Friday, November 14, 2008

THE SLEEPING BEAUTY

THE SLEEPING BEAUTY
Full-length ballet in Three Acts
Music: Pyotr Ilyich Tchaikovsky
Choreography: Marius Petipa
Libretto: Marius Petipa and Ivan Vsevolozhsky
after stories by Charles Perrault
Sets: Lev Solodovnikov
Costumes: Simon Virsaladze


The Sleeping Beauty, a crowning jewel of Marius Petipa's career, is often considered the finest achievement of the Classical ballet. It is a grandiose and refined blending of the traditional mime, expressive pas d'action and spectacular divertissements in a lavish theatrical setting. Tchiakovsky was delighted with the invitation to write the music for a ballet based on Charles Perrault's well known fairy tale. A baby princess, condemned at her christening by an evil fairy to prick her finger and die on her 16th birthday, is saved by the gift of the good Lilac Fairy, who declares the princess will only sleep until awakened by the kiss of a prince. The fairy tale replete with a king and queen, fairies both good and evil, a beautiful princess and dream prince, magical stage effects, and courtly splendor, lent itself perfectly to the full evening ballet that was Petipa's pride.
Although different productions have cast the kingdom of King Florestan and his queen in varying centuries, it is really a storybook kingdom set in the realm of the imagination. In the Prologue, the hall of the palace where the christening is about to take place is resplendent with color, and imposing with its high ceilings and great stone archways. The master of ceremonies, pages, heralds, ladies in waiting, and finally the King and Queen all promenade into the royal setting, looking most distinguished in their elaborate dress. Next, the fairies of the kingdom join the scene of courtly pageantry with the Lilac Fairy, six cavaliers and maids of honor entering last. All dance in honor of the King and Queen and baby Aruora, about to be christened, Each of the fairies dances her own solo, presenting a gift to the Princess. The dances of no real dramatic significance are an example of Petipa's use of the well timed divertissement. Just as the Lilac Fairy finishes her dance a strange and frightening rumble is heard. Its meaning soon becomes clear: the master of ceremonies has forgotten to invite the evil fairy Carabosse! The grotesque woman, her face a white mask, her long dress black and tattered enters in a huge black coach drawn by four ugly rats. Stepping down, she gesticulates with her hand and threatens with her stick that they will have to pay the price for their omission. In mime, she delivers the ominous curse that the Princess will prick her finger on a spindle and die. The master of ceremonies is in disgrace, the King and Queen are in despair. But the Lilac Fairy has not given her the gift. She steps forward and assures the royal court that on her 16th Birthday the princess will indeed prick her finger, but then fall asleep for 100 years. Carabosse speeds off in a rage while the
others surround the infant's cradle as if to protect her from further harm.








ACT I
The Spell

Act I opens at Aurora's 16th birthday party. Brightly clad peasant girls dance a divertissement with flower garlands. Holding the arched garlands overhead, they dance in multiple circles, weaving in and out to a waltz tempo. All await the arrival of the Princess Aurora. The ballerina princess bursts on the scene, dancing a brief and vivacious solo in the manner of a carefree young girl. She is then ceremoniously introduced to the four princes who have come to seek her hand. The Rose Adagio, the famous pas d'action expressive of a young girl's blossoming into womanhood, is about to start. Aurora begins the adagio standing in attitude: one leg is raised and bent behind her, one curved arm is raised overhead. Some have read in this pose, which Aurora repeats often, a kind of gentle questioning or youthful uncertainty. One after the other, each of the suitors turns and displays her while she maintains the attitude pose. She releases the hand of the suitor supporting her and raising both of her arms overhead, balances momentarily, as if tentatively testing her abilities. She then takes the arm of the next prince and begins the sequence again. After a brief interlude in which the princess dances alone, she returns to accept a rose from each of the suitors (hence the title Rose Adagio). She pirouettes slowly and accepts each rose; one prince supports her while the next offers his flower. At the end of the Adagio, she returns to her attitude position, and supported in turn by each prince, she again releases her hand and balances for a little longer each time. Finally, as she frees her hand from the clasp of the fourth prince, she again releases her hand and balances for a little longer each time. Finally as she frees her hand from the clasp of the fourth prince, the curved attitude straightens into a sharp, arabesque extension. She retains her balance poised confidently on one toe, as if she has visibly come of age before the eyes of the adoring suitors. The Princess continues dancing a joyful solo until her attention is suddenly distracted by a strange woman dressed in black who offers her an unfamiliar object. Before anyone can stop her, Aurora seizes the dread spindle. The unwary Princess pricks her finger, grows weaker, and falls to the floor in a swoon. Just as those assembled lapse into despair, the Lilac Fairy steps forward. Waving her wand soothingly, she reminds them that the Princess will only sleep and she casts everyone into deep slumber along with her. The Lilac Fairy summons a forest of thorns, thickets, and enormous
shrubbery to grow around the sleeping court.

ACT II
Scene One: The Vision

Act II takes us to a neighboring kingdom 100 years later. Prince Charming and his lord and lady friends are out for a hunt. The cheerful retinue amuse themselves with dances and games, but the Prince is tired of everyday diversions and stays behind to wander about alone. Suddenly the Lilac Fairy floats in on a boat with gossamer sails. She offers to show the meloncholy Prince a vision of Aurora. The Prince is utterly enchanted by the sight of the Princess dancing lyrically and romantically amidst a tableau of fairies and nymphs, bathed in a bluish light. He pursues her but can only hold the Princess in his arms for a moment before she eludes him and disappears. She is after all only a spectral image conjured up by the Lilac Fairy. The Fairy offers to take the Prince across the lake, through the dense and tangled forest, to the castle where the real Princess lies asleep.

ACT II
Scene Two: The Awakening

The Prince approaches the canopied bed set on a high platform and, as the music heightens, he plants the awakening kiss. Aurora greets him. The King and Quenn appear from either side of the stage and welcome the awakened Aurora and her Prince with joy.

ACT III
The Wedding

The final act ushers us into a sumptuous hall, graced with statuesque columns and a circular gold staircase crowned by a blue sky. It is here that the Royal wedding of Prince Charming and Princess Aurora will take place. A full series of celebratory divertissements is performed by the inhabitants of fairyland. Puss 'n Boots, Bluebeard and his wife, Goldilocks and a Bear, Little Red Riding Hood and the Wolf all dance. A highlight is the pas de deux of the soaring Blue Bird and his Princess. First dancing together and then separately, they compete with each other spinning and fluttering in sparkling flight, sometimes jumping so high they seem virtually suspended in the air. The man's variation in particular, which features many beating jumps while he arches his body backwards and forward (brises voles) is one of the most famous and demanding in the international repertory. The bluebird's dance ends with the female lifted on the male's shoulder. The celebration then climaxes with the Grand Pas de Deux danced by the Prince and Princess. They are regal, formal and confident dancing together. Prince Charming supports his bride's pirouettes and displays her long extensions and secure balances. The Prince jumps and spins during his solo and the Princess spins on pointe with even surer mastery than she showed in the Rose Adagio. Finally, Aurora
whirls into the Prince's arms and dives toward the floor; the Prince catches her around the waist and supports her in the famous inverted pose known as the fish dive. All join the bride and groom for a spirited mazurka and the Lilac Fairy, standing in their midst, bestows her blessing on the happy couple.

The Sleeping Beauty was the first of Petipa's classics to be seen in Western Europe. Under the title The Sleeping Princess, it was presented by Serge Diaghilev (1872-1929) in London in 1921. In 1939, it was remounted in Great Britain and has been considered the foundation of the Classical ballet repertory in that country ever since. It has now been adopted worldwide, and performance of the leading role remains a kind of initiation rite for aspiring ballerinas.
The Sleeping Beauty is a supreme demonstration of the challenge of Petipa's style - steel point work, sharply accented spinning turns, soaring leaps, high extensions, brilliant battery (beats in the air), daring lifts and, in addition, it gives a fairy tale plot lavish stage treatment. However, its production actually checked a growing tendency toward shapeless extravaganza in 19th century ballet, adhering closely to the principle of choreographic symphonism: meaning that, like the composition of a symphony, it had a certain formal structure. The Sleeping Beauty was choreographed in strict association with Tchaikovsky's music. There are themes developed and resumed throughout the ballet, and each act is a unity unto itself. Tchaikovsky willingly took instruction from Petipa as to the length tempo and character of each musical sequence ( as he would also do in The Nutcracker). The themes - a young girl's coming of age and the triumph of good over evil are developed dramatically and musically during the course of the ballet. Each of the three acts includes an adagio for Princess Aurora, the first celebrating her girlhood, the second her falling in love, and the third her marriage. In these pas d'actions, Petipa makes fuller use than previous choreographers of the dramatic potential of the Classical ballet, as for example, when Aurora's curved (questioning) attitudes become sharp (exclamatory) arabesques and her balances grow steadily surer.

Beauty or Make Up Preparations,

Beauty or Make Up Preparations,
Soap and Preparations for the Care of Skin




1. Industry Overview

The cosmetics industry is one of the fastest growing sectors not only in Thailand, but the entire Asian region as well. The year 1997 saw the fastest growth period in the cosmetic industry, with a growth rate of 20 percent. Although the economic crisis has had a negative impact on consumption levels, results during 1999-2000 show the cosmetics industry’s growth rate is at 15 percent with an average market value of approximately 10,800 million Baht.

During the initial stages of industrial development, there were very few manufacturers of cleansing and skin-care cosmetics. Most manufacturers were foreign companies who established a production base in Thailand. The majority of cleansing, skin-care products, and cosmetics that were distributed to the market were imported. The only customers who had the means to afford these products were the upper-class who had a high degree of purchasing power. The high price of imported products was a weakness as they were too expensive for middle and lower class customers. However, this lack of affordability presented an opportunity for investors to establish a cosmetics production base in order to meet the desire of those less affluent customers. In this way, the production of cleansing and skin-care cosmetics in Thailand has expanded and developed continually.

