colonization of the stark naked World, and the religious transformation known as Lutheran Reformation.Reymerswaele was himself involved in the Lutheran Reformation. (We know that in 1567, being an old man, he to ok part in the sack of Middelburg cathedral, and was severely punished (six years of banishment and public humiliation). Reymerswaele specialized in everyday scenes of flourishing Flanders, with great reality, which gives his works a considerable written documentary interest. (Paintings by masters of Northern Renaissance realism often recorded official contracts or acts. The Lawyers Office, 1545, by Reymerswaele, Figure 7 is a remarkable example of this practice.Recent investigate has demonstrated that the documents, which form the background of the painting, refer to an actual lawsuit begun in 1526 in the town of Reymerswaele on the North Sea). 18 His subjects were businessmen usurers, notaries, tax gatherers but what could be seen as occupational portraits are always accent as moralizing Another art historian says usuriers, changeurs, avocats, notaires, percepteurs dimpots, monde apre et rapace de largent toujours plus puissant dans le metropole enrichie. Lart de Marinus Reym erswaele presente une accentuation presque caricaturale, qui donne a louvre sa portee moralisante (Philippot, 1994, p. 173). Puyvelde considers that, in the genre painting by Marinus van Reymerswaele, the realist portrait turns into a personation of rapacious and penurious businessmen. In Reymerswaele The Moneychanger and his Wife, he says, lesprit de lucre est plus nettement marque dans les physionomies et les doigts maigres (Puyvelde, p. 13 we will turn to the fingers latter).The study of the gold coins that appear in the painting shows that the coins are mostly Italian and are all of types minted before 1520 (Puyvelde, p. 17). This could mean that the painting is a trial effort done by Reymerswaele, before his first clearly dateable painting, Saint Jerome, of 1521. The importance of Puyveldes argument is not the exact date, which I cannot dispute, but the fact that Puyvelde considers The Money changer and his Wife closer to a portrait than to a satire, as ompared to later on works by Marinus later in his career, Reymerswaele would have abandoned portraiture and turned to satire and caricature (pamphlet, says Puyvelde). 19 The public appears to have had a preference for satire, and Marinus sought to satisfy the public with pleasant humorous pictures which enjoyed great popularity among collectors of the period. Other paintings contain inscriptions which refer to the taxes charged on beer, wine or fish. In one of the copies or imitations of The Lawyers Office, titled The Notarys Study, the document the notary is reading has been deciphered it appears to be a parody of legal slang. level off the signature on the document in French reads Notaire infame et faussaire. 20 Usually museum guides reflect the views of art historians. Referring to Reymerswaele The Moneychanger and his Wife, a guide to the Prado says In this painting we begin all the characteristics of Northern European painters minute detail, fine quality raw material, an empirical go on to reali ty, and above all, the naked sordidness with which wagon train Reymerswaele approaches one of the principal evils of his time usury, the greater of all workable sins in a commercial society such as Flanders.Corruption and burlesque affected all levels of society, even the clergy, producing a critical reaction on the part of writers, theologians and artists. 21 Reymerswaele was not the only painter who veritable Massys portraits several other Flemish painters did. Again, there are significant differences in their style, differences which influence the overall caliber of the picture either as occupational portrait or caricature. My point is that a common spectator of today can spot the difference.Corneille van der Capelle painted Le Percepteur dimpots et son Garant and Le Percepteur dimpots et sa Femme,22 Figure 8 in which we can notice a real, kind portrait of the businessmen, quite utmost from any caricature. But, even given the very different styles, I find no moral satire in Reymerswaele The Moneychanger and his Wife, as compared to his other works. In Reymerswaele version, the religious book has disappeared. This is an obvious change, since Marinus was a Protestant and wouldnt have accepted any other religious book for daily reading than the bible.But there is no bible in Marinus painting. Instead, there is a hand-written book, with no illustrations, which seems to be an accounting book. The characters in Reymerswaele painting are most elegant, with luxurious clothes, and long, delicate fingers. This is also thought by some scholars to be satirical Long, curved fingers were, in XVI century, a sign of greed or avarice, so an apparently domestic subject can also be full of moral meaning. 