Dubai’s heritage and culture for future generations Essay Example for Free

Dubai’s heritage and culture for future generations Essay There has been a sufficient mention of a profound dearth of interest in preserving Dubai’s heritage and culture for future generations. The severity of Dubai’s cultural problems (both current and impending) is an overwhelming testament to the shortfalls of various cultural players. Dubai’s cultural scene is beset by issues ranging from funding to the non-existence of a governing agency on cultural arts and activities. The lack of funding allocation for Culture, Heritage and the Arts hampers government organizations from awarding prizes for artistic/literary achievements and awarding subsidies for the pursuit of the Arts. This phenomenon holds true for the Fine Arts and Literature although the UAE government has accorded ample financial support for Festivals like the Dubai Shopping Festival and Dubai Summer Surprises and theatrical infrastructure improvements. Support for Folklores Promotion and Archeology and Heritage Campaign, however, has not been reasonable; folklore presenters being imported from Oman and Archeology and Heritage Funds mostly channeled to administrative expenses. Education, being an essential tool for information dissemination, interest stimulation, and revolutionary change has not been aptly utilized to impact artistic/cultural perspectives among Dubai’s youth. This has crucial implications for both the quality and availability of indigenous workforce in that line. There are limited schools for Drama and Theatre, Music, and Folklore. Academic trainings for Archeology and postgraduate courses for Media are unavailable in the United Arab Emirates. Insufficient emphasis is given to Fine Arts, Literature, Folklore, and Heritage in school curriculums. Commercial Music Institutes, more than being of questionable quality, are beyond affordability by some Dubai residents. Lack of public interest is often the offered rationale for these academic limitations, although initiatives focused on the dilemma could have sparked a renewed public interest in Culture and the Arts. This dearth of public interest has crucial implications for the composition of Dubai’s cultural workforce and the artistic/cultural participation among the populace. The Nationals’ interest in theatre and performing arts is in congruence with the number of theatrical activities providers- both are limited. Dubai’s Fine Arts Exhibits showcase some unique talents and the artistic experience. However, the arena is beset by commercialism and a lack of appreciation among UAE nationals. Expatriates are more keen on Emirate Arts which benefits from an artistic enthusiasm peculiar to a wealthier society segment. Dubai’s Musical Arena is characterized by a musically-inclined, musically-upbeat society, and a commercialized musical education system. Songs and dances are an important part of celebrations, and there is an inordinate demand for international concert seats. Inadequate project experience and strong public participation, however, marks Dubai’s Film Scene. The launching of the International Film Festival in 2004 and the Dubai Studio City Project are predicted to generate a strong reception on Dubai’s film, TV, and music industries. Dubai’s literary domain, mainly focused on poetry, is not supportive of the development of intellectuals and thinkers. Government-sponsored poetry awards are an insufficient compensation for the limited career prospects for literature graduates. Festivals in Dubai such as the Dubai Shopping Festival and the Dubai Summer Surprises have acquired an international reputation, drawing tourists from the Middle East and beyond. However, a highly-trained festival-hosting workforce stands in stark contrast to the unprofessional and poorly-trained folklore performers, mostly from Oman. While Dubai’s rapid economic growth has made it a preferred destination for business meetings and international events, its vantage for exhibiting local folkloric performances to an international audience has not been fully utilized. It is quite ironic in that part of the reason of the businesses’ choice of Dubai is the pursuit of some Mideastern charm. Restoration attempts on Dubai’s historic buildings and the circulation of accompanying brochures and maps in multiple international languages are commendable efforts at giving tourists a glimpse of its ancient glory. The aforementioned measures are necessary to take advantage of Dubai’s vantage in the highly-competitive heritage tourism industry. However, the unavailability of Archeology programs in the UAE academe, and hence, the dearth of local Archeology specialists consequence in expatriate archeologists having to send artifacts to their respective countries for research/examination. Dubai’s Media Sector, with its state-of-the-art infrastructure and openness to competition, is in a struggle between foreign ownership and foreign workforce domination and calculated guardianship measures against Western infiltration. The media hub, albeit accommodating of the city’s cosmopolitan composition, suffers the dearth of a commercialized local cultural content. Islam is highly-inculturated and educationally-integrated in Dubai amidst its policy of accommodation and support to non-Muslim, expatriate religions. It is only a sober fact that the beauty of Islam has been overshadowed by negative perceptions pertinent to Terrorism. By and large, Dubai’s Islamic atmosphere, liberal for its multicultural make-up, is aptly guided by the Islamic values of tolerance and moderation. Technology can accord Dubai’s Arts and Culture a distinct vantage, but it can also effect otherwise. Electronic proliferation is a global trend, and cultural domination vis-a-vis high-technology is way unpredictable. It would also be of interest to note of the inadequate coordination among various cultural and arts providers and between Dubai’s public and private sectors. Dubai’s cultural scene is oblivious to common notice because of the dearth of literature in the subject; the absence of data on usage, patterns and preferences and the paucity of surveys and researches are common themes that beset Dubai’s cultural components. It is ironic that cultural/heritage problems prevail in Dubai, while the United Arab Emirates as a whole advocates culture and heritage. In the UAE, the preservation of many of its unique archaeological and architectural sites and its manuscripts have been given special preference. Literature and customs are widely studied in schools, while museum displays, heritage villages and the restoration of vanished monuments (based on photographs, local memory and documentary evidence) have helped to create a context and feel for this cultural legacy . It appears that most of the cultural development is occurring in Abu Dhabi; in 2005 a law was passed in this city establishing Abu Dhabi Culture and Heritage Authority. This new Authority’s goal is to sponsor intellectual and artistic activities and preserve the cultural heritage of the Emirates. This entails directly promoting Abu Dhabi’s cultural heritage, drawing up and implementing cultural policies, plans and programs, reviving cultural heritage projects, and organizing exhibitions and conferences on cultural heritage 1. Abu Dhabi signed a Memorandum of Understanding (MOU) with the New York-based Guggenheim Foundation to establish a world-class museum devoted to modern and contemporary art, called the Guggenheim Abu Dhabi (GAD), the museum designed by the eminent architect Frank Gehry will place the Emirates as a leading international cultural destination22. The researchers have asserted that situated in the center of Abu Dhabi, there is a Cultural Foundation which is now part of the Abu Dhabi Authority for Culture and Heritage (ADCH); this, at the heart of the capital’s cultural life benefits children, adults of all ages, UAE citizens and expatriates. One of the most significant features of the Cultural Foundation is the National Library which has well over a million books, primarily in Arabic, although there are also collections in a myriad of foreign languages. A majority of these volumes are available for reference for the public, plainly requiring a simple registration process. There is also an area for children where special programs are planned, especially during the school holidays2 . It is apparent that the culture of Dubai should be promoted in the same manner; perhaps these cities could share wealth in culture preservation through the Fine and Performing Arts and the Media.

