Final Assignment 2012

Posted: April 9, 2012 by lilzak in Uncategorized

Geraldine Chambers

 Professor Ken MacDonald

 DTS403H1-Diasporic Lives of Objects

 April 10, 2012

African Wax Prints Transnational Object Biography

 Textiles are one the “most ancient and enduring technologies. As one of the earliest technological inventions they are part of every culture and every society, and they continue to be at the forefront of invention” in many industries. (Intimate Textiles: (1) Textiles are also used for articles of clothing and other purposes such as the preservation of modesty which varies from culture to culture but its main purpose is to protect the body against the elements. Textiles are also made of specific colours and patterns which may be of significance to ritual or political situations such as the ceremonial dress of a chief or the commemoration of a political event. Textiles also have an economic value. It is a marketable commodity and can be used as currency today as it was in the past. In this context cloth can be produced for local use or strictly for trade nationally and internationally.

There is a differentiation between the words ‘fabric’, ‘cloth’, and ‘textile’, although they have been used interchangeably. “Terms such as ‘fabric’ and ‘textile’ can be distinguished according to their literal meanings and Latin derivatives: fabric, from fabricare, means, to make, to build, to ‘fabricate’, is the generic term for all fibrous constructions; while textile, from texere, means, to weave, referring specifically to woven fabrics. Fabric structures made directly from fibres by simply pressing and matting them into coherence, i.e. felted materials such as bark cloth, must not be confused with fabric structures made by an ordered interworking of previously prepared elements (the component parts of an interworked fabric). African Textiles: Looms, Weaving and Design (13)

Cloth on the other hand is more difficult to define. “All textiles are cloths, but not all cloths are textiles; for they need not be woven, and all cloths are fabrics, but, again not all fabrics are cloths.

Textiles or cloths from Africa share these characteristics with all cultures. It has a long history of cloth production which enables it to participate in transnational trade for centuries. For example in the sixteenth century Benin traded woven cloths with Europeans in the Gold Coast and the Yoruba sold cloths that were traded in Brazil. Zaire (Congo today) and Sierra Leone used cloths specifically woven to pay debts. Africans also used textiles for the living as well as the dead and cloths were made specifically for these purposes. Textiles can even be made for inanimate objects such as a house to venerate a person or a spirit or deity.

African textiles are sought after for their aesthetic and functional qualities but also their bright colours, and complex patterns and “enticing array of textures” (African Interweave, Textile Diasporas 13). Traders, designers, consumers and artists appropriate and determine their own interpretations, and culture-specific meanings onto African textiles which have shifted its meanings as it becomes more transnational and transcultural. The textiles in turn will continue to appropriate notions of authenticity and identity on to it and on all those who are willing to use it to determine what and where is home. It will also be a bridge in cross-cultural relations in a quickly globalizing world where meanings continue to shift.

The first time I saw African wax prints I thought they were garish and ugly. They seemed more like fabrics one would use for decoration rather than clothing. Therefore, I mentally rejected them. Another reason I rejected them was that they did not look at all like the African indigenous fabrics I saw in books. The indigenous fabrics had colours that were much softer on the eyes and the designs much more cohesive feeling to them. I also did not pay much attention to them because Jamaicans did not wear them unless they knew someone from Africa who would gift clothes made from the fabrics or if they were married to an African. Therefore, when I discovered Yinka Shonibare’s work in my art history program, I learned for the first time what African wax prints were, its history and connection to Africa. Just as Shonibare explores and questions the existing narrative regarding authenticity and identity using these prints as a metaphor, I will examine some of his works and the theories of Igor Kopytoff, Nalini Shankar, and Schamberger, along with N. Thomas and Dafna Hirsch and others to clarify what is considered authentic and how it speaks to identity in the African diaspora.

My question regarding African wax prints are who decides what authentic African fabric is? Most people do not know the history of African wax print fabrics. Like myself I assumed it was of African origin because it is so widely worn by West Africans. I would like to correct this misconception and clarify how it came to be ‘African’ and why and how the African diasporic community incorporates the cloth in its perceptions of Africa.

What role does Afro-European history play in this authenticity and how does this affect African diasporic identity? Here I want to provide an understanding of how and why the Europeans came to be the exporters of the African wax print into Africa and how it affected to traditional production of textiles. Also how the fabric was received. It is also interesting that the ‘middlemen’ used to sell this product were largely women and how this product was marketed by them in Africa. I also want to explore how this affects the diasporic African community whether or not they know of this history and their response.

Does objectification and commoditization of this cloth alters the sense of African in the diasporic identity? This fabric is widely worn by Western Africans and often bought by diasporic Africans as a way to incorporate ‘Africa’ into their lives. I wonder how does buying and selling the fabric affects identification with Africa? I also want to show how Africans have changed the fabric by customizing them to reflect their own cultural and religious values.

Transnational History of African Wax Prints

The African wax prints started its object life as transnational object. It was an imitation of Indonesian batik which is known there as Java. The Dutch and the English competed to mass produce the batik but the Dutch won out and became the leading producers of the fabrics. However, the production of the batik was not accepted by the Indonesians because of the cracking in the wax so it was imported to Africa where the ‘flaw’ was accepted along with the cheaper prices which were then exported to the Gold Coast, today’s Ghana and throughout West Africa into Central Africa. Another story is that the Dutch wax fabrics did not do as well as expected in the Indonesian market because of economic restrictions imposed on the sale of foreign textiles at the beginning of the 20th century to protect locally made batik textiles. In order to prevent a loss, the target market was switched to West Africa. Yet another story; it is believed that West African indentured soldiers for the Dutch in Indonesia, also known as the Black Dutchmen who served between 1810 and 1862 had taken Indonesian batik with them on their return home as gifts for their families.