23 Long, curved fingers and noses use to represent Jews and, by extension, greed or avarice in Christian iconography. It may be important to notice that Jews played an important role in Antwerps economic activity. The money market was controlled by the Italian Lombards, and Jews could only act as tiddler money-lenders. The Jews lent mainly small amounts of money for shorter periods of time to less wealthy people such as butchers and bakers. Scarcity was an excellent situation for Jewish money-lenders. As a consequence, they had many clients among the common people who probably had great difficulties in paying them back. This fact may have reinforced the strong anti-Semitism ordinary at that time.There were a massacre of Jews in Antwerp in 1350, and then many Spanish and Lusitanian marranos came to settle there after 1492 and 1497, expelled from Spain and Portugal. 24 I havent fully explored yet the possibility of the satirical portraits being racist or anti-Semitic). But the long fingers can imply other things they can be an esthetic technique to make people appear more mystical, unmaterialistic, attractive. We could interpret thus the fingers of Reymerswaele Saint Jerome, in 1521. Figure 9 And Saint Jerome transmits you the idea of ascetic san ctity, the antithesis of greed. Although, again, some scholar says that Reymerswaele painting of Saint Jerome is stressing the crabbedness of scholarship. Even if that is correct, it would not be the crabbedness of greed). To me, the long, curved fingers of the moneychanger and his beautiful wife imply simply elegance. This is my personal impression. If I then look at other paintings by Reymerswaele, for instance, the two Tax Gatherers (also The Misers), described by the same scholar as extremely ugly and covetous, I dont extremity to be his contemporary to notice the satirical meaning. 25After comparing their clever interpretations with what a spectator sees in these pictures, I would recommend that the meaning of a painting, as given by art historians, not be accepted uncritically their judgments appear to be based upon certain prejudices, in this case concerning commercial and financial practices, rather than any accusative analysis of the painting. 4. Other Flemish occupation al portraits If you look at other paintings of the same school, it is easy to find examples of good, non critical or satirical, representation of moneychangers, goldsmiths, and bankers.Adriaen Isenbrant Man Weighing Gold (c. 1518),26 Figure 10 is described in this way by Jean E. Wilson This sensitive portrait of a banker or, perhaps, a moneychanger reveals the sitters evident pride in his occupation. The portrait also serves as an example of the widening interest in portraiture, which had gradually extended to members of the business sector (Wilson 1998, p. 196). But another scholar points out that the act of weighing coins may allude both to the mans profession and to his contemplation of higher values, comparable to Saint Michaels weighing of souls on Judgment Day. 27In Hieronimous Boschs The dodge of the baleful Sins,28 1480, Figure 11 avarice is shown as a judge who is being bribed. This is completely different from the activity of the banker what Bosch shows us is not a profi t-seeking commercial practice which is therefore sinful, but an act of corruption which would be interpreted to be immoral equally in a commercially oriented society or in an ideal world described by Scholastic theologians. Another example of an occupational portrait is the Portrait of a Merchant Figure 12 by Jean Gossaert (c. 1530),29 thought to be a portrait of Jeronimus Sandelin, a real merchant from Zealand, in Flanders.There is nothing satirical about it it is a purely occupational portrait. But the National trend of Art Brief Guide says this the sitters furtive glance and prim mouthpiece are enough to inform us of the insecurity and apprehension that haunted bankers in the 1530s, when the prevailing moral attitude was summed up by the Dutch humanist Erasmus, who asked, When did avarice reign more largely and less punished? 30 St. Eloy (Eligius) in His Shop, 1449, by Petrus Christus,31 Figure 13 is the clear representation of a goldsmith working in his shop and attending two clients a rich, well-born bridal couple.It seems to be a representation of the goldsmiths trade, with the excuse of the portrait of a saint (hardly a subtle ploy, since St. Eloy is the suspensor of goldsmiths guild). The goldsmith sits behind a window sill extended to form a table, a pair of jewelers scales in one hand, a ring in the other. Only his skirt suggests that the painting deals with legend. On the right is a display of examples of the goldsmiths craft. The picture may very well have been painted for a goldsmiths guild (the one in Antwerp). St. Eligius is the Patron of metalworkers.As a maker of reliquaries he has become one of the most popular saints of the Christian West. Eligius (also known as Eloy) was born around 