2. Production

In 2000 current figures released by the Thai Cosmetic Association has shown that the cosmetic industry in Thailand is composed of 300 factories. For the medium factory, the capacity stands at 50 tons/day while for a small factory, the capacity is 10 tons/day. For the large manufacturers, mostly supported by foreign capital, their capacity is between 100-200 tons/day.

The current situation regarding the production of cleansing and skin-care cosmetics is as follows:
• Cleansing and skin-care products have traditionally come from two sources: local production and imports from overseas
• Leading imported brand manufacturers were very interested in the development of a production base in Thailand, with the objective of distributing the products domestically as well as exporting to foreign countries
• The development of a production base in Thailand by brand leaders encouraged Thai personnel to improve their knowledge and skill in production and management
• The current main target market for imported products are upper-class customers followed by middle-class customers who have increased their purchasing power
• The current main target market for locally produced products with Thai brand names are middle-class and lower-income customers

Industrial production of cleansing and skin-care products is closely monitored by The Food and Drug Administration, Ministry of Public Health under the law of cosmetics as outlined in the legislative act of 1992 (Thai year 2535). As for production quality control, product quality and standard of products accepted by customers in the market, all must be in accordance with the details of the legislative act of cosmetics which manufacturers must abide by, as follows:

• Readiness and suitability of officers involved directly and indirectly with the production of cosmetics
• Readiness and suitability of plant location, production equipment especially in the case of specially controlled cosmetics production
• Quality of raw material used for production
• Quality of containers for products
• Clear explanation of label as prescribed by the Ministry

With the establishment of a production base in Thailand by brand leaders, a great revolution of industrial production occurred in the field of cleansing and skin-care cosmetics, and the number of new competitors increased for both importers and manufacturers. This market expansion led to the continual development among manufacturers who had their production base in Thailand. Some good quality products were distributed locally while some manufacturers had the ability to develop their products for export.

The five largest cosmetic and skin care manufacturers include:
1. International Laboratories Corp., Ltd.
2. U.B. Chemical Industry Ltd.
3. Rubia Industries Ltd.
4. Navasri Manufacturing Ltd.
5. Inchcape Manufacturing Co., Ltd.

3. Domestic Markets

The Thai domestic market was a principal market for manufacturers. All customers were somewhat highly sensitive to price. The expansion of the market depended on the overall economic situation, expanding when times were good, contracting when the economy soured. In the highly competitive market, most manufacturers not only tried to improve product quality and develop a variety of product types, but also sought to use pricing as their principle tool for competition.

Domestic markets for cosmetics are divided into make up and skin care products with a total market value of 9,000 million Baht. The total market value is expected to increase by 10 percent per year. Consequently, entering this industry appears to be a very attractive option for a number of new investors, both local and international alike. For the most part, Thai manufacturers have focused more on natural products, while international manufacturers have their own brand name. Sampling tests have been used to spur demand in the market, especially to increase consumption among teenagers and male consumers.

For cosmetic products, the majority of consumers are female (97 percent) who are over 18 years of age. It is estimated that 15 million Thai people apply cosmetic products regularly and spend 10-20 percent of their monthly income on cosmetics.

In 2000, the value of imports increased 31.4 percent or 2,158.7 million Baht. The major importing markets include the United States, Japan, France, the United Kingdom and China, accounting for 35.5 percent, 15.9 percent, 13.9 percent, 7.0 percent and 6.8 percent respectively of the total export market.

Quantum Sleeping Beauty

Quantum Sleeping Beauty
Peter J. Lewis
plewis@miami.edu

The Sleeping Beauty paradox in epistemology and the many-worlds interpretation of quantum mechanics both raise problems concerning subjective probability assignments. Furthermore, there are striking parallels between the two cases; in both cases personal experience has a branching structure, and in both cases the agent loses herself among the branches. However, the treatment of probability is very different in the two cases, for no good reason that I can see. Suppose, then, that we adopt the same treatment of probability in each case. Then the dominant ‘thirder’ solution to the Sleeping Beauty paradox becomes incompatible with the tenability of the many-worlds interpretation.
Consider first the many-worlds interpretation of quantum mechanics, and in particular what happens when an observer measures the x-spin of a spin-1/2 particle whose state is an eigenstate of z-spin. According to the many-worlds interpretation, the observer branches into two successor observers, one of whom sees the result ‘spin up’ and the other of whom sees the result ‘spin down’. Call the original (pre-measurement) branch b0¬, the branch in which the observer sees ‘spin up’ b1, and the branch in which she sees ‘spin down’ b2. Compare this to a simplified version of the Sleeping Beauty paradox. Sleeping Beauty is woken up on Sunday, and told the following: “We will wake you for an hour on Monday, and for an hour on Tuesday, and on Monday night we will administer a drug that will cause you to forget the Monday waking.” Her room contains no indication of what day it is. Call the time at which she is awake on Sunday t0, on Monday t1¬, and on Tuesday t2.
Note the parallels between the two cases. In the many-worlds case, the agent at b0 is straightforwardly psychologically continuous with the agent at b1, and straightforwardly psychologically continuous with the agent at b2; however, the agents at b1 and b2 are not psychologically continuous with each other. Similarly in the Sleeping Beauty case, the agent at t0 is straightforwardly psychologically continuous with the agent at t1 and with the agent at t2, but the agents at t1 and t2 are not straightforwardly psychologically continuous with each other due to the memory erasure. That is, in each case the personal experience of the agent exhibits a branching structure.
Furthermore, note that in each case the agent gets lost in this branching structure. This is clearer in the Sleeping Beauty case; when she wakes up, she no longer knows whether it is Monday or Tuesday. That is, at t1 and t2 she is uncertain of the truth-value of some self-locating beliefs, such as “Today is Monday” (Elga 2000). She could use a probability measure to quantify this uncertainty; presumably she should assign a probability of 1/2 to “Today is Monday” on the basis of some kind of indifference principle. In the case of the many-worlds interpretation, the parallel uncertainty can be produced by supposing that the observer is blindfolded; at b1 and b2, she knows that the measurement has taken place, but she doesn’t know whether the result is ‘up’ or ‘down’ (Vaidman 2002a). Again, she is uncertain of the truth-value of some self-locating beliefs, such as “The result is ‘up’ in this branch” (Ismael 2003). And again, she could use a probability measure to quantify this uncertainty; she should assign a probability of 1/2 to the cited belief, on the basis of the Born rule.
Hence in both the many-worlds case and in the Sleeping Beauty case, there is a branching structure to subjective experience, which induces a loss of self-location information, and the resulting uncertainty can be quantified using a probability measure. However, there is also a significant difference between the two cases, namely in the treatment of probability before the branching event. According to the many-worlds interpretation of quantum mechanics, the observer should assign a probability of 1/2 to each measurement outcome even at b0. That is, the treatment of probability in the many-worlds case is just as if exactly one of the two outcomes occurs, where each outcome has an objective chance of 1/2. But there is no analogous pre-branching probability assignment in the Sleeping Beauty case; there is no sense in which Sleeping Beauty at t0 should assign a probability of 1/2 to each of Monday and Tuesday. To what beliefs could she assign such probabilities? “Today is Monday” has a probability of 0 at t0; she knows that today is Sunday. “I will wake up on Monday” has a probability of 1 at t0; she knows that she will wake up on Monday (or at least, that she is psychologically continuous with someone who will wake up on Monday). There are no obvious candidates for a belief about Monday to which Sleeping Beauty should assign a probability of 1/2 at t0. Hence the treatment of probability in the Sleeping Beauty case is not just as if she is woken up on exactly one of Monday and Tuesday with an objective chance of 1/2 each.
Of course, similar considerations can be raised in the many-worlds case, too. To what beliefs, at b0, can the observer assign a probability of 1/2? “The result is ‘up’ in this branch” has a probability of 0 at b0, since this branch (b0) contains no measurement results. “I will see the ‘up’ result” has a probability of 1, since the observer knows that she will see this result (or at least, that she is psychologically continuous with someone who will). Again, there are no obvious candidates for a belief concerning the results to which she should assign a probability of 1/2 at b0.
Nevertheless, many authors have argued that a pre-measurement probability assignment of 1/2 to the two results is appropriate in the many-worlds case. Saunders (1998) and Wallace (2005) argue that the branching structure of the observer’s experience makes the observer genuinely uncertain concerning what will happen to her; hence it makes sense for her to assign a probability of 1/2 to “I will see the ‘up’ result” at b0. Vaidman (2002a) argues that even though the observer is only genuinely uncertain after the measurement, nevertheless she should act as if she is uncertain even before the measurement, and this underwrites an effective probability assignment of 1/2 to “I will see the ‘up’ result” at b0. Papineau (2004) and Greaves (2004) argue that a probability assignment need have nothing to do with uncertainty; a probability assignment of 1/2 to “I will see the ‘up’ result” at b0 indicates how much the observer cares about her successor at b1 relative to her successor at b2.
My goal here is neither to defend nor to attack these argument strategies, but merely to note that they all remain controversial, and that if any such strategy works, it ought to work just as well in the structurally similar Sleeping Beauty case. That is, given the parallels between the two cases, then all other things being equal, we should expect the two cases to be covered by a uniform account of probability. But as it stands, the treatments of pre-branching probability are not parallel. This leaves us with two options—applying the treatment of pre-branching probability from the Sleeping Beauty case to the many-worlds case, and applying the many-worlds treatment to the Sleeping Beauty case.
According to the first option, the treatment of probability in the Sleeping Beauty case is correct; Sleeping Beauty should assign a probability of 1/2 to both “Today is Monday” and “Today is Tuesday” at t1 and at t2, but she should assign a probability of 1 to both “I will wake up on Monday” and “I will wake up on Tuesday” at t0. Applying this to the many-worlds case, the (blindfolded) observer should assign a probability of 1/2 to both “The result is ‘up’ in this branch” and “The result is ‘down’ in this branch” at b1 and b2, but she should assign a probability of 1 to both “I will see the ‘up’ result” and “I will see the ‘down’ result” at b0. The trouble with this option is that it fatal to the many-worlds interpretation of quantum mechanics; the observer’s pre-measurement predictions contradict the Born rule, which forms the empirical heart of quantum mechanics. That is, quantum mechanics requires that non-trivial probabilities be assigned to measurement results before the measurement has occurred, and if the many-worlds interpretation cannot deliver such probabilities, then it is untenable as an interpretation of quantum mechanics. Indeed, this is precisely why the authors cited above take such pains to try to justify pre-measurement probability assignments in the many-worlds interpretation.
So let us consider the second option, namely that the treatment of probability by the advocates of the many-worlds interpretation is correct. According to this option, the quantum observer should assign a probability of 1/2 to both “I will see the ‘up’ result” and “I will see the ‘down’ result” at b0, so analogously, Sleeping Beauty should assign a probability of 1/2 to both “I will wake up on Monday” and “I will wake up on Tuesday” at t0. That is, in both cases the branching process is treated as if it were an instance of objective chance, where just one branch occurs. This is highly counter-intuitive in the Sleeping Beauty case; as Elga notes, on Sunday Sleeping Beauty was “already certain that [she] would be awakened on Monday” (2000, 145). But perhaps our intuitions here are wrong, and perhaps one of the arguments mentioned above for the many-worlds case can show why they are wrong.
However, more is at stake here than our intuitions. To see this, consider the full Sleeping Beauty paradox, rather than the simplified version considered so far. On Sunday, Sleeping Beauty is told that a coin will be tossed. If the coin comes up tails, then she will be woken up on Monday and on Tuesday with memory erasure in between, as in the simplified version. If the coin comes up heads, then she will be woken up on Monday alone. (It doesn’t matter for present purposes if the coin toss is interpreted as a classical event described by objective chance or as a quantum event described by many-worlds branching.) The question at the heart of the paradox is what probability Sleeping Beauty should assign to ‘heads’ when she wakes up at t1. The dominant (‘thirder’) view is that the answer is 1/3 (Elga 2000); the minority (‘halfer’) view is that the answer is 1/2 (Lewis 2001).
Suppose we impose the treatment of probability required for the tenability of the many-worlds interpretation on the full Sleeping Beauty paradox. Recall that the treatment of probability here is as if each branch has an objective chance of 1/2 of occurring. In the Sleeping Beauty case, this means we can treat the situation as if Sleeping Beauty is told that when the coin comes up tails, she will be woken up either on Monday or on Tuesday, with equal (objective) probabilities. That is, we can treat the situation as if there are two coins tosses, where Sleeping Beauty will be woken up on Monday (but not Tuesday) if the first coin come up heads, on Monday (but not Tuesday) if the first comes up tails and the second comes up heads, and on Tuesday (but not Monday) if both come up tails. But if this is the right way to analyze the situation, then the paradox dissolves, and the halfer solution is clearly correct. After all, the motivation for the thirder solution is Sleeping Beauty’s rational expectation at t0 that she will be woken up twice as often if the (initial) coin-toss comes up tails as if it comes up heads. But on the current understanding of Sleeping Beauty’s rational expectations, there is no such asymmetry; whatever the result of the (initial) coin-toss, she expects to be woken up once, although if the result is tails then she is uncertain as to which day she will see.
This analysis is straightforwardly applicable if the account of probability in the many-worlds interpretation involves genuine pre-branching uncertainty (as Saunders (1998) and Wallace (1995) maintain). Given such uncertainty, Sleeping Beauty should treat equal-amplitude branching just like a classical coin-toss, and hence she should view her situation as just like the case of two consecutive coin-tosses just described. Put another way, if Sleeping Beauty is genuinely uncertain at t0 about whether, given that the (initial) coin-toss comes up tails, she will be woken up on Monday or on Tuesday, then her epistemic situation doesn’t change between t0 and t1¬. All that changes is her point of view; at t1, she is uncertain whether, given that the coin came up tails, she is currently awake on Monday or on Tuesday. But without a change in epistemic situation, there is no occasion for her to change the probability assigned to ‘heads’ between t0 and t1, and at t0 that probability is clearly 1/2.
But even if the account of probability in the many-worlds interpretation does not involve pre-branching uncertainty, all authors agree that the account must underwrite behavior exactly as if there was genuine uncertainty, in order for it to count as an account of probability (Greaves 2004, 442; Papineau 1996, 238; Vaidman 2002a). But in that case, Sleeping Beauty must behave exactly as if she is uncertain whether, given that the coin comes up tails, she will be woken up on Monday or on Tuesday. And part of behaving that way, as has just been argued, is being willing to bet on ‘heads’ at even odds at t1. Hence if the treatment of probability by the advocates of the many-worlds interpretation is correct, in any of its forms, then the dominant thirder solution to the Sleeping Beauty paradox must be rejected in favor of the halfer solution.
The argument here assumes that there is no disanalogy between the many-worlds case and the Sleeping Beauty case that could justify different treatment of probabilities. But this might be challenged. For example, in the many-worlds case, the probabilities are related to the amplitude of the branch via the Born rule, and there is nothing analogous to branch amplitude in the Sleeping Beauty case. But note that this disanalogy is unrelated to the question of whether the relevant probabilities can be assigned prior to the branching event, which is the question at issue here. If there are further disanalogies between the two cases, the argument needs to be made. Otherwise, the parallels between the cases constrain your options: If you are a thirder, you must reject the many-worlds interpretation, and conversely, if you accept the many-worlds interpretation you must be a halfer.