Destiny, Fate, Free Will and Free Choice in Oedipus the King Essay exam

The Concept of Fate in Oedipus Rex  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚        Ã‚  Ã‚  Ã‚   To the first-time reader of Sophocles’ tragedy, Oedipus Rex, it seems that the gods are in complete domination of mankind. This essay will seek to show that this is not the case because the presence of a tragic flaw within the protagonist is shown to be the cause of his downfall.    In the opening scene of the tragedy the priest of Zeus itemizes for the king what the gods have done to the inhabitants of Thebes:    A blight is on our harvest in the ear, A blight upon the grazing flocks and herds, A blight on wives in travail; and withal Armed with his blazing torch the God of Plague Hath swooped upon our city emptying The house of Cadmus, and the murky realm Of Pluto is full fed with groans and tears.    The power of the gods seems quite awesome in their ability to inflict great injuries such as these on the population. King Oedipus, seeing Creon returning from the oracle at Delphi, addresses a brief prayer to King Apollo as the ultimate source of assistance in time of trial: â€Å"O King Apollo! may his joyous looks /Be presage of the joyous news he brings!† Creon brings to Thebes the message of the gods from the oracle: â€Å"Let me report then all the god declared. /King Phoebus bids us straitly extirpate /A fell pollution that infests the land, /And no more harbor an inveterate sore.†    The gods know that Oedipus is a â€Å"pollution,† a â€Å"sore,† which must be gotten rid of, expelled from Thebes. Charles Segal in Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge supports this view:    In his growing strength Oedipus begins to act as the ritual scapegoat, the pharmakos, the figure who is ritually laden with all... ...s Rex, edited by Michael J. O’Brien. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1968.    Segal, Charles. Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge. New York: Twayne Publishers, 1993.    â€Å"Sophocles† In Literature of the Western World, edited by Brian Wilkie and James Hurt. NewYork: Macmillan Publishing Co., 1984.    Sophocles. Oedipus Rex. Transl. by F. Storr. no pag. http://etext.lib.virginia.edu/etcbin/browse-mixed new?tag=public&images=images/modeng&data=/texts/english/modeng/parsed&part=0&id=SopOedi -  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚      -  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Spengler, Oswald. â€Å"Tragedy: Classical vs. Western.† In Sophocles: A Collection of Critical Essays, edited by Thomas Woodard. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.    Van Nortwick, Thomas.   Oedipus: The Meaning of a Masculine Life. Norman, OK: University of Oklahoma Press, 1998.   