590 turn up Limoges in France. He became an extremely skillful metalsmith and was appointed master of the mint under King Clothar of the Franks. Eligius certain a close friendship with the King and his reputation as an outstanding metalsmith became widespr ead. It is important to notice that most prominent features in the life of St. Eligius can be seen both as indications of sanctity and the best professional characteristics of a good goldsmith.In the goldsmiths trade, skills were as important as reliability, as Adam Smith notices in Wealth of Nations The wages of goldsmiths and jewelers are every-where superior to those of many other workmen, not only of equal, but of much superior ingenuity on account of the precious materials with they are intrusted. 32 Eligius is praised for both qualities. From his biography, we can see how important this reliability of his goldsmith was, for the king to become Eligius protector The king gave Eligius a great weight of gold.Eligius began the work immediately and from that which he had taken for a single piece of work, he was able to make two. Incredibly, he could do it all from the same weight for he had accomplished the work commissioned from him without any fraud or mixture of siliquae, or any other fraudulence. Not claiming fragments bitten off by the file or using the devouring flame of the furnace for an excuse. 33 The portrait Saint Eligius by Petrus Christus is a fine example of the occupational portrait, describing a goldsmiths shop, the only religious connection being the halo and the fact than the saint is the patron of the guild.The true moralizing pictures of the Flemish School Look at the painting The Ill-Matched Lovers, c. 1520, Figure 14 by Quentin Massys34 again you dont need to be a contemporary of his to notice the satirical intention. (It is important to notice that the theme of love between the old and the young was extremely popular in sixteenth century, and we can agree that both the popularity and the moral view has changed on this subject in moderne times.The meaning of the painting, however, hasnt changed at all, because the artist doesnt paint the old man with tenderness and love and mature elegance, but as undignified uncontrolled, despicable des ire). There are other paintings by Marinus which shows a clearly satirical approach, or at least an ugly pattern which does not imply pride in the profession see The Lawyers Office, 1545, and The Misers Figure 15 (also known, in different versions, as The Tax Gatherers or The tax gatherer and his guarantor).This one shows two tax collectors, or rather a treasurer, or an administrator with his clerk, the collector with a winking grimace. The treasurer enters in a book the sums received for the taxes with his right hand counts and weighs the coins 35 Both of them look clearly satirical for a modern observer. 5. Conclusion This paper has compared the rival interpretations provided by economists and art historians of the painting The Moneychanger and his Wife. The painting is seen as an occupational portrait, showing a banker in his office, carefully weighing coins simply because this is one of most prominent features of his trade.It is a clearly secular subject, much more so in Reymer waeles version the religious books in the womans hands has been turned into an accounting book. We could expect Flemish painters to be familiar with market oriented economic activity and the money world, because of the society in which they lived. Flanders at that time was the center of a flourishing industrial and commercial world, and also was the center of a mercantile trade in works of art. 36 Both things led to a representation of the professional activity of moneychangers, goldsmiths, and bankers in a way that shows those activities as respectable ones.In the process of reviewing the different interpretations provided by art historians about this picture and other similar ones, we have seen that they are consistent with the views that art historians share about the economic activity, rather than based on any objective interpretation of the painting and history. Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art hist orians see a moralizing and satirical intention. This paper maintains that art historians prejudice towards commercial and financial activity leads them to a wrong interpretation of the paintings.LIST OF ILUSTRATIONS 1. The Moneychanger and his wife, by Quentin Matsys, 1503-1505. 2. The Last Judgement, by Hans Memling, 1480. Portrait of Angiolo Tani and his wife. 3. The Moneychanger and his wife, by Marinus van Reymerswaele, 1539. 4. Saint Jerome, by Marinus Reymerswaele. 5. Logo of the Spanish Association of Accounting and Business Administration (AECA). 6. Adriaen Isenbrant, Man Weighing Gold, fist half of the sixteenth century. 7. St. Eloy (Eligius) in His Shop, by Petrus Christus, 1449. 8. The Table of Deadly Sins, 1480, by Hieronimous Bosch. 