NATURAL BEAUTY

NATURAL BEAUTY

INTRODUCTION AND ANALYSIS

The natural beauty of Hawaii is a universally recognized characteristic and [as such is] one of [our] the most significant and valuable assets[.] of this island. In a relatively small area exists a great range of environments, from lush green tropical valleys to snow-capped mountains. [This diversity enhances the liveability of the island by providing a preference of physical settings.]

Hawaii's natural and scenic beauty is the [manifestation] result of the [interplay] interaction of various physical elements and forces. Three primary factors contribute to the variety of environments: elevation, relative location, and geologic origin and age. A further factor is modification by man. The types of landform and vegetation depend on these basic factors. Due to different elevations and locations of the island, the landscape features have particular characteristics. These include barren fields of lava, heavily vegetated valleys, kiawe deserts, native forests, rolling grasslands, and rocky coastlines. The differences in the environment and the landscape features are important in giving identity to areas of the island and [in supporting man made elements.] enhances the livability of the island by providing a preference of physical settings.

[As a resource, natural] Natural beauty [has many aspects.] is a multifaceted resource. It is an aesthetic resource experienced by human perceptions. [Natural and scenic beauty has] It is an economic [ramifications,] resource, as evidenced by the scale of resort development and by visitor related activities. Real property values [also] further substantiate the economic value of Hawaii's dramatic beauty. [The comparison of a shoreline or mountain home with a panoramic view to a home across the street; or a condominium overlooking mountains and ocean as to a view of a neighboring condominium reflects the importance of scenic beauty. Another aspect is that the] The physical elements [which] that make up the landscape and the interrelationships of these elements are also of scientific interest. Investigating and understanding the physical environment are necessary [in order] for man to live in [balance] harmony with [it and not destroy it.] the environment.

As the population increases, the desire to experience natural beauty will continue and may increase. If uncontrolled, the development necessary to accommodate an increasing population as well as resort development could have detrimental effects on the natural beauty of the island. Areas with special amenities of natural beauty have been and will continue to be the focus of pressure for resort development. Present regulatory process provide an assessment of impacts of development projects in order to protect, preserve and restore natural and scenic resources. [However, planning decisions lack standard methods for assessing aesthetic values and evaluating impacts. The cost of restoring or regaining natural beauty is greater than the cost of protecting it.]


Hawaii's natural beauty is both an irreplaceable asset and [an asset that is] a part of the public trust. It is fragile and although often enhanced by man can easily be adversely affected. Measures must be taken to insure its protection, both now and in the future, for the enjoyment of Hawaii's residents and visitors.

Through the Zoning and Subdivision [ordinances,] codes, and the Special Management Area and shoreline setback regulations, the County of Hawaii has the means to protect the island's natural and scenic beauty as an integral part of the living environment of the island. Safeguards of this valuable asset are a major consideration [of] for any construction or development [which] that may alter, eliminate, or intrude upon it. They are also important so that man-made elements are kept in an aesthetic perspective with the physical surroundings.

The County Arborist Advisory Committee was established to determine guidelines to identify the physical and botanical importance of trees and tree masses on the island. Criteria such as the aesthetic quality, rarity, cultural significance and endemic status are evaluated in designating exceptional trees or tree masses. Preservation for those selected are enacted by County ordinance or regulation.

The Hawaii County Planning Department adopted Rule 17 that implements landscaping requirements. The purpose of the rule is to use landscaping requirements to create screens and buffers from noise, lights, and litter; moderate the visual impact and microclimates of paved parking lots and parked vehicles; enhance the street scape of commercial and industrial areas; and promote ecological and cultural values through landscaping with native and other appropriate plants.

Black Beauty Assessment Test

There are two tasks. You must complete both of these.

You should read the extract two or three times before attempting the first task. You should approximately ten minutes on Task One.

TASK ONE

1) Whose point of view is the story being told from?

2) Write down three clues that tell us there is a fire in the stables.

3) Why did the horses refuse to be led out of the burning stables by the ostler?

4) Why did Black Beauty allow himself to be led out by James?

5) How did the fire start?

You should spend approximately thirty minutes on Task Two. You must choose one of the following two tasks only. Plan your writing for Task Two carefully before you begin.

TASK TWO

Write a newspaper article about the fire.

OR

Write a short story about children alone in a house when a fire is started.

Beauty

Beauty


I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.