By the 19th century Dutch merchants discovered the technology of engraved roller print machines and dye-resistant resin to design the motifs drawn on batik cloth. The Dutch wanted to mass produce textiles for the foreign market. The van Vlissingen, family who established today’s Vlisco brand of cloth, started to use the technique which became the leading producer of African wax prints until today. The company has changed ownership since November 2010. Vlisco’s motto “the fashion-makers of Africa” has plants in Africa today.

However, until the 1960s, most wax prints sold in West Africa were being produced in Europe. Post-colonially, things changed. Currently, Ghana is home to several fine and high quality wax print manufacturers including Woodin, a subsidiary of Holland’s Vlisco and ATL which is a subsidiary of Manchester-based ABC textiles. It is noted that even though these textiles are now manufactured on the continent, the companies that manufacture them are largely not African owned.

Yet West Africa became the exclusive markets for Dutch prints and Dutch brands have dominated the West African market since the end of the 19th century where they held importance as status symbols. Today, wax prints carrying European brand names are the most expensive in the West African fabric market. The Dutch brand Vlisco is a symbol of class on par with any popular Western brands like Rolex or Louis Vuitton. A wealthy person cannot be seen wearing just any wax print brand, it has to be Vlisco.

Today the fabrics are primarily produced in Ghana and have strong cultural, social and economic importance. There are three categories of African wax prints: Java, fancy and wax which are commonly known by many names: Dutch wax print, Real English Wax, Veritable Java Print, Guaranteed Dutch Java, Veritable Dutch Hollandais. However, many Africans are unaware of the history of the fabrics.

Whatever its beginnings in Africa, Dutch wax prints became extremely popular and over time the Africans customized and personalized the designs incorporating prevalent themes, colour combinations and symbolism, including the emblems uses by the Asante people of Ghana called Adire. “The patterns tell stories of importance to the wearer, such as proverbs, poems and traditional African fables. The colours also hold significance as they can represent social status, age, tribal affiliation and marital status. One example (below) is a cloth carrying the proverb, “Ahonnee pa nkasa”. Literally translated this means: Precious beads make no noise. That is, empty barrels make the most noise or a good person needs not blow his own horns.

 The Chinese have made a recent entrance into the wax print market creating competition in the African textile industry. The Chinese manufactured print textiles challenge the established trade relationships between West African and European cloth manufacturers. The Chinese created trade relations with African traders who wanted to reproduce cheaper fabrics to sell in their own countries. This shows that African traders have always played a role in the cloth trade even in the context of European hegemony. It is interesting to note that Dutch wax prints are considered ‘high’ since the Chinese now produce cheaper prints that is considered the ‘low’ end. This ‘high’, ‘low’ positioning is changing due to the Chinese improving their wax prints techniques and recently buying a wax print manufacturing company. This leaves Vlisco as the only European-owned producer of wax prints in the world. If companies like Vlisco got into the African market by offering Africans cheaper readymade wax print fabrics often cutting out or lessening the demand for indigenous fabrics, then it is only a matter of time before the Chinese succeed doing the same.

 The question of Authenticity

I argue that Africans consider authenticity only on their terms; they decide what that will be. They have their own cultural values and preferences and this helps them to direct the market of wax print fabrics including the price and whoever delivers the right combination wins their acceptance. One way they accomplish this is through the largely female sellers who market the fabrics according to the culture from which they are a part of. I also argue that Africans even of the diaspora determine what their identity will be and what visual representations they will use to present this identity. Africans are accustomed to change whether it is thrust upon willingly or not. They adjust accordingly while still holding on to their ancient proverbs and emblems that signify who they are as a community.

It is obvious by now that Dutch wax prints are of foreign origin however, they are widely recognized and accepted as African fabrics both nationally and transnationally. The question of authenticity is a valid one but where something originated is irrelevant because it is the people’s acceptance of the fabric that makes it authentic. Part of the reason it is authentically African is because the Africans have put their stamp on the fabric by demanding that the designs and colours reflect their personal tastes and cultural values. They demand that the producers put on prevalent themes, colour combinations and symbolism, including the emblems and motifs that are important to them. They also include ancient proverbs and political and commemorative images and words that encourage memory and nostalgia.

“Ceci n’est pas une pipe by Margritte is important for understanding my work”, says Yinka Shonibare. The word and image piece presents a pipe and then says it is not a pipe. “You can’t smoke it. Sometimes people confuse representation for what it represents. But they are not that physical thing; they don’t exist in the world in that way. So if you see a woman walking down a road and she’s wearing African cloth, you might think – now there’s African-ness, true Africanity. But that cloth, those clothes, is not African-ness.” (Yinka Shonibare, interviewed in 1996 by Nancy Hynes; see Hynes, 2001: 62) pg. 201.

Here I disagree with Shonibare because I believe that origin alone cannot determine identity. If that was so diaspora Africans would identify solely with Africa however, the 400 year separation have created a new identity where the former does not take precedence. Africa is just a part, albeit an important part of whom they are. I for one I’m just warming up to this African wax print fabrics mainly because of the more contemporary style the garments are made into today. However, I still find most of the fabric designs to loud but I see a slight change in the tone and colour combination that hold some promise but I’m in any rush to be African in this way. African-ness is innate just like any other ethnicity; mode of dress or change in speech cannot change that. That said, the desire to belong and connect with our origins is a strong one and some people will find dressing in ‘traditional’ garments as a way to satisfy this need.