9. Portrait of a Merchant, by Jean Gossaert, c. 1530. 10.The Ill-Matched Lovers, by Quentin Mastsys. 11. The Misers, or The moneylenders, by Marinus van Reymerswaele, 1545. 12. Marinus van Reymerswaele, Two Tax-Gatherers, 15, National Galle ry, capital of the United Kingdom. Yamey, p. 52, Plate XVI 13. Marinus van Reymerswaele, Two Tax-Collectors, 15, Alte Pinakotheck, Munich. Yamey, p. 54, 29 XVI 14. Map of Flanders and Antwerp. 15. The Lawyers Office, by Marinus van Reymerswaele, 1545. 16. Portrait of a Merchant and his Partner, by Quentin Metsys. 17. The taxgatherer and his Wife, by Corneille van de Capelle (Corneille de Lyon? ) BIBLIOGRAPHY Ainsworth, Maryan Wynn (et al. (1994), Les Primitifs flamands et leur temps (sous la direction de Brigitte Veronee-Verhaegen et Roger vanguard Schoute). Louvain-la-Neuve La Renaissance du Livre. Benezit, E. (1976), Dectionaire critique et documentaire des peintres, sculpteurs, Dessinateurs et Graveurs (nouvelle edition, entierement refondue, revue el corrigee sous la direction des heritiers de E. Benezit). Libraire Grund. Vol. 7. Marinus Van Roejmerswaelen Campbell, Lorne, et al. (1978) Quentin Massys, Desiderius Erasmus, Pieter Gillis and Thomas More. The Burlington Magazine, Vol. CXX, n? 908, november, pp. 716-724.Cassagnes, Sophie (2001), Dart et dargent. Les artistes et leurs clients dans lEurope du Nord (XIVe -XVe siecle), Rennes Presses Universitaires de Rennes. Frere, Jean-Claude (1997), Early Flemish Painting, Paris Terrail. Friedlander, Max J. (1967) 1929 Early Netherlandish painting. Vol 1, The van EycksPetrus Christus, Brussels La Connaissance, and Leyden A. W. Sijthoff. Genaille, Robert (1967), Dictionnaire des peintres flamands et hollandais, Paris Larousse. Grice-Hutchinson, Marjorie (1993) Santo Tomas de Aquino en la historia del pensamiento economico, in Ensayos sobre el pensamiento economico en Espana. This essay, lectured to receive the Honoris Causa Doctorate from Universidad Complutense de Madrid, is not in the English version of the same book). Hayek, Friedrich August (1988), The fatal conceit. The errors of socialism, London Routledge. Chapter 6, The Misterious World of Trade and Money. Mackor, Adri Are Marinus Tax Collectors stash away taxes? Bulletin du Musee National de Varsovie XXXVI (1995 n? 3-4) pp. 3-13. Mackor, Adri Marinus van Reymerswale Painter, Lawyer and Iconoclast, Oud Holland 109 (1995) pp. 191-200. Mund, Helene (1994), La copie, in Ainsworth (et al. ) (1994), pp. 125-141.Panofsky, Erwin (1971) 1953, Early Netherlandish painting its origins and character (2 vols. ) London Harper and Row. Panofsky, Erwin (1993) 1955, Meaning in the visual arts, Penguin. Philippot, Paul (1994), La peinture dans les anciens Pays-Bas. XV-XVIe siecles. Paris Flammarion. Puyvelde, Leo van (1957), Un Portrait de Marchand par Quentin Metsys et les Percepteurs dImpots par Marin van Reymerswale, Revue Belgue dArcheologie et dHistoire de lArt, vol. 26, pp. 3-23. Silver, Larry (1984), The paintings of Quinten Massys with catalogue raisonne, Oxford. Montclair, N. J. Allanheld & Schram.Smith, Adam (1976) 1776, An motion into the Nature and Causes of the Wealth of Nations, Comps. R. Campbell, A. S. Skinner y W. B. Todd. Oxf ord Clarendon Press. Van Houdt, Toon (1999), The Economics of Art in Early sophisticated Times Some Humanist and Scholastic Approaches, History of Political Economy, 31(0), Supplement 1999 (Economic Engagements with Art, edited by Neil De Marchi and Craufurd D. W. Goodwin, London Duke University Press), pages 303-31. Vanhoutte, Edward (1997), In your seed all the nations of the Earth shall be blessed. Importance and unimportance of the Jews of Belgium from the Middle Ages to the Enlightenment,.Guest-lecture. Lancaster (UK) Lancaster University, 6 february. In . VVAA (1994), El Prado, Barcelona Lunwerg. Wilson, Jean E. (1998), Painting in Bruges at the close of the Middle Ages. Studies in familiarity and Visual Culture. Pennsylvania University Press. Yamey, Basil S. (1989), Art and Accounting, New Haven and London Yale University Press. 1 The author wants to thank conjuring trick Reeder for his useful comments. A previous version of this paper, with the title The Moneychanger a nd his Wife from Scholastics to Accounting, is in Internet, http//www. ucm. es/BUCM/cee/doc/00-23/0023. tm. 2 Quentin Massys (1465/66 1530), also Matsys, Metsys, Metsijs, Massijs. Famous Flemish painter, the founder of the Antwerp school, he was probably born in Leuven, Belgium. He was the main painter of his epoch. 3 Yamey (1989), pp. 24, 45. 4 Grice-Hutchinson (1993), pp. 203-205. 5 Massys, Quentin Microsoft Encarta Online Encyclopedia 2000, . In the same Encarta website, Erich Lessing/Art Resource, NY, says that Massys painted a witty gossip on greed. The bankers wife pretends piety by leafing through a religious book, while larceny a glance at her husbands gold. 6 Web Gallery of Art, . The pages says that the comments were compiled from various sources. 