§1. The Notion of the Aesthetic
In contemporary philosophy, beauty is often thought of as one among many other aesthetic properties, albeit it one with a special role. I think this is a useful way of thinking about beauty, so long as we don’t lose sight of the beauty’s specialness. For our thought about beauty is indeed closely connected with our thinking in more broadly aesthetic terms. Hence let us begin by looking at the category of the aesthetic and the place of beauty within it.
Which properties are aesthetic properties? Beauty and ugliness would be thought to be uncontroversial examples of aesthetic properties. They are paradigm cases. But what about daintiness, dumpiness and elegance? What about the sadness or vigour of music? What about representational properties, such as being of a cow or of London Bridge? What about being mostly yellow or in C minor? What about art-historical properties, such as being a Cubist painting? Is there a principle at work that allows us to classify some of these as aesthetic properties and others as nonaesthetic properties?
Someone might follow this question with this question: is such a distinction as it were built into the world? Is it just a fact  a metaphysical fact  that some properties are aesthetic and some are not? Or is it a distinction that we should draw only if we find it useful to do so? That is, is it more pragmatic than natural? Then again, perhaps this is a false dilemma. For it may be that the aesthetic/nonaesthetic distinction is in some sense natural, but our main evidence for thinking it so is that we find it useful to mark such a distinction.
However, some have argued that the distinction is in fact not useful. There has been a debate initiated by Frank Sibley, about whether aesthetic concepts can be distinguished from nonaesthetic concepts (Sibley 1959, 1965). Notable contributors to that debate were Ted Cohen and Peter Kivy (Cohen 1973, Kivy 1975). (This debate was about aesthetic concepts, but there is a similar debate about aesthetic properties.) Sibley thought that there was a significant distinction between aesthetic and nonaesthetic concepts. He thought that aesthetic concepts were those that required 'taste' or 'discernment' for their application. But these faculties were in turn characterised in aesthetic terms. His critics pointed out that this way of distinguishing aesthetic concepts from nonaesthetic concepts led to too tight a circle. The consensus among contemporary aestheticians is that the distinction is somewhat arbitrary and hard to make out.
My own view is that Sibley can be rescued (Zangwill 2001a, chapter 2). There is a principled way of distinguishing aesthetic from nonaesthetic concepts and properties. The distinction is useful, and it marks a real difference between different kinds of concepts and properties. The strategy is: (a) to see judgements of beauty as pre-eminent among other aesthetic concepts and properties; (b) to give a distinctive account of beauty and judgements of beauty; and (c) to locate a necessary link between judgements of beauty and the other aesthetic judgements, which does not obtain between judgements of beauty and nonaesthetic judgements.

BEAUTY BEHIND BARBED WIRE:

BEAUTY BEHIND BARBED WIRE:
The Relocation Camp Experience of Estelle Ishigo

Creator: Madeline Antilla
Grade level recommendation: 9, 10, 11, and 12
Time required: 4 days (Lessons may be done individually.)

Unit Overview

Artist Estelle Ishigo, the European American wife of a Japanese American, was among the American citizens forced out of California during World War II. Ishigo and her husband, Arthur, were first sent to Pomona Assembly Center and later to Heart Mountain Relocation Center, in a remote area of Wyoming. There, Estelle Ishigo continued her work as a painter. This unit focuses on Ishigo's artwork, which provides a rare inside look at life in these camps. Students use primary sources to learn how internees lived and made a home under incredibly constrained circumstances.

Historical Background

When the Japanese attacked Pearl Harbor on December 7, 1941, World War II was already in its second year. The surprise bombing put the United States into a panic and resulted in the immediate Declaration of War by President Franklin D. Roosevelt. America joined the Allied Forces, with England and Russia, to fight against the Axis Powers, led by Germany, Italy, and Japan.

Longstanding prejudice in our country against Japanese Americans combined with newly inflamed fear and distrust to create unprecedented heights of hysteria. The success of the attack on Pearl Harbor was thought to be the result of espionage by Japanese Americans in Hawaii and on the West Coast. Newspaper articles and pressure groups called for the expulsion of all Japanese Americans.

Evacuation: On February 19, 1942, President Roosevelt issued Executive Order 9066, which dramatically changed the lives of 120,000 civilians of Japanese descent. This order authorized military commanders to remove civilians, primarily Japanese Americans, from designated "military zones." These areas were mainly along the US Pacific Coast, where most Japanese Americans resided. Lt. General John L. DeWitt, in charge of the Western Defense Command at this time, singled out Japanese American residents in the western region to be subjected to curfews and called for their "voluntary" evacuation. One of his first steps was to identify leaders of Japanese American community groups, and to send them to isolation camps. On March 19, 1942, General DeWitt called for a more mandatory evacuation, and eventually internment between 1942 and 1945 (see Chronology) of all residents of California, Oregon, Washington, and parts of Arizona who were as little as 1/16th Japanese. Of the 120,000 people who were ordered to leave their homes and businesses, two-thirds were US citizens by birth (Asian immigrants were not allowed to become citizens until 1952). These men, women, and children were told that this removal to remote, undesirable locations was for their own protection. By contrast, very few Americans of German or Italian ancestry were rounded up and forcibly moved. As later years would tell, not a single Japanese American was found guilty of either treason or espionage.

The first phase of evacuation began in March 1942, when families were transported on notice as short as 48 hours to trains that took them to hastily organized assembly centers in five western states. These were frequently located at racetracks or fairgrounds. Detainees were housed in cramped spaces (sometimes livestock stalls) with inadequate ventilation, power, privacy, and sanitary conditions. Food and medicine were also in short supply. In these first steps of relocation, detainees were guarded by military personnel in guard towers “for their own safety.” The evacuees were allowed to bring with them items listed by government order, but only what they could carry. Other property (including homes, businesses, land, boats, personal possessions) was stored, sold, abandoned, or left in the trust of non-Japanese friends. Some was recovered after the war, but much was not.

Internment and Relocation: The second phase moved large groups, mainly by train, to permanent concentration camps (later to be called internment camps). When the plan for relocation was completed, 10 camps in seven states were in full operation. Those facilities that were located in desert areas were inescapably hot and dusty, reaching temperatures of over 100 degrees F. People in northern camps fought sub-zero winters. The internment camps were surrounded by barbed wire and guard towers. Armed military guards patrolled the perimeter and were instructed to shoot anyone attempting to leave.

Life in the camps was organized around lines: lines for meals, clothing, mail and still more lines to use bathing and restroom facilities. Because of the cramped conditions, the nature of the family changed dramatically. Young members spent more time with their peers, and less with their elders. Rules came from outside the family, eroding family structure and challenging the authority of parents. Morale was an issue. Steps were taken to provide education, work, and other activities for the internees. Some were organized by the Japanese Americans themselves and some was provided by the on-site military organization. Each camp varied, as did each person's experience.

End of Camps: As World War II began to draw to a close, President Roosevelt provided for the return home of internees by ending the exclusion of Japanese Americans from the West Coast (December 17, 1944). Many returned to find their property greatly devalued or in the hands of others. All faced the challenge of rebuilding their lives as individuals, as families, and as a community within the fabric of postwar American life.

Because there are 120,000 different stories from within the camps, none of them should be considered typical. No single account of life there adequately expresses the experience. One story, however — that of Estelle Ishigo — brings with it a wealth of artwork and documentation.

THE EYES OF THE BEHOLDER

THE EYES OF THE BEHOLDER: HOW BEAUTY IS DEFINED AND HOW IT INFLUENCES BODY IMAGE AND SELF ESTEEM IN WOMEN
Instructors: Camille Kingsolver chk6@duke.edu
& Yasmine Tameze-Rivas
Wednesdays 7:00pm – 8:15pm

This course aims to explore the concept of beauty and how it is perceived differently in various facets of society. We will examine how beauty is portrayed in the media, how it is defined by different cultural groups and how beauty ideals have evolved over time. We will also analyze the influence of beauty ideals on female body image and self esteem, paying close attention to the relationship between body image and eating disorders. The goal of this course is to guide students in broadening their definitions of beauty through discussion and exploration. We hope that by the end of the course each student will have a personalized definition of beauty that is wholesome and dynamic. This course will emphasize positive action that each of us can take in society to promote healthy beauty ideals.

Assessment:
This will be a pass/fail class with required reading and required writing assignments every week. Reading assignments are expected to be completed before coming to class, along with a 250 word critique of the assigned chapters or articles, in order to facilitate meaningful discussion. A separate critique is not required for each article, but for each class. The critique should not be a summary of the reading but an analysis of the claims or ideas presented in the readings. Students are required to attend 11 of the 12 class meetings and are expected to be engaged participants in discussion and activities. Grades will be based on writing assignments and participation.

Class Structure:
We will begin each class with a short video clip to spark discussion of the day’s topic. After discussing the video and reading assignments we will end class with a short creative activity (arts and crafts, etc.) related to the topic.

Class 1: September 2 (Franca Alphin will be present)
Introduction to the concept of beauty
What does beauty mean to you? How does media shape our beauty ideals?

Class 2: September 9 (Franca Alphin will be present)
The concept of beauty across culture and time
Readings:
“Food, Bodies and Growing up Female: Childhood Lessons about Culture, Race and Class” Becky Thompson Feminist Perspectives (355-375)

“Body Projects” Joan J. Brumberg The Body Project (97-137)

Class 3: September 16
Beauty as we age
Readings:
“Introduction: First Person Sexual” Naomi Wolf Promiscuities (1-16)

“The Body’s New Timetable” Joan J. Brumberg The Body Project (3-55)


Class 4: September 23
Body Alterations: makeup, tattoos and plastic surgery
Readings:

“Changing Faces” Time. Cullen, Lisa Takeuchi. http://www.time.com/time/magazine/article/0,9171,332097,00.html (approx. 3 pgs.)
“Does cosmetic surgery improve psychosocial wellbeing?” David J Castle, Roberta J Honigman and Katharine A Phillips (3 pgs.)
“The psychology of cosmetic surgery: a review and reconceptualization” Clinical Psychology Review. David B. Sarwer, Thomas A. Wadden, Michael J. Pertschuk and Linton A. Whitaker (Pages 1-22)
“The Relation between Self-Esteem, Sexual Activity, and Pregnancy.” Adolescence [0001-8449] Robinson (27 pgs.)