This is like the article by Dafna Hirsch titled “Hummus is best when it is fresh and made by Arabs”, where food becomes a part of your identity by way of politics. In West Africa it is wax prints that take on this role pointing to the complicated and complex relationship Africa and Europe share and how this particular kind of fabric has become a frame to highlight this relationship. Therefore “African-ness” is passed on to the fabric. It has experienced an adoption.

As for the concerns that indigenous fabrics are being squeezed out of the market; it is up to Africans to value these original workmanship of African designs and try to make them more widely available to ordinary people.

Toronto blogger “the streetidler” writes, “by focusing on textiles, Yoruba problematizes the notion of cultural “authenticity,” and for me, hammers home the extent to which “authenticity” can be understood as a relative term.” While she accepts the Dutch wax fabrics with the designs and motifs of West Africa are not locally produced, the fact that Africans have “assimilated into various local cultures, and like clothing and fashion everywhere, have come to represent one way Africans can visually express themselves, communicate their aesthetics and even their values sartorially.” This it is the way the fabric has become cross-cultural that makes it an effective ambassador of West African culture. She goes on to mention her mother’s view of the “issue of authenticity” where her mother elaborates on a “history of collaboration between European Dutch wax fabric manufacturers and their West African customer bases. She argued that while the cloth itself isn’t originally African, many local motifs and patterns are integrated into the designs of the prints.” She goes on to explain that the prints are now manufactured in West Africa, primarily Ghana, therefore, “she feels that because the designs of the prints and the fact that they are, in many cases, locally manufactured makes them African, specifically Ghanaian and so because of this the European origin of the textiles doesn’t matter that much.” ( She goes on to say that ethnic identity is tied to visualizing herself living with “Dutch wax prints from West Africa in general, but more precisely Ghana, despite their European roots. This is mostly because my understanding (or lack thereof) of these printed textiles were shaped and informed by the way I came to understand and see myself as a Ghanaian-Canadian.” The question of authenticity is therefore decided by those who use and identify an object as necessary part of their existence.

 Objectification and Commoditization

The commodification of African wax prints was embedded into the creation of the fabric. Yet it’s commodified in ways today that was unforeseen one hundred years ago. It is used to make not only clothing but also placed on furniture and accessories in the West. It is applied on to things that satisfies the wide range of ideas that the West and
its designers and manufactures can imagine

Shalini Shankar mentions the intersection of materiality and language use. She argues that verbal practices, generally overlooked in material culture studies, are an integral dimension of consumption. Types of talk – both referential and indexical – can illustrate how people mediate relationships with objects, as well as with each other.” (293) How language is used to illustrate African sayings such as proverbs and political slogans onto prints, linking word and image which forms a mental image or memory that can be remembered and commemorated many years later. The spoken word takes on an added form; a visual which then speaks to the viewer and like an advertisement continues to speak as long as the clothing is worn.

Shankar also mentions the idea that “consumption has been described as a language of communication, it is most often considered in the absence of words” (297) is powerful because we often think of consumption in terms of desire, and status or prestige but very unlikely as a form of communication. We don’t often think that African wax prints would say something about the individual or community but it is also a part of identity as both native and diaspora Africans attest. The saying ‘actions speaks louder than words is appropriate here because the act of acquiring objects say so much about who we are.

In N. Thomas’ article “Objects, Exchange, and Anthropology” –(14-16). Thomas argues “…gifts are radically different from commodities. Indebtedness may not necessarily take a universal form, and the precise character of the singularity of the gift will require further clarification, but the differences can provisionally be seen to emerge sharply from the fact that giving always has a distinctly social effect: mistakes made in giving have consequences that commodity transactions almost never have.”(15). This is true for women who receive pieces of wax prints as gifts, a store owner in Atlanta says, “forget flowers; husbands and boyfriends say “I love you” with pagne (another name for African wax prints in Ivory Coast). A future bridegroom wouldn’t dare propose marriage without a couple of gift-wrapped pieces along with the customary bottles of gin. Thus clothed, the women are ready for their traditional roles as lover, wife, mother and homemaker. A man is expected to give his bride-to-be an expensive gift of African wax print, preferrably the most expensive kind Superwax print. It also seen as a rights of passage for women who receive these pieces. They are considered mature and seen as ready to make a commitment.” If the fabric was just a commodity the relationships men and women form would not be threatened because it would be a straight exchange value.

Although African wax prints are mass produced the are part of a culture and according to Kopytoff, this prevents commodification which “homogenizes value” whereas culture discriminates thus, culture creates “singularization”, taking the fabric and personalizing it and making it a part of their identity removes the object from the realm of commodity (Kopytoff, 73). Therefore, it is the special ways West Africans use the fabric that makes it identifiable as their own and it is this characteristic that makes it an object of identity and commodity in the diaspora communities of the West.

 African Wax Prints in Cross-Cultural Mediation

Schamberger addresses the subject of object biography as a, “focus on the flow of people, things, ideas and practices across national boundaries defines transnational scholarship. Rather than seeing these flows as distinct streams, a growing body of work argues that places, people, things, practices and ideas, constantly in motion, shape each other.” (Schamberger 276) This shaping occurs frequently in the transnational crossings of Africans and Africans of the diaspora especially in the West. The biography of African wax prints have taken on a more hybrid identity which blends seamlessly into the Western identity and increasingly the globalized world and as the fabric was singularized by West Africans, it is desired in the West where it becomes a commodity again and become singularized again if the object becomes a part of a consumers’ history. This is what I believe Schamberger means when she talks about how “living in a material world: object biography and transnational lives experience, collapsing geographical, temporal and perceptual differences. As people engage with them, the objects enable them to simultaneously experience and mediate multiple times, places and modes of being. (Schamberger 277). It is only right that people should respond to objects as they experience them in their context of times and places while maintaining the knowledge and awareness of the origins of the object, the wax prints.