7 National Gallery of Art (Washington D. C. , USA), 2000, Antwerp in the Early 1500s, . 8 Jean-Claude Frere, Early Flemish Painting (1997, pp. 187-188). 9 Wilson (1998), p. 191 quoted from Panofsky, Early Netherlandish paintin g, 1953, p. 142. Every perceptible thing, man made or natural, becomes a symbol of that which is not perceptible, says Panofsky (Abbot Suger of St-Denis, 1946, in 1955, p. 161) following Dionysius the Pseudo-Areopagite. 10 Quentin Massys, Portrait of a merchant and his partner (Paris, collection M. Cailleux). 11 Puyvelde (1957, p. 5), quoting from Jean Cailleux, Les Richesses injustes, Reforme, Paris, n? 72, 3 aout 1946. In Antwerp, a tax-collector was obliged to have a surety or guarantor, who had the right to supervise the collection of money and its recording. The tax-collector is shown as a respectable person, accompanied by his guarantor, malicously rendered with a pronounced scowl. Yamey (1989, p. 54), confronts this van Puyveldes interpretation with other art historians view. 12 The Boys in the Back Room, written by John Haber in the Website Postmodernism and Art History Gallery Reviews from Around New York. The informations refers to the exhibition From Van Eyck to Bruegel E arly Netherlandish Painting, at The metropolitan Museum of Art, January 1999. . 13 Benozzo Gozzoli (1420-1497), Italian painter. Procession of the Magi, 1460, Medici Riccardi Palace, Florence. 14 The Triptych The Last Judgement, now in Gdansk, Narodowe Museum, was painted by Memling (also Memlinc) in 1477. Angiolo Tani is painted in the away(p) of the wings.Tani had been the head of the Bruges branch of Medici Bank from 1455 to 1465. Tomaso Portinari was his successor in the position. Memling, Tommaso Portinari, 1470, tempera and oil on wood, metropolitan Museum of Art, New York. Maria Maddalena Baroncelli (Mrs. Tomasso Portinari), 1470, tempera and oil on wood, Metropolitan Museum of Art, New York. For details, see Ainsworth et al. (1994), chapter Hans Memlinc, pp. 462-466. 15 Marinus (Claeszon) van Reymerswaele (also Roymerswaele) is a Flemish painter (c. 1495-1566). He received his first artistic training as an apprentice to an Antwerp glass painter progress tod Simon van Daele in 1509.Known as a painter of genre and satire, Reymerswaele was famous enough to have been mentioned by the Florentin historian Guicciardini and the art historian and painter Vasari. 16 Reymerswaele (or his workshop) made a lot of copies of this subject. Puyvelde (1957, p. 15) claims that the two paintings in the Prado and the one in the Collection of the State of Babiera, signed in 1538 and 1539, are inspired by Massys The moneychanger and his wife. Puyvelde considers that most other copies are inspired by Massys Tax Gatherers. 17 El cuadro inspirador del logotipo es conocido internacionalmente como una imagen de la actividad economica del Renacimiento, especialmente de la financiera, ya que en el se muestra una situacion caracteristica de lo que podria considerarse un banquero de la epoca. El tema de la pareja de cambistas pone de manifiesto el surgimiento de una nueva profesion renacentista relacionada con el mundo de las finanzas, de los impuestos y de las cuentas mercantiles. Marinus toma de Quintin Metsys el tema del banquero y su mujer, que se expone en el Louvre de Paris.En el cuadro de Marinus, el matrimonio burges recuenta las monedas de oro y plata y el pesa en una pequena balanza, con gran delicadeza, aquellas, ya que la mayoria de las mismas eran raspadas o recortadas. Posiblemente provendrian de una recaudacion de impuestos, de una cambio de monedas o de la devolucion de un prestamo, lo que implicaria despues controlar o calcular la operacion con el abaco que tiene a su derecha sobre la mesa y a efectuar anotaciones en el libro de Contabilidad que ella tiene entre su bellas y delicadas manos. From AECAs Website, 1999. 18 Recent research has demonstrated that the documents, which form the background of the painting, refer to an actual lawsuit begun in 1526 in the town of Reymerswaele on the North Sea. The suit arose between three heirs of Anthonius Willem Bouwensz and Cornelius vander Maere, the latter having purchased a common salt refinery fr om the heirs of Anthonius. Difficulties began when Cornelius vander Maere refused to make the initial payment and subsequently had his goods seized. The legal transactions lasted until 1538, by which time the property under dispute had probably been ubmerged or destroyed by storms. Ironically, the court fees still had to be paid. New siege of Orleans Museum of Art, Information written by Joan G. Caldwell. http//www. noma. org/MARINUS. HTM. The Museum owns one of the many versions of the painting Several versions of this composition exist in Munich, Amsterdam, Cologne and Brussels. While the Museums version is apparently the last in the series, it is painted with the greatest detail, thus clearly revealing the documents in the lawsuit. 