Class 5: September 30 (Franca Alphin will be present)
Eating Disorders
Readings:
“Hunger” Naomi Wolf Feminist Perspectives on Eating Disorders (94-110)

“The War Against Fat” Richard A. Gordon Eating Disorders: Anatomy of a Social Epidemic (146-151)
“Running Risks: Compulsive Exercise and Eating Disorders” Helen Jefferson Lensky Consuming Passions (91-108)

“Toward a New Model for the Prevention of Eating Disorders” Catherine M. Shisslak Feminist Perspectives on Eating Disorders (419-132)

Class 6: October 14 (Franca Alphin will be present)
Sports Ideals
Readings:
“The Female Athletic Triad: Disordered Eating, Amenorrhea, and Osteoporosis” Jeffrey M. Anderson, M.D. (647-652)
“Sports” Margo Maine Body Wars (1-17)

Class 7: October 21
Happy Bodies: how we celebrate our bodies
Readings:
“The Relationship of Yoga Body Awareness and Body Responsiveness to Self-Objectification and Disordered Eating” Jennifer J. Daubenmier (1-13)
Wanting to be Her: Body Image Secrets Victoria won’t Tell You. Michelle Graham. (entire book)
Class 8: October 28
Life at Duke: what does beauty mean on our campus?
Readings:
“Beauty as Status”. Murray Webster, Jr.; James E. Driskell, Jr. The American Journal of Sociology, Vol. 89, No. 1. (Jul., 1983), pp. 140-165. (25 pgs.)
“Gender Differences in Body Weight Perception and Weight-Loss Strategies of College Students .”
Contributors: Patricia Anne Connor-Greene PhD, Assistant Professor of Psychology, Department of Psychology, Clemson University, Clemson, SC, 29634-1511 (15 pgs.)

Class 9: November 4
Sex and Beauty
Readings:
“11 Reasons to Worship Your Body (and His)” Diane Ackerman (1-11)
“The Uses of the Erotic: The Erotic as Power” Audre Lorde (339-343)
“Swallowing Anger & Despair: the Impact of Physical and Sexual Abuse” Kathryn J. Zerbe The Body Betrayed (195-222)
Diann M. Ackard, Ann Kearney-Cooke, Carol B. Peterson. “Effect of body image and self-image on women's sexual behaviors.” International Journal of Eating Disorders VL: 28, NO: 4, 422-429. Copyright © 2000 John Wiley & Sons, Inc. (8 pgs.)



Class 10: November 11
Religion, Body and Beauty
Readings:
“Starving for Salvation” Michelle Mary Lelwica (1-15) “Firm Believers? Religion, Body Weight, and Well-Being”. Kenneth F. Ferraro Review of Religious Research, Vol. 39, No. 3. (Mar., 1998), pp. 224-244. (21 pgs.)
“Religion and body weight.” K H Kim, J Sobal and E Wethington. Division of Nutritional Sciences, Cornell University, Ithaca, NY, USA (9 pgs.)
Religion & health: a dose of spirituality can be good for your body - Spiritual Balance (3 pgs.)Vibrant Life, Jan-Feb, 2004 by Nellie Jones

Class 11: November 18
Characters: does Barbie make us feel fat?
Readings:
“Black Identity and Self-Esteem: A Review of Studies of Black Self-Concept” Annual Review of Sociology ¬(23 pgs.)
“Does Barbie make girls want to be thin? The effect of experimental exposure to images of dolls on the Body Image of 5- to 8-Year-Old Girls “ H Dittmar, E Halliwell, S Ive - Developmental Psychology, 2006 - science.uwe.ac.uk (10 pages)


Class 12: November 25 (Franca Alphin will be present)
Conclusions
What have we learned? On the last day of class each student will present their reflections. This presentation is open to interpretation; creative forms are encouraged.

Additional Reading:
Wasted: A Memoir of Anorexia and Bulimia. Marya Hornbacher.

The English Handbook

The English Handbook

This handbook tells you about the courses you will study in your three years as a student of English Literature at the University of Sussex and about the ways in which you will be taught, assessed, examined and cared for by those teaching you in the English Department. The handbook also contains essential information on what we expect of you in your first, second and third years of study, on modes of assessment and on marking criteria.

The handbook ends with a list of the members of faculty teaching in the English Department, with their telephone and email numbers. The office hours of members of faculty [times set aside to see you in person] are displayed on the office-doors of members of faculty and are available from the English Department website or on the notice boards outside the English Department Office in the School of Humanities, Arts B 274 and in A104. You may find the following addresses useful:

english@sussex.ac.uk
http://www.sussex.ac.uk/english/

How do we communicate with you and keep you informed?

We communicate with all our students by email. The School of Humanities will give you an email address on arrival and we hope you will check your emails every day. Otherwise you may miss essential information about visiting guest lecturers and about last minute changes to arrangements. At the same time, you may miss essential messages from those teaching you about course preparation or course work. Please also consult the English Department’s Noticeboard in A104.


How do you communicate with us and keep us informed?

You are expected to attend all lectures and seminars associated with the courses you are taking. You may check your attendance records on Sussex Direct - through which you will also access the tutorial reports your tutors will write on your work and progress at the end of each course.

If you cannot attend a seminar, you must inform your tutors in advance that you cannot attend. If you miss two or more sessions, you will be contacted by the School of Humanities Office. If you find yourselves in difficulties with your academic work, you must contact your tutor or your personal tutor immediately by email so that we can see what help or advice you may need.

Please consult The School of Humanities Handbook for details on personal tutoring, tutorial reports, marking criteria and the personal and academic help provided by the School.

The most astonishing of all landing sites

The most astonishing of all landing sites: two texts on Venice
Four years before he died Joseph Brodsky (1940-1996) published an impressive essay entitled Watermark (1992). This essay can be typified as an autobiographic, poetical and philosophic discourse. It describes the city of Venice where every winter the Russian poet had been withdrawing to for several weeks since the beginning of the seventies. His fascination for the Italian city is related to recognition. On his very first visit to the city the poet, born in St Petersburg on the Baltic Sea, scents ‘the smell of freezing seaweed’ and he is ‘smitten by a feeling of utter happiness’ that at the same time evokes ‘hidden dramas and incongruities’. (8/9) This jolt of recognition makes Brodsky aware that attachment is beyond the confines of life’s memories and ‘beyond one’s genetic makeup’.
In the discourse, filling some hundred pages, Brodsky outlines a number of the circumstances of the seventeen winters he stayed in Venice and tries to fathom the city’s charm. He finds the water city enhances the powers of perception. Many of Brodsky’s statements made from the I-perspective concern visual notions. The ‘eye precedes one’s pen’. Various thoughts and metaphors converge to nominate this preoccupation with the eye in the city. The thoughts about identity and ‘selflessness’, imperative to the writing of poetry, are interwoven with the fact that one finds many mirrors in Venice: ‘hotel room mirrors’ (20), mirrors in rooms in a palazzo merging into one elongated ‘enfilade’. The rooms spill over and the enfilade looks ‘like a vicious, viscous infinity’. Naturally the reflection of the water that is ubiquitous and presents ‘an image of time’ is also related to this effect. Many motifs in this compact, poetical essay are worth examining– the labyrinth, the winter light, the perspectives offered by the urban space when one passes through it --, and are linked to what the poet states about the act of perceiving.
‘The eye is the most autonomous of our organs’ Brodsky writes by the end of his discourse in a complex passage, because ‘the objects of its attention are inevitably situated on the outside’ (78). The eye never sees itself, except in a mirror. Under all circumstances it keeps registering reality because ‘the environment is hostile’. In reaction to this hostility the eye is looking for safety and therefore for beauty. Brodsky is rather cryptic when he puts these thoughts into words: ‘Because beauty is where the eye rests. Aesthetic sense is the twin of one’s instinct for self-preservation and is more reliable than ethics. Aesthetics’ main tool, the eye, is absolutely autonomous’. (80). Further on Brodsky describes the autonomy of the eye in yet another way: ‘For the eye identifies itself not with the body it belongs to but with the object of its attention. And to the eye, for purely optical reasons, departure is not the body leaving the city but the city abandoning the pupil.’ (81)
These are interesting passages that demand commenting and thinking along with the author. But first I want to call on another man of letters who also reflects on viewing in Venice: the Dutch writer Cees Nooteboom.

From Nooteboom’s Venetian vignettes, a short travel account published in 1998, one might draw an intertextual line to Brodsky’s text published six years before. While Nooteboom (1933) does not explicitly refer to Watermark, it is interesting that echoes of Brodsky’s text sound in his text.
Nooteboom also describes the city on a winter day and refers to beholding time in Venice: ‘the eyes see what the no longer existing eyes of millions of others have seen, and actually here this is not tragic, because while one is watching they continue talking, one is continuously accompanied by the living and the dead’ (42). To the Dutch author as well the city appears to be a labyrinth, where at certain moments the bells are chiming everywhere, where the wanderer loses his way, gets lost, and then suddenly realizes ‘this is what it is about, only now one sees things one would otherwise never have seen. (45)
In the midst of his discourse Nooteboom relates how he, after roaming the Academia (the art museum, O.H.) for an entire day, saw images all around the city that were fraught with meaning. Figures are coming to life and - more important still in this context– they are watching the onlooker while he is observing them: ‘gods of the sea, putti, popes, sultans, condotierri, admirals, all wanting to draw your attention. They rush along the ceilings, they look at you with their painted, woven, pencil-drawn, sculpted eyes. Sometimes one sees one and the same saint more than once in a day, in a gothic, Byzantine, baroque or classical disguise, because myths are powerful and their heroes adjust, renaissance or rococo, they do not care, as long as one is watching, as long as their essence remains intact. (48)
The culmination of perception in Nooteboom’s travel account is when he is watching a painting by Vittore Carpaccio depicting the philosopher St Augustine of Hippo. Augustine finds himself in his writing chamber and he is painted ‘on the most mysterious moment of all, the moment of the inspiration’. The painting would seem to show events that will occur some time afterwards: ‘when Carpaccio has left, he dips his pen into the ink of the squid and he writes the sentence that has been preserved in every library around the world in one of his books’. (52). The imagination of the beholder is set off while he is looking at the painting. He sees things that are not there on the canvas.