 In following the trajectory of the African wax prints’ origins to its introduction into West African culture we see that the Africans have already had a well established relationship with the making and trading of textiles. They were used in every area of life from birth, death, ritual, and ceremonies and of course trade. Thus Africans are no strangers to the life of this object. It is an activity they participate in quite vigorously. I know this from being around West Africans and from witnessing the pleasure my late grandmother and now my mother get from buying cloths. They may not use them right away but the fact of owning them is a reward in itself.

I have attempted to explain the organic nature of textiles, its transnational biographic history and transcultural relationships. I also covered issues of authenticity and identity that shapes how the fabrics are perceived and used. I’ve also included pertinent examples to help clarify the usage of the cloths and how it is influencing contemporary societies around the world. I’ve also included theories from our readings that help to explain the reasons why an object such as textile can have such a profound influence on a culture that many centuries later descendants of that culture still seek to merge their new identities with the one from the past and how that impacts the rest of the world.

Kriger, Colleen E. 2006. Cloth in west african history. Lanham: AltaMira Press.

 LaGamma, Alisa. 2008. The essential art of african textiles : Design without end, eds. Christine Giuntini, Metropolitan Museum of Art (New York,N.Y.). New Haven: Yale University Press.

 Picton, John. 1989. African textiles, eds. John Mack, British Museum. 2nd ed. ed. London: British Museum.

———. 1979. African textiles : Looms, weaving and design, ed. John Mack. London: British Museum Publications for the Trustees of the British Museum.

 Shonibare, Yinka. 2004. Yinka shonibare : Double dutch, eds. Jaap Guldemond, Gabriele Mackert, Barbera van Kooij, Museum Boijmans Van Beuningen (Rotterdam,Netherlands). and Kunsthalle Wien. New Yor;: D.A.P./Distributed Art Publishers.

AP. “WAX-PRINTED CLOTH POPULAR.” Columbian Oct 27, 1995 1995: 1.

Bachmann, Ingrid C. “Intimate Textiles.” Textile 3 (2005): 88+.

Bickford, Kathleen E. “The Art of African Textiles: Technology, Tradition and Lurex.” African Arts 29.3 (1996): 73.

Diakhate, L. “CROSS-CULTURAL PATTERNS: “Cloth is Like a DNA Swatch”1.” Nka Journal of Contemporary African Art 2009.24 (2009): 158-67.

Gardi, Bernhard. “Africa Interweave–Textile Diasporas.” African Arts 44 (2011): 84+.

Hynes, Nancy. “Yinka Shonibare: Re-Dressing History.” African Arts 34.3 (2001): 60.

Kopytoff, Igor.  1986.  The cultural biography of things:  commoditization as process

In the Social Life of Things: Commodities in Cultural Perspective, edited by Arjun Appadurai, pp. 64‑94.  Cambridge University Press, Cambridge.

Misty, L. Bastian. Cloth in West African History. Vol. 41, 2008.

Schamberger, K. et al. (2008) Living in a Material World: Object Biography and Transnational Lives, In D. Deacon, P. Russell and A. Woollacott (eds) Transnational Ties: Australian Lives in the World. Melbourne: ANU E-Press (

Schneider, Jane. “The Anthropology of Cloth.” Annual Review of Anthropology 16.1 (1987): 409-48.

Shankar, S. (2006) Metaconsumptive Practices And The Circulation Of Objectifications. Journal Of Material Culture Vol. 11(3), 293–317.

Shepherd, Rupert. “II. The Life of the Object.” Renaissance Studies 19.5 (2005): 619-20.

Leave a Reply

You are commenting using your account. Log Out / Change )

Twitter picture

Facebook photo

Google+ photo

Connecting to %s


17:0554(83)NG - AFGE Local 3231 and HHS, SSA -- 1985 FLRAdec NG

[ v17 p554 ]
The decision of the Authority follows:

 17 FLRA No. 83
                                            Case No. 0-NG-687
    The petition for review in this case comes before the Authority
 relating to the negotiability of the following proposal:
          Upon request all employees in Area IV will be granted paid time
       without charge to leave, up to 5 minutes before and up to 5
       minutes after the lunch period, for the purpose of preparation and
    Upon careful consideration of the entire record, including the
 parties' contentions, the Authority makes the following determination.
 The record indicates that the instant appeal arose as a result of
 negotiations pursuant to the Agency's decision to terminate a practice
 of permitting employees in Area IV to take 45 minute rather than 30
 minute lunch periods without a corresponding 15 minute extension of the
    The Agency contends that the proposal which would attach a 10 minute
 paid break period to the 30 minute unpaid lunch period is nonnegotiable
 because it conflicts with 5 U.S.C. 6101 /1/ as interpreted in
 Comptroller General decision B-190011, December 30, 1977.  The Union
 argues that notwithstanding the statutory requirements regarding paid
 breaks, the proposal would merely require the Agency to exercise its
 authority under 5 U.S.C. 6101(a)(3)(F) to grant paid breaks in working
 hours of up to one hour and thus to append a 10 minute paid break period
 to an unpaid lunch break.
    The Authority finds in agreement with the Agency that the proposal is
 inconsistent with law as interpreted by the Comptroller General.  In the
 cited decision, the Comptroller General ruled that under 5 U.S.C. 6101
 an authorized rest period during which an employee is in a paid status
 cannot be granted for the purpose of extending the lunch period.  Thus,
 contrary to the Union's argument, a paid break which is part of the
 workday cannot be appended to the unpaid lunch period under law.
    With regard to the other Union argument that the proposal is
 negotiable since it in effect reestablishes a past practice, the
 Authority concludes that this argument is irrelevant because the
 practice is illegal.  The Authority concludes therefore that the Union
 proposal violates law and is therefore outside the duty to bargain.
    Accordingly, pursuant to section 2424.10 of the Authority's Rules and
 it hereby is, dismissed.
 Issued, Washington, D.C., April 17, 1985
                                       Henry B. Frazier III, Acting
                                       William J. McGinnis, Jr., Member
                                       FEDERAL LABOR RELATIONS AUTHORITY
    /1/ 5 U.S.C. 6101 provides in pertinent part as follows:
                                .  .  .  .
          (2) The head of each Executive agency, military department, and
       of the government of the District of Columbia shall--
          (A) establish a basic administrative workweek of 40 hours for
       each full-time employee in his organization;  and
          (B) require that the hours of work within that workweek be
       performed within a period of not more than 6 or any 7 consecutive
          (3) Except when the head of an Executive agency, a military
       department, or of the government of the District of Columbia
       determines that his organization would be seriously handicapped in
       carrying out its functions or that cost would be substantially
       increased, he shall provide, with respect to each employee in his
       organization, that--
          (A) assignments to tours of duty are scheduled in advance over
       periods of not less than 1 week;
          (B) the basic 40-hour workweek is scheduled on 5 days, Monday
       through Friday when possible, and the 2 days outside the basic
       workweek are consecutive;
          (C) the working hours in each day in the basic workweek are the
          (D) the basic nonovertime workday may not exceed 8 hours;
          (E) the occurrence of holidays may not affect the designation
       of the basic workweek;  and
          (F) breaks in working hours of more than 1 hour may not be
       scheduled in a basic workday.


Social Psych - Test 2

Card Set Information

Social Psych - Test 2
2010-10-28 00:27:42
Social Psych

social psych test 2
Show Answers:

  1. Three types of Social Influence?
    • Conformity
    • Compliance
    • Obedience
  2. Conformity
  3. Compliance
    Involves going along with explicit requests made by others
  4. Obedience
    Involves giving in to the commands of an authority
  5. Based on the perceived ability to give positive consequences or remove negative ones
    Reward Power
  6. The perceived ability to punish those who don't conform with your ideas or demands
    Coercive Power
  7. Organizational Authority. Based on the perception that someone has the right to prescribe behavior due to election or appointment to a position of authority
    Legitimate Power
  8. Power gained through association with those who possess power
    Referent Power
  9. Power based on having distinctive knowledge, expertness, ability, or skills
    Expert Power
  10. Power based on controlling the information needed by others in order to reach an important goal
    Information Power
  11. A compliance technique in which one makes an initial small request to which nearly everyone complies, followed by a larger request involving the real behavior of interest
    Foot-in-the-door Technique
  12. Asking someone for a very large favor that he or she will certainly refuse and then following that request with a more modest favor (which tends to be seen as a concession that the target will feel compelled to honor)
    Door-in-the-face technique (reciprocal concessions technique)
  13. a strategy to gain compliance by making a very attractive initial offer to get a person to agree to an action and then making the terms less favorable. People who agree to an initial request will often still comply when the requester ups the ante. People who receive only the costly request are less likely to comply with it.
  14. When offering or conceding something to somebody, rather than give it to them as a final item, give it in incremental pieces. Do not allow them to respond to each piece you give them -- keep on offering more.Thus, for example, you can:Offer a discount in several stages.Add extra 'gifts' to a product offering.Start with a high price and reduce it.Tell them all the things you are going to do, one at a time.The increments can be in different amounts, but each should surprise and delight the person. It can also help if the final increment is particularly desirable
    "That's not all..."
  15. a phenomenon of human visual perception in which a stationary, small point of light in an otherwise dark or featureless environment appears to move. Because the phenomenon is labile, it has been used to show the effects of social influence or suggestion on judgments. For example, if an observer who would otherwise say the light is moving one foot overhears another observer say the light is moving one yard then the first observer will report that the light moved one yard
    Sherif's Autokinetic Effect
  16. The influence of other people that results from taking their comments or actions as a source of information about what is correct, proper, or effective.
    Informational Social Influence
  17. The influence of other people that comes from the desire to avoid their disapproval, harsh judgements, and other social sanctions (for example, barbs, ostracism)
    Normative Social Influence
  18. asked groups of students to participate in a "vision test." In reality, all but one of the participants were confederates of the experimenter, and the study was really about how the remaining students would react to the confederates' behavior.