19 Puyvelde (1957), pp. 7-18 le veritable portrait fait place a la caricature de lhomme de affaire rapace (Puyvelde, 1957, p. 13 also, p. 20). 20 Puyvelde (1957), p. 23. 21 Es esta tabla encontramos todas las caracteristicas de los pintores nordicos e l detallismo, las calidades materiales que se aprecian a la perfeccion, la aproximacion empirica a la realidad, y sobre todo, la sordidez descarnada con la que Van Reymerswaele aborda uno de los principales males de su epoca la usura, el mayor pecado posible dentro de una sociedad comerciante como era la flamenca.La corrupcion y la estafa afectaban a las capas de la sociedad, llegando al clero y provocando la reaccion de escritores, teologos y artistas. compact disc read-only memory La Pintura en el Prado, 1996, Editorial Contrastes. 22 Corneille van der Capelle, Le Percepteur dimpots et sa Femme. Jadis Sigmaringen, Pince of Hohenzollern collection. 23 The illustrated book El Prado (Barcelona Lunwerg, 1994), p. 389. 24 Vanhoutte (1997). 25 Web Gallery of Art, description of the painting The Tax Collectors, 1542 (Wood, 103,7 x 120 cm. Alte Pinakothek, Munich), The Tax Collectors by Marinus Van Roymerswaele appears to be a deliberate caricature the painters Calvinist background clear ly comes through in his depicting the tax collectors greed with a fierse grimace and claw-like hands, whilst the administrator records the money in the ledger, maintaining his proper distance. Marinus van Reymerswaele was a painter of three themes, all more or less caricatural. He painted a number of straightforward S. Jeromes, all derived from Durers picture of 1521 (Lisbon) but stressing the crabbedness of scholarship.The other two themes are interdependent two exceedingly ugly and covetous Tax Gatherers and a Banker and his Wife (the banker counting his profits). The Banker is closely related to Massyss picture of the same subject, and it may be that the Tax Gatherers derive from Massyss borrowings from the caricatures of Leonardo da Vinci. There are about 30 versions of the Tax Gatherers (the best is in London, National Gallery another has the date 1552), and what nobody has so far explained is why so many people should want to own a picture of tax collectors (and also ugly on es at that) gloating over their imposts.There are also examples in the British princely Collection and in Antwerp, Berlin, Ghent, Madrid, Munich and Vienna. The Website says on the Welcome page that the comments were compiled from various sources. 26 Adriaen Isenbrant (? ) Man Weighing Gold, New York, Metropolitan Museum of Art, The Friedsam Collection. Adriaen Isenbrant is also known as Hysebrant or Ysenbrant. He was active in Bruges, 1510 1551. He was first mentioned in 1510 when he became a master in the Bruges painters and saddlemakers guild.He was recorded as a stranger, but his inwrought town was not mentioned. Between 1516/1517 and 1547/1548 he was listed numerous times as a vinder or fry offical of the guild and in 1526/1527 and 1537/1538 was a gouverneur or financial officer. Because of the uncertainty, some authorities prefer to use the wee Isenbrandt in inverted commas or with or with question mark. See the Website of the National Gallery of Art, Washington D. C. , 27 Bauman, G. , Early Flemish Portraits 1425-1525, M. M. A. Bull. XLIII, Spring 1986, pp. 46 f. On the contrary, Wehle, H. B. , and M. Salinger, M. M. A. , A Catalogue of Early Flemish, Dutch and German Paintings, 1947, pp. coke f. , identify the sitter as a banker or a money changer and consider the portrait to be purely secular, not a donors likeness in a religious ensemble. References provided by Sandra Fritz, The Metropolitan Museum of Art, Central Catalog. 28 The Table of the Deadly Sins, 1480, by Hieronimous Bosch (c. 1450-1516). cover on panel, 120 x 150 cm. Prado Museum.Bosch is the name given to the Dutch painter Hieronimus van Aeken. 29 Jan Gossaert (c. 1478 1532), Portrait of a Merchant, c. 1530. Oil on panel, . 636 x . 475 m Washington, National Gallery of Art, Ailsa Mellon Bruce Fund. 30 National Gallery of Art, Washington DC, USA, Brief Guide, in . 31 Petrus Christus (fl. 1444-c. 1470), St. Eloy (Eligius) in His Shop, 1449, oil on panel, Metropolitan Museum of Art, New York. 32 Smith (1976), I. x. b. 18. 33 The Life of St. Eligius, 588-660, paragraph 5.The Life of Eligius, bishop and confessor, was written by Dado, bishop of Rouen (his friend and contemporary). Eligius lived from 588 to 660. The full text is in . 34 Quentin Massys, Ill-Matched Lovers, c. 1520/1525, oil on panel, 0432 x 0630 m. National Gallery of Art, Washington D. C. Ailsa Mellon Bruce Fund. 35 Marinus Van Reymerswaele, The Misers, 1531. Oil on wood. Naples, Museo Nazionale di Capodimonte, . 36 Bruges et surtout Anvers ont donc cree les premiers marches publics consacres a lart en Occident, Cassagness (2001), p. 264.

Design, make, test and evaluate a strain gauge sensor Essay