Beauty, Contrast and Independence

Beauty, Contrast and Independence: British and American Travel Guidebooks on Socialist Yugoslavia 1958-1969

In the 1950s and 1960s more and more foreigners visited Yugoslavia, especially the Croatian Adriatic where they came to spend their summer holidays. Democratization of travelling was a consequence of the growing affluence in the post-war Europe, the establishing of holidays with pay as an entitlement, and the development of consumer culture. On the other hand, the development of mass foreign tourism in Yugoslavia was planned by the state and welcomed as a source of hard currency. During the sixties the number of foreign visitors to Yugoslavia increased from one to nearly 5 millions per year, and the number of overnight stays from 4 to 22 millions per year. By the end of the decade there were four times more British and five times more American tourists. The post-war wave of British and American tourists got the information about the country from the travel guidebooks published in the UK and the United States in 1958-1969. The authors of the guidebooks described Yugoslavia as a touristically unspoiled best-buy destination, a country of great variety and contradiction, a place where East met West and old met new. They presented the history of the territory from the Illyrian tribes to the World War II, the current social and economical situation, the level of living standards, and explained the open borders policy, the experiences of self-management and non-alignment. Slovenes, Croats, Serbs, Bosnian Muslims, Montenegrins and Macedonians were perceived as extremely different among themselves. A special character of every nation was described, as well as their supranational Yugoslav identity. However, the authors were not immune to generalizations, prejudices, stereotypes and imprecision. Taking into consideration the length of the coast and the number of visitors, the fact that the guides on Yugoslavia were mainly guides on Croatia seems reasonable. The popularity of the coast was used to attract more tourists and increase the interest in inland "real Yugoslavia", presented as mysterious, heroic and exotic.

C.V.
I was born in Pula, Croatia, in 1977. I got the B.A. degrees in history and Croatian language and literature (2000), and the M.A. degree in history (2004) at the Faculty of Philosophy, University of Zagreb. My master thesis was published as a book in Zagreb in 2005: U potrazi za blagostanjem. O povijesti dokolice i potrošačkog društva u Hrvatskoj 1950-ih i 1960-ih (In Pursuit of Well-being. On History of Leisure and Consumer Society in Croatia in the 1950s and 1960s). I have been publishing papers on the history of leisure, tourism and consumer culture in the socialist Croatia, as well as on other subjects. I spent the year 2002/2003 at the University of Oxford, UK, as a visiting student thanks to the OSI/FCO Chevening Scholarship. I am an assistant at the Department of History of the Faculty of Philosophy in Pula, Croatia, within the subject of the Croatian history of the 20th century. I have been teaching introductory courses to the Croatian history of the 20th century, as well as courses on the Croatian everyday life in socialism, and on the Croatian-Italian relations in the 20th century. I cooperated with the Lexicographic Institute Miroslav Krleža in Zagreb on the Croatian Encyclopaedia and The Encyclopaedia of Istria. I am working on the Ph.D. dissertation (Everyday Life and Consumer Culture in Croatia in the 1970s and 1980s), and I am a researcher at the project Tourism and Leisure Cultures in Socialist Yugoslavia, based at the University of Graz, Austria.

Cosmetics Beauty Hair 2008

Cosmetics Beauty Hair 2008
PRESS RELEASE

Between 18-21 September 2008, the Bucharest International Fair—ROMEXPO Exhibition Centre will host the 14th edition of the international exhibition of products and equipment for cosmetology, body care and hairdressing—COSMETICS BEAUTY HAIR 2008.

*Figures and themes

So far, 180 companies have announced their participation in this edition, representing 11 countries: Austria, Bulgaria, Germany, Greece, Italy, Netherlands, Poland, Czech Republic, Romania, Turkey, Hungary.
The covered surface totals 12,000 sq.m, exhibiting companies being hosted in halls 13, 14, 15, 16 and 17.
The exhibition is divided into the following product groups:
• Hall 13—cosmetic centre equipment and devices;
• Hall 14—cosmetic centre furniture and equipment;
• Hall 15—professional hair care cosmetic products and hairstyle centre furniture and equipment;
• Hall 16-17—professional and home use cosmetic products.

*Related events

• A stage will be set up in hall 17, for daily demonstrations and product presentations by the exhibitors registered in the event.
• The big sector companies’ stands will almost constantly host hair styling and make-up demonstrations, offered by famous European stylists. Moreover, we are expecting many Romanian showbiz stars.


*Professional services organised by Romexpo
The professional services offered by ROMEXPO to exhibition participants include the BUSINESS MATCHING POINT, a service facilitating business meetings between exhibitors and professional visitors directly interested in the products and services offered. The service addresses all companies, irrespective of their dimension or activity sector.
For the support and development of this activity, we have www.bizmatchingpoint.ro, a website specially dedicated to the Business Matching Point service. The website includes a presentation of all value-added services offered to ROMEXPO customers; it also provides the possibility of online presentation of the products to be displayed, before the actual fair opening, by registering in the application created in view of supporting the matchmaking activity and responding to the ever more demanding requests and streamlining the preset business meetings between exhibitors and visitors.
The Business Matching Point team will assist you throughout the exhibition duration in the Business Matching Point stand from Hall 14.
Moreover, through the Romexpo Business Centre (hall 31), specialists are offered business information, promotion and assistance for their investment projects, European Union financing programmes, consultancy and documentation on industrial property rights in Romania, information on the ROMEXPO exhibition programme and the services offered to partners. The information is provided by representatives of:
• NATIONAL ASSOCIATION FOR CONSUMER’S PROTECTION AND PROGRAMME AND STRATEGY PROMOTION IN ROMANIA
• ROMANIAN STANDARDISATION ASSOCIATION
• NATIONAL INSTITUTE OF STATISTICS
• MINISTRY FOR SMALL AND MEDIUM-SIZED ENTERPRISES, COMMERCE, TOURISM AND LIBERAL PROFESSIONS
• STATE OFFICE FOR INVENTIONS AND TRADEMARKS
• ROMINVENT.
Located in hall 4, close to the main Exhibition Centre entrance, the Press Centre provides media representatives with professional services, during all exhibitions organised by ROMEXPO S.A. The Centre offers the press: registration and information office, where press representatives are registered and accredited, conference room, with an 80 seats capacity and specific audio–video equipment, a modular, multifunctional space intended for meetings between exhibitors and the press, company and product presentations etc., spaces adequately equipped for editing, processing and sending press materials. The services offered by the Press Centre: free accreditation of media representatives, based on the media companies’ written application, setting of interviews and press conferences for organisers and exhibiting companies, press releases and daily information, throughout the exhibition duration, publications, EXPO NEWS—the fair’s newspaper, free email and internet access, copying, fax transmission, free access to the exhibiting companies’ promotion materials, free access to the photos taken by ROMEXPO reporters. Press services are also available in hall 31.


* Useful information
The exhibition visiting hours will be daily from 10:00 to 18:00, and on the last day from 10:00 to 16:00. Visitors’ access is allowed based on the entry fee or the specialist invitations distributed by exhibitors and organisers or downloaded from the event website www.expocosmetics.ro.
At the same time, the 13th edition of MODEXPO is held under the slogan A Synonym for Elegance, gathering together 130 exhibitors from 10 countries, namely Belgium, Bulgaria, Germany, Greece, India, Italy, Poland, Czech Republic, Romania, Hungary. The covered exhibition surface totals 4,000 sq.m, participating companies’ offers being displayed in halls 19 and 29.
The future seasons’ novelties can be found in the Trends Exhibitions. The fashion parades to be held on the first three event days on the hall 19 stage will definitely draw the attention of specialists and fashion lovers.

The entry fee is RON 6 and offers access to both COSMETICS BEAUTY HAIR and MODEXPO.
ROMEXPO PRESS CENTRE

“Chinatown”

“Chinatown” World View: Behind the Surface Beauty of 1930s LA
Lies a Bleak World of Greed, Corruption and Violence