    Variations of the basic paradigm tested how many confederates were necessary to induce conformity, examining the influence of just 1 confederate and as many as 15 confederates. Results indicate that 1 confederate has virtually no influence and 2 confederates have only a small influence. When 3 or more confederates are present, the tendency to conform is relatively stable.The unanimity of the confederates has also been varied. When the confederates are not unanimous in their judgment, even if only 1 confederate voices a different opinion, participants are much more likely to resist the urge to conform than when the confederates all agree. This finding illuminates the power that even a small dissenting minority can have. Interestingly, this finding holds whether or not the dissenting confederate gives the correct answer. As long as the dissenting confederate gives an answer that is different from the majority, participants are more likely to give the correct answer.One difference between the conformity experiments and the Milgram experiment as carried out by Stanley Milgram (also famous insocial psychology) is that the subjects of these studies attributed their performance to their own misjudgment and "poor eyesight", while those in the Milgram experiment blamed the experimenter in explaining their behavior. Conformity may be much less salient than authority pressure
    Solomon Asch's Conformity Experiment
  19. Some situations can exert powerful influences over individuals, causing them to behave in ways they could not predict in advance
    Lesson 1 - Zimabardo's Stanford Prison Study
  20. Situational power is most prominent in novel settings in which the participants cannot call on previous guidelines for their new behavior
    Lesson - 2 - Zimabardo's Stanford Prison Study
  21. Role Playing - even when known to be artificial and temporary can still have a profoundly realistic impact on the players
    Lesson 3 - Zimabardo's Stanford Prison Study
  22. Good people can be induced to behave in evil ways by immersion in "total situations"
    Lesson 4 - Zimabardo's Stanford Prison Study
  23. Selection procedures for special tasks, such as being prison guards might benefit from engaging the participants in simulated role-play
    Lesson 5 Zimbarado's Stanford Prison Study
  24. Researchers should become advocates for social change if their data warrant
    Lesson 6 - Zimbarado's Stanford Prison Study
  25. Mood state that increases compliance through influencing how the request is interpreted
    Good Mood
  26. emphasizes that human behaviors are governed not only by personal attitudes, but also by social pressures and a sense of control. For example, individuals are more likely to execute rather than neglect their intentions, such as a plan to refrain from alcohol, if they express these plans on more than one occasion
    Theory of Planned Behavior
  27. The idea that people reassert their prerogatives in response to the unpleasant state of arousal they experience when they believe their freedoms are threatend
    Reactance Theory
  28. Assigning causality to something about the person (Heider)
    Internal Attribution
  29. Assigning causality to something about the situation (Heider)
    External Attribution
  30. Similar to internal attribution (Heider), assigning causality to something about the person --covariation theory---
    Person Attribution
  31. Similar to external attribution (Heider), assigning causality to something about the situation --covariation theory---
    Situation Attribution
  32. Three Kinds of Evidence examined in Covariation Theory
    • Consistency
    • Consensus
    • Distinctiveness
  33. Does it happen all the time (Covariation Theory)
  34. Does it happen to everybody (Covariation Theory)
  35. Does it happen in other situations (Covariation Theory)
  36. The tendency to perceive your failures as due to your situation and your successes as due to yourself
    Self-Serving Bias
  37. The tendency to see one's own behavior as due to the situation, and other people's behavior as dispositional (due to themselves)
    Actor-Observer Difference (Bias)
  38. General tendency to attribute causes to people more readily than to situations
    Fundamental Attribution Error
  39. Silver medal winners - downward thoughts - should have won 1st

    bronze medal winners - upward thoughts - at least I won
    Medvec's Olympic athletes study
  40. There is a tendency for people to assume that their own opinions, beliefs, preferences, values and habits are 'normal' and that others also think the same way that they do. cognitive bias tends to lead to the perception of a consensus that does not exist
    False-consensus effect
  41. A person's habitual way of explaining events - assessed on three dimensions; internal/external, stable/unstable, and global/specific
    Explanatory Style


Oktoberfest sees rise in reported sex crimes despite lowest attendance in 15yrs

© Michaela Rehle

Around 5.6 million people visited the festival this year, a drop of 300,000 compared to the previous year. The number represents the lowest since 2001, when 5.5 million attended the event, which took place soon after the 9/11 terror attacks.

READ MORE: Munich to spend extra €2.2m on Oktoberfest security in the wake of Brussels, Istanbul attacks

Other incidents occurred which didn't always involve official police reports, according to the support group Safer Wiesn for Girls and Women, which counted 215 women who came to a security checkpoint for help. Eighteen of those had experienced violence. That number also represents an increase from last year, when 197 women came to the checkpoint for help.

The crimes occurred despite increased security at the event, which saw organizers arrange entrance checks for everyone attending the festival grounds for the first time in the event's 200-year history.


How to Adjust the Picture Size on a Panasonic VIERA Plasma HDTV

By William Pullman

Panasonic VIERA plasma HDTVs allow users to change the picture size to better fit a 4:3 picture on the widescreen television. Each of the four aspect ratios stretches the standard 4:3 image in a different way, and you can choose the one that best fits how you'd like to view the program. In addition, Panasonic included a Zoom Adjust feature that allows you to move the screen around when an aspect ratio that cuts off part of the image is selected.

Step 1

Press the "Format" button on the remote control to switch the aspect ratio sizes among Full, Just, 4:3, H-Fill and Zoom. The Full setting stretches the screen horizontally to fill the black side bars; Just justifies the image to the four corners of the screen; 4:3 is the standard screen with the sidebars; H-Fill is similar to Full, but with the image size increased and the sides of the screen cut off; and Zoom enlarges the entire screen, cutting off a portion of all four sides of the screen.

Step 2

Push the "Menu" button on the remote control.

Step 3

Press the down arrow button to highlight Picture and press the "OK" button, which is located in the middle of the arrow buttons.

Step 4

Select Zoom Adjust from the menu.

Step 5

Press the arrow buttons to change the viewable image on the screen when portions of the image are cut off. For example, if you're using the Zoom aspect ratio, pressing the up arrow cuts off more of the top of the image in order to display more of the bottom of the image.

Step 6

Push "OK" to reset the aspect ratio on your television.