No Texting While Driving

Do you own a cellophane that you use on a dally basis? If yes, then think about where and when you make use of it. At work? At home? While cooking? Any free time that you can get your hands on your phone? What about when you're DRIVING? Because cell phones have become such a necessity in the world that we live in, people cannot go for long periods of time without turning to them to text, check Faceable or make a call. This impairs our Judgment and we don't always pay attention to the danger we put ourselves In when using cell phones.When the driver takes his/her eyes off the road to complete another task, almost all of the focus needed for safety is compromised. This is even more evident when he/she decides to read a text message and respond to it. This leads to a lack of visual focus on the road, one or both hands off the wheel and the mind thinking about the conversation on the phone instead of the surroundings of the vehicle: â€Å"For example, studies using a naturalistic method ology suggested that relative to interacted drivers, those drivers who text are 23 times as likely to crash,† (Wilson, Stepson).All of these factors add up to the formula of danger and disaster, which can lead to extremely brutal and even fatal accidents. Different people and organizations have taken it upon themselves to raise awareness about the dangers of testing and driving. A great example of this is the At&t 90 second documentary. It tells three different stories in which three different people were killed because of testing and driving. The stories were told by the family members of those who were killed. Two of the tragedies included the drivers who were testing and driving to be killed.A third included a car hitting a man on a bicycle because the driver was testing while driving (â€Å"Testing While Driving 90 Sec Documentary Preview'). These are personal stories being told by real people who have been affected by the negligent acts of the drivers behind the wheel. T hey hold a lot of power In them because It makes the audience think about their own lives and how they would feel If they were put in the same situation. The â€Å"No Testing while Driving† campaign Is necessary because there are constantly headlines in the news about the fatalities due to testing while driving.The communicators are the families of those who have suffered and experienced the pain caused by the minor act. Their loved ones faced untimely deaths, which could have been avoided. They are trying to tell the rest of the world that no text message is worth dying over. They have been through the worst kind of pain and there Is no coming back from It. They will always feel that emptiness Inside of them. The audience is anyone and everyone that owns a cellophane and drives a vehicle. Everyone at one point has sent a text message while driving.People think that Just cause they were successful once, that they can do it again and not worry about losing focus while driving. This is not the case. It is also why we need to continue sending these messages to everyone to avoid such accidents. Cellophane companies have made a point to make commercials for the television to audience rethink their life and what is really important. We feel sympathy for those who have suffered and perhaps try to change our habits to avoid a similar fate. The cellophane companies also appeal to ethos. This is because they are credible sources.They are selling products that are being used by millions of people around the world. Carriers such as At, Verizon, and Sprint are well known, well established and trusted throughout the world. People rely on them and therefore those companies can have a major impact on changing the way people behave behind the wheel. Furthermore, on a smaller scale, schools and colleges have started to extend the campaign towards their students. Student leaders hang posters throughout the campuses and keep coming up with new ideas to promote safe driving . One of the ideas is the thumb bands that say â€Å"TAXING KILLS.This is extremely clever because people buy the bands and wear them on their thumbs so when they are driving and decide to pick up their phone to text, they will see the message on the band and decide against it. All these strategies are bringing all of us one step closer to making the world a safer place for all of us. Individual people, families, students and major companies can all make a difference. Whether it is on a minor scale or a major scale, every little bit helps. Every life saved is a reason to celebrate. Don't text and drive. Stay alive.

Aircraft Electrical Systems and Pitot-Systems Free Essay Example, 1500 words

Pressure altitude readingsQNH is the mean-sea-level (MSL) pressure resulting from the barometric measured at the station by computing the weight of an unreal air column covering from the station to the sea levelVFR are a set of regulations that a pilot guide a pilot in operating an aircraft. QNE can be described as the altitude readings on the altimeter when the aircraft touches down and the altimeter sub-scale set at 1013. Alternatively, in other terms, it is the accepted ISA standard pressure set at 1013.2 hPa. Operation of a basic electronic flight instrument system, including the air data computer, and the EFIS system The EFIS is a flight deck display system, which uses electronic technology rather than electromechanical (Clancy, 1975, p. 147). A distinctive EFIS system consists of an Electronic Horizontal Situation Indicator (EHSI) and Electronic Attitude Direction Indicator (EADI); however, some designs integrate these two components. The EADI is attached directly to the autopilot with its display serving as a monitor that the pilot uses to observe the flight progress. The EADI additionally provides the necessary steering information that the pilot can follow. We will write a custom essay sample on Aircraft Electrical Systems and Pitot-Systems or any topic specifically for you Only $17.96 $11.86/page