These ar my preliminary results that helped me to understand the physics and approach needed to set about my prove successful. In exp1, 3 and 4 I used the same fit and exp2 was a fresh cable. Clearly u roll in the hay gather the set of results obtained in exp2 were different to the other sets of data. After a outfit stretches the wire Changes State and becomes a harder material, meaning it will stretch less the next time u concur a strain. in that respectfore in my real experiment I used fresh wire for to each one experiment. Trend In GraphsFrom the graphs u piece of ass see a general trend formed in exp2, as weight is applied the potential drop crossways the rest of the circuit decreases, therefore increasing across the wire. In the other three experiments u can see weight has little or no effect on voltage, thus showing the wire has already been stretched. This can be seen in map 1. Results I involve used Ohms law which is a formula, to get a vindication for my res ults. R= V/I try one Experiment 2 Experiment 3 space of Constantine wire (cm) Voltage (v) Resistance (ohms) Voltage (v) Resistance (ohms) Voltage (v) Resistance (ohms).Experiment 4 Experiment 5 Length of Constantine wire (cm) Voltage (v) Resistance (ohms) Voltage (v) Resistance (ohms) 1The anomalies are in red. I have also carried come out of the closet a further experiment to find out how there is a general increase in voltage and safeguard across a wire as it becomes longer. These results plump for the prediction I have made before hand. I predicted that the longer the wire the greater the protection will be and then more energy will be needed to push the electrons through. directly I can carry out my experiment, knowing current and voltage will increase as strain is applied on the wire.Results 1st Set Length Of Wire/(mm) Current/(milliamps) Weight/(grams) Power, voltage/(millivolts) Start8off scale 700 254 This is my for the first time set of results, which I believe to b e the most accurate. As u can see there is a clear trend in the increase of current and voltage. There are no anomalies in this experiment. 2nd Set Length Of Wire/(mm) Current/(milliamps) Weight/(grams) Power, voltage/(millivolts) Start8ObservationsThere was only one major observation and that was to see how the wire stretched as more weight was applied. As more weight was applied the wire slowly stretched until its deformation point. The deformation point is where the wire is stretched or re-shaped so much it cannot return to its original state. Accuracy of Results The accuracy that I achieved was very high steady though I had very little time. Also I got lots of results to make a vertical analysis. The level of accuracy in this investigation was as high as I could get.The only matter I could of improved was to use more weights and measure every 50grams however this may have taken too long to achieve. I got someone else to check the rendition on the meters to be sure I was re ading them correctly. Before taking each reading I would also check the connections were crisp betwixt the wire and the rest of the circuit. I could change one or two thing during this experiment. A some examples of these could be the thickness of the wire, the type of wire for example copper and gold. We made sure to limit out systematic error by valuing all the results a 0 for 0 weight.This way only my proclaim human judgement can effect the quality of the results. A random error could of included, when I was reading the results someone knocked or a change in the gravitational field, effected the weight. Also a snub wind could of pushed on the weights for that precise second, tiny chance, but possible Analysis First Experiment The first experiment intelligibly went much better then the second as I have a significant and clear trend between the strain, current and voltage. From graph 2 u can clearly see that as u stretch the wire the current and voltage increase.The voltage onl y grows very slowly until the wire is deformed, then the electrons need much more energy to move across the wire (large increase in impedance). The sharp slope proves this in Chart 2. Chart 3 and Chart 4 show this in much more detail. In Chart 3 u can see where the wire snaps because the stain is too much for it to withstand. Therefore from the first experiment we can see that my theory and hypothesis is proven. Chart 8 shows the general pattern between voltage and current and how resistance increases. Between point 6 and 7 on the X-axis the wire has deformed and resistance has greatly increased.The wire has stretched 45mm, which also increase resistance. Second Experiment There is one major anomaly in experiment 2 and that is when 100grams were placed on. The reading of power/voltage and current are much too high. On Chart 5 and 6 I have draw a pencil line which I believe should have been the results gained. The general trend again shows that as u stretch