Valvole E Comandi Termostatici

Here is a summary of songs Valvole E Comandi Termostatici best that individuals notify and also display to your account. We get a lot of music Valvole E Comandi Termostatici nevertheless we simply present the actual songs that any of us imagine are the greatest melodies.

The tune Valvole E Comandi Termostatici should be only pertaining to demonstration so if you much like the track make sure you find the initial cd. Assistance the actual singer by buying the unique compact disc Valvole E Comandi Termostatici so the musician can offer the most effective music along with proceed doing work.

1 Valvole E Comandi Termostatici.MP3

Bitrate: 256kbps Likes: 2,685 Downloaded: 14,156 Played: 15,376 Filesize: - Duration: -

2 Termosifoni Tutto Quello Che Puoi Fare Tu Anche Se Non.MP3

Bitrate: 256kbps Likes: 1,793 Downloaded: 19,418 Played: 13,926 Filesize: - Duration: -

3 Changefix Manutenzione Facile Delle Valvole.MP3

Bitrate: 256kbps Likes: 5,984 Downloaded: 15,806 Played: 11,562 Filesize: - Duration: -

4 Riconoscere Una Valvola Termostatizzabile? Ecco Come.MP3

Bitrate: 256kbps Likes: 3,688 Downloaded: 17,964 Played: 13,438 Filesize: - Duration: -

5 Come Funzionano I Contabilizzatori Di Calore?.MP3

Bitrate: 256kbps Likes: 5,584 Downloaded: 19,935 Played: 16,055 Filesize: - Duration: -

6 Costo Installazione Valvole Termostatiche.MP3

Bitrate: 256kbps Likes: 7,517 Downloaded: 13,746 Played: 10,740 Filesize: - Duration: -

7 Installazione Valvola Termostatica Su Radiatore Parte 1.MP3

Bitrate: 256kbps Likes: 6,604 Downloaded: 10,521 Played: 15,588 Filesize: - Duration: -

8 Come Montare Una Valvola Termostatica Leroy Merlin.MP3

Bitrate: 256kbps Likes: 4,026 Downloaded: 11,182 Played: 17,699 Filesize: - Duration: -


Neuroendocrine mechanisms regulating food intake and body weight

  • Address reprint requests to: M Schwartz, Harborview Medical Center, Box 359757, 325 Ninth Avenue, Seattle, WA 98104-2499, USA. E-mail:

In the field of obesity research, two separate lines of study have emerged which explore the mechanism by which food intake is regulated: short-term control of food intake, and the central regulation of energy balance. The former studies the satiety response during consumption of meals, whereby satiety signalling originating in the gut is transduced into a neural signal that modulates satiety pathways in the brainstem. This review describes a neuroanatomically based model in which leptin and insulin signalling in the hypothalamus governs long-term regulation of energy balance via mechanisms that are integrated with satiety hormone signalling in the brainstem. The functional outcome of this integration is a cumulative meal-to-meal regulation of food intake, that over relatively long intervals serves to maintain stable adipose stores. Our model provides a context within which continued investigation of neuroendocrine mechanisms that control food intake and body weight can be explored, and has potential application to our current understanding of clinical obesity and its treatment.


Search the Anthropology Review Database

(cover picture) Bowie, Katherine Ann

Notes: xx, 393 p.: ill., maps; 24 cm.
(Check out my bio!) Reviewed 18 Jun 1999 by:
Kathleen A. Gillogly <>
University of Michigan
Medium: Written Literature
Communism - Thailand
Insurgency - Thailand
Thailand - Politics and government

ABSTRACT:    The Village Scout movement of Thailand was a phenomenon of the 1970s. It was developed to mobilize Thai citizens against the threat of communist insurgency and was used to intimidate critics of the Thai Government. Yet it was not always used as originally intended and eventually subsided when certain elements of the government could not manipulate it as they wished and villagers did not gain the benefits they hoped to achieve from it.

This book is a fascinating and richly detailed ethnography of the rise and decline of the Village Scout movement in the context of both villagers? needs and perceptions and the vicissitudes of Thai political factions. Bowie first situates the rise of the Scout movement in national and international politics of the time and then details the ritual and role of the movement in a village in northern Thailand. In this, Bowie has succeeded in bridging the macro and micro levels of analysis. It is an unusual and remarkable feat. Furthermore, this work opens the door to theorizing the uses of state or political ritual in the context of class interests and conflicts.

Part One focuses on the macro-level, national politics. This discussion is informative and fills a gap in the English literature on the history of this turbulent time in Thailand. The 1970s were marked by the brutal and violent repression of the student-led democracy movement in October 1976, changes in the role of the monarchy, and insecurities raised by the Indochinese War.

The impetus for the founding of the Village Scout Movement was the emotional response of a high-ranking officer in the Border Patrol Police (BPP) to the deaths of his soldiers in battle with communists. Yet once initiated, the movement was embedded within broader social forces. To explain the movement?s trajectory, Bowie considers the development of the Communist Party of Thailand (CPT) and the role of the BPP within the ?spectrum of government agencies charged with fighting the growth of communism? (p. 11). An important point she makes is the role of the founder, a widely-traveled officer from the lower-middle classes, a self-made man, who was more familiar with the everyday problems facing villagers than were the government elite. Furthermore, the dislocations and pressures of social forces at the time encouraged and allowed innovation at a greater degree than had been usual.