Although today’s Los Angeles suffers from smog, crime and urban decay, for most of the 20th century, the city was renowned for its natural beauty, easy living and delightful climate. In decades past, Midwesterners and Easterners were drawn to the region like teens to iPods. Few of the Southwestward-bound were aware that the “lush” city is actually set in a semi-arid location that could never have supported its famous sprawl without huge quantities of water piped-in from other parts of the state. In Roman Polanski’s landmark 1974 film, “Chinatown,” the young LA’s thirst for more water—and the vast profits to be made from quenching that thirst—become a symbol for a city whose movie star aura hides a world where good succumbs to a flood of evil, greed, corruption, incest and murder.
Plot conveys anti-capitalist ideology
In the LA of “Chinatown,” the dominant ideology is a godless world where capitalism corrupts. Big Business and Big Government turn money into power and further corruption. The American Dream becomes the American Nightmare in which a wealthy self-made man can evolve into the most despicable type of villain, raping his own daughter and murdering his one-time best friend, and get away with it all.
The basic premise of the film is a sinister plot by businessmen and politicians to stage a drought and push through new water laws that will help them make huge profits on outlying land they’ve quietly acquired under assumed names. Within this framework, protagonist Jake Gittes, a private investigator and former cop, becomes an unsuspecting pawn of the powerbrokers in their effort to discredit honest water commissioner Hollis Mulwray. Mulwray’s subsequent murder draws Gittes further in, leading him to the grieving widow/murder suspect Evelyn Cross Mulwray and ultimately to her father—the evil Noah Cross, once partners with Hollis Mulwray. Irked at being used, Gittes pursues the truth at great personal risk in a quest to regain his self-respect and reputation, and to help Evelyn Mulwray.
In the world of “Chinatown,” the soulless quest for more money and power leads multi-millionaire Noah Cross to commit a series of crimes, including the murder of his best friend, to make even more money. Consider this exchange: Jake asks, “I just want to know what you’re worth. Over ten million?” Noah responds, “Oh my, yes.” Jake asks, “Why are you doing it. How much better can you eat? What can you buy that you can’t already afford?” Says Noah: “The future, Mr. Gitts, the future.”
Title and references to LA’s Chinatown reiterate bleak world
Although it’s not mentioned in the film, during the 1930s, LA’s original Chinatown residents and businesses were forced out by a coalition of businessmen and politicians who wanted to use the area for a train terminal. Neither does the film note that the fictional water conspiracy it portrays incorporates some details of an actual 1905 scandal, in which politicians and businessmen profited vastly through land speculation after staging a drought. Nonetheless, the historical realities behind the film’s plot and setting enable the filmmakers to imbue the film with a dark realism and convey a bleak world convincingly, despite the outer “glory” that was Los Angeles—the City of Angels.
While most of the film is set in other parts of LA, Chinatown is referred to several times as the mysterious, inscrutable backdrop for many of the problems faced by the characters. The protagonist, Jake Gittes, says he once served as a cop in Chinatown, which was the type of place in which the D.A. would advise his men that to survive, they should back off and do “as little as possible.” When Gittes tries to protect Mrs. Mulwray, he hides her in Chinatown. And at the film’s bleak climax in Chinatown, where Gittes witnesses a scene in which his worst fears come true, a former colleague tells him to give it up and go home: “Forget it, Jake” he says. “It’s Chinatown.” Ultimately, Chinatown symbolizes a vortex of despair--sort of a modern day Tolkien Mount Doom, if you will-- sucking in those who do not understand it and who are blinded by the beauty of Los Angeles.
Using stereotypes to convey world view
Chinatown’s characters are stereotypical in many ways, bringing to mind the 1940s detective stories of Raymond Chandler and film noir sensibilities. Gittes is a private investigator and almost an anti-hero—tough, self-absorbed, independent, but likable and attractive. Evelyn Mulwray is a beautiful, vulnerable, mysterious “woman-with-a-past” who’s in trouble. Hollis Mulwray is a more traditional hero who believes the people should own the water, fights the Big Business and Big Government coalition, and rescues Evelyn.
In addition, there are the Mulwray’s inscrutable Chinese butler and hard-working Japanese gardener, and Mulwray’s ambitious, unscrupulous and cowardly underling, Russ Yelburton. The cops are hard and tough-talking. And of course there’s Noah Cross, who is the stereotypical “capitalistic pig”—and then some.
Expressing a deeply pessimistic view
With water a prominent theme throughout the movie, it’s hard to resist saying that the filmmaker’s glass is definitely half-empty at best. In fact, this film conveys the most disheartening messages possible. Evil triumphs over good repeatedly in the film—the water battle is lost, Evelyn never escapes her father, Mulwray dies and ultimately Evelyn dies, losing her daughter/sister to the evil Noah Cross. As this bitter end unfolds, Gittes loses his hopes for the future. The audience sees what he sees: Crime DOES pay. Evil DOES triumph over good. These characters never had a chance—there was virtually no escape for any of them from the evils set in motion by “capitalism gone wild” as represented by Cross.
Values implied
The movie suggests that human nature is basically weak. “Values” are shown by what happens when they are ignored or perverted. Had Noah Cross loved his daughter and been a good parent, he never could have ruined her life by his actions. Had Cross not loved money more than his friend, he could never have murdered Hollis Mulwray. Had the city fathers not wanted to line their own pockets, they could have served the city better. Had the Chinese and other minorities been treated more kindly, Chinatown would not have become a center of evil burning at the heart of Los Angeles. This view of human nature is reiterated by one of the film’s most famous quotes, a “philosophical” observation from Noah Cross: “See, Mr. Gitts, most people never have to face the fact that, at the right time and the right place, they’re capable of....anything!”
In summary, the filmmakers effectively use plot, stereotypical characterizations, historical context, embedded values and a clear demonstration of success based on corruption, to convey the film’s deeply disturbing world view.

SKIN CARE AND BEAUTY PROGRAM

SKIN CARE AND BEAUTY PROGRAM
2008 - 2009 ACADEMIC YEAR
COURSE CONTENTS
I. YEAR / I. SEMESTER
Turkish Language - I

Principles of Atatürk and the History of Turkish Revolution - I

Foreign Language - I (English)

Computer - I

Fine Arts - I / Physical Education - I

Basic Art Education - I
This course aims to educate students on the importance of basic art, to strengthen their visual perception. In this course, the concepts or emotions are given by drawing, colour or texture. In addition, the students are given the education of drawing and memorizing which are the core of aesthetic feeling. Students are also donated with the necessary design knowledge that is used to change two or three dimensional designs into forms.

Skin Care Applications - I
The aim of this course is to provide students with the necessary skills by giving education about healthy skin care application with cosmetic products and tools.

Basic Make-up
The course covers the definition and importance of make-up, colour knowledge, facial features, the techniques used to adjust facial defects, tools used for make-up, forming eyebrows and eye lashes, day and night make-up, and bridal make-up.

Cosmetic Knowledge about Skin and Body Care
This course covers the classification of skin and body care cosmetics and their contents, skin and body care products, tips for choosing the right product for skin and body care.

Professional Ethics
This course aims to raise students’ consciousness about professional ethics for better higher standards in skin care and beauty sector.

Aesthetics
This course aims to raise students’ consciousness about the idea of aesthetics, the idea of beauty from past till now, and beauty trends in modern world.



I. YEAR / II. SEMESTER

Turkish Language - II

Principles of Atatürk and the History of Turkish Revolution - II

Foreign Language - II (English)

Computers - II

Physical Education / Fine Arts - II

Hand, Foot and Nail Care
This course includes nail care, simple nail infections, nail tools, manicure, pedicure, nail decorations, prosthetic nail, nail repair techniques and applications.

Body Care Applications - I
General body care, cosmetics and the classification of cosmetic products, the effects of the products on body, the applications made upon the skin are taught in this course and students also have the chance to apply of theoretical knowledge.

Skin Care Applications - II
The basic aim of this course is to apply skin care products and tools for each skin type.

Public Relations
Topics that will be covered in this course are the principles of Public Relations, research methods, setting the goals, determining the target audience, choosing the right communication channel and so on.

Epilation
Basic information about epilation, types of epilation and application techniques are among the topics that will be discussed in this course.

II. YEAR / I. SEMESTER

Stage Make-up
Students are given the information about the tools or materials used in stage make-up. Additionally, they gain the necessary skills through practice.

Computer-based Hair and Make-up Design
In this course, hair and make-up designs are made by choosing the right software. Students are also required to prepare a report according to the evaluation of a theme.

Body Care Applications - II
The goal of this course is to discuss the concept of body care and the types of body care products, body features and choosing the right product for each type.
Skin Care Applications - III
Applications with special products for the special skin types will be covered in this course.

Professional Practice - I
The aim of this course is to teach the types of techniques used for skin care and to give the opportunity to practice with related sectors.

Professional English - I

OPTIONAL COURSES

Introduction to Sociology
This course discusses the structure of society, laws, the connection between social science and real life.

Anatomy
This course aims to give information about living organisms, cells, systems, organs and their harmony.

Environment and Human
The harmony between human and environment under the light of anatomic features and physiological tolerance is the basis of this course. Students are also given the information about tools, machines, environment and environmental consciousness.

Intonation and Body Language
Expressing oneself both in verbal and written ways, public speaking, making presentations are the topics of this course.

II. YEAR / II. SEMESTER

Professional Massage
Information about the products used in professional massage and massage gel techniques will be covered.

Body Care Applications - III
For different body parts, different care with cosmetic products will be practiced in this course.

Body Make-up
Through different make-up techniques, make-up application on body is the topic of this course.

Professional Practice - II
In this course, students practice on the skin and body through special products and techniques.

Business Administration
Economic life and the goals of management, types of management, how to start a business are the issues that will be discussed.
Graduation Project
Students are given a special project according to the content of the program.

Professional English - II

OPTIONAL COURSES

Behavioural Psychology
This course covers the factors that affect behaviour, and empathy.

Skin Nutrition
Vitamins, minerals, antioxidants that affect skin, and the methods used for a healthy skin are some of the topics of this course.

Healthy Life Activities
Students will focus on the hygiene rules necessary for a healthy life, and other sport activities.

Art Activities
This course aims at the adaptation of students by focusing on the topics such as definition of art, its historical development, fine arts and Turkish culture.

BEAUTY ENGINEERED FOREVER (B_E_E)

BEAUTY ENGINEERED FOREVER (B_E_E)

Cleaning products are intended to create cleanliness in our place of work and at home. Our built-in buying habits steer most towards purchasing the traditional family favourites that dominate supermarket shelves. But, how often do we, as consumers, consider the impact general cleaning products have on the wider environment and our own health?

Beauty Engineered Forever (B_E_E) is a New Zealand company which produces a range of environmentally friendly household cleaning products from natural ingredients and essential oils that are not harmful to the environment and safe for consumers. Products that are tested by dermatologists are tested on humans not animals to maximise safety for most skin types and allergies.

B_E_E offers an exclusive range of household cleaning products including dishwashing liquid, whiteners, delicate fabric washers, multi-surface cleaners, and laundry powders/liquids, and aims to sell the environmentally friendly products through the use of attractive and attention grabbing branding. The packaging has been designed to connect with the customer on a personal level with playful and cheeky ‘pick up’ lines, such as “I’ll do your dirty work” and “I’ll make it all white”.

Brigid Hardy, Founder and Managing Director, hopes to create “a whole new ethos around how you could make environmentalism and sustainability cool and gorgeous through making it designer”.

B_E_E’s combination of creative design, sustainability, innovation and technology expects to demonstrate that “being green doesn’t mean you have to compromise on beauty and performance.”

As a member of the Sustainable Business Network, B_E_E is highly respected for its sustainable business practices. For example, the company assesses the ethics and practices of businesses found within their supply chain and preferences are given to environmental partners and, where possible, New Zealand businesses. For example, kawakawa oil is sourced from a small East Cape firm helping create employment in a region with a low employment rate- a social value that B_E_E considers very important.
B_E_E is the only New Zealand business whose cleaning products meet the Environmental Choice Accreditation. This award is endorsed by the New Zealand Government and is the most comprehensive eco label for laundry and household cleaning products with highly rigorous environmental standards, globally and nationally.