the wire the resistance a cross it increases. Chart 7 shows the general pattern between voltage and current and how resistance increases. evaluation A strain gauge can predict when a wire or something with applied examine or stain will deform or even break.When the voltage and current increases in a wire it must mean resistance has also increased. Improvements If I were to do the experiment again, I could make some improvements to make the level of accuracy better. For example, I could make sure that the joints/connections were jointed properly and would have to make sure I use the same equipment every time. I could also get a machine to measure the length of the fine wire. I would also take more than two sets of results, which would manage any factors of anomalies and would therefore make the experiment a lot more reliable.

Week6 Article Example | Topics and Well Written Essays - 500 words

Week6 - Article ExampleThere is the possibility of reorganizing or refunding debts of the federal politics. In order to take these steps, there needs to be evaluation and assessment of refunding or reorganization of debts. A good way that the federal authorities could reorganize or refund its debts obligation is whereby the metropoliss administrators senior highlight upon the debts with high interest order (Seitz & Ellison, 2004). These types of debts can hamper the governments ability to manage other financial duties or obligations. Therefore, refunding would imply that the government would add new debt to the existing debt kitty. In turn, the government would be forced to increase debt in order to facilitate payments of both interest and the existing debts (Lee & Joyce, 2008). If the governments new debt can be increased at high interest rate, this would offer stinting prosperity and other possible benefits whitethorn be realized in case the interest rates decrease such as tra nsforming the conditions of the debt that may permit the local government of Seattle to revise their payment object that may assist with short-term budget demands. Refunding debts to substitute a lower interest rate may poses some economic merits, if other transformations are made, like term, there is a probability that there provide be a net rise in the debt costs over the debts term. Furthermore, another refunding or reorganization tactic is the reduction of the overall expenditures gained by the government. This would establish an additional financial base that should be diverted towards settling the citys debts.In order for the federal government to decrease the high debts, it is vital that alternative funding options are created in order to support its debt obligation. The federal government may provide financial help in quarterly or annual terms. Another alternative is for the city to try to maximize revenues gathered (Shapiro, 2004).My budget has a defined goal that I have to

Issues Essay Example | Topics and Well Written Essays - 500 words

Issues - Essay ExampleFrom the vomit up, several important implementation issues came up that would guide the wellness practitioners in data gathering. One of the issues was identifying core component while carrying show up the project (Dennison & Prevost, 2012). As such, the practitioners focus on the interventions that are critical to producing positive results such as taking a hundred children six to x years to collect the data. The reason for including this age was that that the children between those ages are susceptible to germs and dirt.The second issue was the greatness of the implementation of the project. Program implementation is crucial for the hand-washing project as the intended outcomes are important for health practitioners and the patients (Brown, 2011). As such, the data gathering should contain such questions as factors affecting the project, how the implementation should be carried out to obtain the best result among others.The third issue in the series using evidence to re-educate people about the development of a new invention. The use of evidence is important is important as it teaches the parties on how to address social behaviors (LoBiondo-Wood & In Haber, 2014)). As such, the team will educate the receptors and the society in full general on the significance of hand washing and recommend the right soap to use to kill the microorganisms in the dirty hands.Identifying core component of the hand-washing project was crucial for the group as it was based on recognizing and touch on what makes the program work. Importance of the project is crucial, as the results of the project are important to both the health practitioners and the receptors (Goldesteen and Graham, 2011). Using evidence from the project is crucial as it describes how to use the evidence to promote effectiveness and development.Evidence-based project is important as health practitioners are re-educated on the project to enhance the effectiveness while discourse