Case study by: Cherie Aroha Newman
Edited by: Rachel Bowley, Waikato SBN.

Beauty is More than Skin Deep

Beauty is More than Skin Deep
Presented by the Golf Course Superintendents Association of America

A typical 18-hole golf course encompasses approximately 150 acres, but it is the two and a half acres - or two percent of that area - of putting greens that captures the most scrutiny.

Whether you are a golfer, a superintendent, a builder or an architect, your respective success is often determined by your work on the green. We'll leave the discussion of putting skills for another day, but the construction, maintenance and success of the putting green requires a precise combination of science, technology, expertise - and some cooperation from Mother Nature. Whether right or wrong, the quality of a golf course is often determined by its greens. And the quality of the green may have nothing to do with what you see on the surface, but ultimately what lies below.

There are three basic types of green construction - USGA, California and soil-based. The one used is generally a function of age of the course, budget, and philosophy of the construction team (superintendent, architect, builder).

The first golf courses featured soil-based greens, which are constructed with native topsoil, usually graded from on site, and possible other amendments such as manure, peat, sand, etc. The materials, however, were not constructed in layers in the manner of USGA and California greens. The biggest drawback to these greens is the lack of natural drainage and a tendency to compact. That can result in less than optimal putting conditions and considerable challenges for superintendents in maintenance activities. The biggest advantage of such greens is the cost, which is approximately two dollars per square foot.

The USGA green was born out of research in 1960 that called for construction using layers featuring a subgrade, a drainage network of PVC or plastic pipe, gravel, an intermediate layer, root zone organic matter and the grass surface. The material used in all of these layers must meet specific criteria.

In 1993, criteria of the USGA green was further developed whereby the intermediate layer is eliminated if the proper sized gravel is used. Regardless of which alternative is employed, proper surface and subsurface drainage is the beauty of the USGA green complex.

The advantage of the USGA green is its research-base and testing, thereby reducing the risk of green failure. If properly built and maintained, golfers rarely face poor putting conditions. The biggest drawback is collecting the necessary materials and the cost of construction. At four to five dollars per square foot, an average USGA green costs $24,000 to $30,000 apiece.

California Greens were developed in the mid-1970s at the University of California - Davis. This green is made with a pure sand root zone above the subsoil and a drainage system of pipe surrounded by gravel. Again, the sand, gravel and construction is set to specifications. The advantage of the California green is its cost, approximately half that of the USGA green. They also do not suffer the compaction and drainage problems of soil-based greens. These greens can be difficult to grow-in because fertility is difficult to manage in the sand root zone.

Today, it is rare when new or renovated greens are not built to USGA or California specifications. Golf courses may also opt to feature hybrids of the two green construction profiles. A combination of the USGA and California methods has been successful in providing a good surface with slightly lower investment.

A facility's decision to construct, renovate or restore putting greens should be made with care and informed input. Not only is the expense a consideration, but the failure of greens and the corresponding revenue decrease has a very real bottom-line implication.

For more information regarding golf course maintenance and etiquette, contact your local superintendent or the Golf Course Superintendents Association of America at 800/472-7878 or www.gcsaa.org.

NOTE: Information for this article was provided by Golf Course Management magazine and the USGA Green Section.


Key points:

• The construction, maintenance and success of the putting green requires a precise combination of science, technology, expertise - and some cooperation from Mother Nature.
• There are three basic types of green construction - USGA, California and soil-based.
• The first golf courses featured soil-based greens, which are constructed with native topsoil.
• The USGA green was born out of research in 1960 that called for construction using layers
• California Greens were developed in the mid-1970s at the University of California - Davis and cost approximatley half that of USGA greens.
• A combination of the USGA and California methods has been successful in providing a good surface with slightly lower investment.

Beauty in the Heavens: Notes

Beauty in the Heavens: Notes


Companies running trips to observe Solar Eclipses:
Ancient World Tours: http://www.ancient.co.uk/
Explorer’s Tours: http://www.explorers.co.uk/astro/default.asp
Responsible Travel: http://www.responsibletravel.com/Trip/Trip101504.htm
On-the-Go Tours: http://www.onthegotours.com/Russia-with-On-the-Go-Tours
IAH holidays: http://www.iah-holidays.co.uk/
Explore: http://www.explore.co.uk
To view the Aurora Borealis - Omega Holidays run 4 types of trip:
1) 3 hour flights from UK airports to Icelandic waters.
2) Day trips to Tromso to observe form the top of a nearby mountain.
3) Weekend trips to Lapland to view from a remote frozen lake and, next day, have a snowmobile or husky trek through the snow!
4) Trips on Norway's Hurtigruten ferries
Omega Holidays: Phone: 0152437500 : http://www.omegaholidays.co.uk/
Comments on Lectures and Subjects you would like me to cover:

Beauty and Spa Techniques

Beauty and Spa Techniques
Plan # C0280
In today’s fast-paced, stressed-out world, salon and spa services are in growing demand. Now, with the launch of this exciting new program, you can learn to offer these services at our Niagara-on-the-Lake campus, complete with a beautiful new spa.
Certificate graduates may work independently as estheticians or provide skin care, facials, manicures, pedicures, hair removal and makeup artistry to the wellness industry.


Required Courses:

Anatomy and Physiology
ANAT 1198
The basic functions of the human body and their importance will be examined. Topics to be discussed include the structures, locations, and functions of the tissues and organs which make up the systems of the body. The anatomy and physiology of the body systems and their interrelationships with one another will be explored in-depth. Students will become familiar with body systems when they are healthy and also pathophysiology, or disorders and diseases, that can develop which are relevant to a career in esthetics.

Nail Techniques I
ESTH 1107
The structure of the nail, its diseases, and abnormalities will be emphasized in this course. During this course, the student will develop an awareness of the anatomy of the hand and arm, as well as, the development and growth of nails. The student will learn basic manicure procedures; the study of nail diseases and irregularities; the manicurist/client relationship; nail tip application; methods of nail repairs and the application and benefits of paraffin treatments to the hands. Also, practical experience will be gained in performing professional spa manicures, hand drawn nail art and client relationships. Attention is placed on the importance of sanitation and sterilization of manicure implements.

Nail Techniques II
ESTH 1207
Designed as a continuation of Nail Techniques I, this intensive course will emphasize practical experience in nail applications. Students will gain advanced training in the skills of nail enhancements. Students will be instructed in the application of acrylic nails, fiberglass overlays, gel nails, and nail art. The practitioner/client relationship will continue to be emphasized. Professional methods, with regard to re-booking nail customers, and selling related products will be discussed and applied.

Pedicure I
ESTH 1102
Students will study the anatomy of the foot and leg. Students will acquire knowledge of the disorders, diseases and imperfections of the foot and nails and determine which treatments are available for each condition.

Pedicure II
ESTH 1202
As a continuation of Pedicure I, students will be taught the practices and procedures for callous removal, the prevention of ingrown toe nails and foot sanitation. Students will provide clients with a professional therapeutic massage for the foot and leg, improve blood circulation and relax the client.

Skin Care Theory I
ESTH 1104
Students will study the physiology, histology, structures, and disorders of the skin. Nutrition and health of the skin, enemies of the skin, aging factors, working with physicians and various cosmetic procedures will also be discussed. Personal hygiene, professionalism, safety, and first aid as it relates to the salon and spa businesses will be emphasized. The fundamentals and importance of bacteriology, sterilization and disinfection methods, and the safe use of various disinfectant products in the esthetic industry will be covered.

Skin Care Practicum I
ESTH 1103
The practical components of skin care are covered. These include: performing facial services following the facial muscles correctly, preparing the treatment area, conducting consultations, analyzing the skin by means of magnifying lamps, properly cleansing and exfoliating of the skin and choosing the correct products.

Spa Management
ESTH 1111
Students will learn all aspects of managing a spa including budgets, promotion, product placement, client relationships, and hiring practices. The student will also be able to operate current industry standard Spa/Salon software.

ELECTIVES:

Hair Removal I
ESTH 1105
The structure of hair and hair growth in both males and females, hair removal techniques, up to date waxing methods and various facial and eyes shapes and the proper placement of brows on each variation will be studied. The proper care, operation and safety of waxing equipment will be emphasized as well as the proper sterilization techniques and hygiene.

Hair Removal II
ESTH 1205
The techniques of wax application and removal for both face and body are taught, as well as types of waxes, their properties and specific uses of each. The differences in temporary and permanent hair removal methods will be discussed.

Make Up I
ESTH 1106
Incorporating the study of the skeletal system, the student will recognize and determine the various facial and eye shapes. The student will study colour theory in depth and gain knowledge of the various tools of makeup available to the professional makeup artist. The student will demonstrate the proper order of makeup application and practice the skills required to apply makeup for a variety of occasions, such as, weddings, evening and everyday wear, for each age group and for all skin tones. The student will also gain experience with sales techniques such as sampling and promotional displays of products and use superior communication skills and continue to practice professional client consultations and sales.

Make UP II
ESTH 1206
Designed as a continuation of Makeup I, this course will take students into the area of corrective, television, runway, theatrical, and camouflage artistry. Building upon the basic makeover skills acquired in Makeup I, the student will learn to assess and analyze clients’ facial features and skin conditions for the application of makeup for camouflage. The psychological aspect of makeup and how it affects the clients’ wellbeing will be discussed in depth. The student will gain experience with client consultation and proper sales techniques. The student will also have ample opportunity to practice makeup application for weddings, runway, television, theatre, and camouflage.


Skin Care Theory II
ESTH 1204
The basic chemistry of products and their ingredients will be covered. Other topics include: how skin care differs in male and female clients, mask therapy with an in-depth look at the various masks available and their ingredients, how to determine which mask would be most beneficial for each skin type. Disincrustration and extraction methods along with their procedures will also be discussed. Students will gain invaluable information on the various machines used during facial and body treatments, their care, the safe handling of each and identify benefits as well as the contraindications of each.

Skin Care Practicum II
ESTH 1203
Students will apply the theory, previously learned to the practical components of skin care. These include facial massage, facial machines, a variety of masks and towel steaming in a safe hygiene manner.