Bowie then goes on to examine the political and economic forces behind the rapid growth of the scout movement. Much of this is based on an analysis of the changing interaction of the monarchy and middle classes. For one who has only worked in Thailand recently, this is extraordinarily enlightening. Study of history shows that the institution of the monarchy is not inherently powerful; it was in effect re-created by the present king and certain class fractions post-WWII. In the 1970s, the monarchy served simultaneously as a symbol of progressive reform to the poor and of conservative reaction to the elite, which multivocality lent it considerable staying power. Royal patronage of the scout movement gave it cachet among the ambitious and helped to fund it. The movement became more urban and middle class and the character of the movement acquired an undertone of fascism. It was in this variant that Village Scouts became a force in right-wing political activity, most prominently in the scouts? role in the brutalization of university students on October 6, 1976.

Finally, Bowie describes ?five major fissures among the ruling elite? (p. 12) with meticulous detail. Following the coup of October 6, 1976, the government temporarily contained the movement. When it arose again, it was as a more rural-based movement in response to the strengthened position and increasing boldness of the CPT. It is this latter period that Bowie examines in her village-based ethnography in Part II.

Much of the interest of this section lies in Bowie?s discussion of the role of inter-agency politics and shifting factions among the conservative upper-classes in the formation and transformation of the Village Scout movement. Too frequently, class-based social analysis sees broad classes, without consideration of the localized interests of members of a class or considering the role of agency in the state.

Part One will be very useful to those seeking to understand this significant period in modern Thai history. This history has too often been suppressed or heavily politicized. Bowie provides an excellent summary of the history of the period that will be useful to those seeking to deepen their understanding of class and social divisions in Thailand that still have ramifications today.

This section is particularly significant to the study of the rise of nationalism in Thailand. Teachings on devotion to the king, the nation, and Buddhism, developed in this context of anti-communist hysteria, are still used today in the more isolated villages in Thailand with which I am familiar. Bowie?s discussion historically situates these.

Part Two focuses on peasant reactions to the scout movement. It is based on Bowie?s field research in a northern Thai village. As such, she is able to present richly detailed information on local discussions of the scout movement. The heart of this section is in her detailed account of a Village Scout initiation. She then analyzes the immediate effects of the initiation and how the responses of villagers varied with their class position in the village. Again, this is a significant contribution to village ethnography in Thailand, where until recently scholars focused on the lack of division and sub-groups. Bowie?s account should put to rest any idea that rural Thai society is a homogeneous, cooperative unit.

Bowie undertakes little symbolic analysis of the Village Scout initiation ritual. She writes of it: ? The Village Scout initiation rite had virtually no direct connection with any significant preexisting Thai rituals. It cobbled together sleep deprivation from psychological warfare theories with skits, songs, and knot tying ... The Village Scout movement appears to have been a quixotic bricolage of political desperation ...? (p. 52). Some have seen this as a weakness in the book. Yet it was not Bowie?s intent to develop a full-fledged symbolic analysis of the ritual in isolation. Furthermore, she has provided more than enough rich ethnographic detail to allow others to build on her work and make their own arguments. This is rare in anthropology publications today, and bespeaks the strength of her research and data (kudos to the Columbia University Press for printing it!).

Bowie?s account also addresses the concept of ?false consciousness? and effectiveness. The Village Scout movement, like many other right-wing movements around the world, worked through appeal to emotion. ?Right-wing movements use symbols to blur and mask the conflicting interests inherent in a cross-class alliance? (p. 14). Those who sought to manipulate the movement in support of the right-wing government of Thailand in the1970s did this through arousing passionate devotion to the monarchy and thus the nation. In this, the initiation appears to have been effective. Bowie writes of the hysterical response generated by the end of initiation: initiates sobbed uncontrollably, passed out, and expressed extreme emotion in a way that was atypical of ordinary social behavior. Bowie writes of one person?s overwhelming euphoria: ?One Village Scout recounted years later, ?I had always loved the King, but never as intensely as I did that moment. That moment I felt it through the core of my being ...? (p. 226). Initiation into the movement cross-cut village ties, and initiates acquired a new identity as Village Scouts. ?The symbols of the Nation, Religion, and King had become quite intimate and immediate to each scout ... The initiates, for whom family bonds were already of profound importance, now had a sense that they had joined the larger family of the Village Scouts and the Thai nation? (p. 229). Clearly, the emotive rhetoric had been immediately effective.

In Chapters 7 and 8, however, Bowie documents how the scout movement ?reflected [the villagers?] contradictory class perspectives. For the elite the imagery reinforced hierarchy and an authoritarian vision of the ideal society; for the hopeful [poorer] villager the imagery appealed to the ideal love of parents for their children. ... this symbolic strategy created expectations of benevolence that the national urban elite never meant to satisfy and the local village elite could not? (p. 235). In time, village elite found that they could not maintain the level of contribution expected of them by the movement and fellow members; the middle-level villagers did not gain the benefits and sen (ties, connections, networks) they had hoped for from membership; and the poorest, landless villagers could not even afford the precious days and pennies required to participate in initiation. Ultimately, the class contradictions of village life could not be subsumed under ?Nation, Religion, King,? and participation in the movement fell into abeyance.

Furthermore, the national stage changed. The CPT was torn by division; because it did not continue to provide a meaningful challenge to the government, the national Thai elite was less motivated to pour money into the scout movement. Dwindling support at the national level also followed on the establishment of a new government. The new prime minister represented a new coalition of state factions; facing internal problems of stability, he sought to bring the scout movement under tighter administrative control. It had already shown itself to be a potentially powerful force; it was too dangerous a force to permit members of other factions to manipulate. As Bowie states in the conclusion: ?...the creation of a populist conservative movement carries significant risks. Because such a movement involves popular participation, it poses the constant threat that it may develop beyond the state?s control? (p. 286). She concludes that right-wing governments are most likely to support such organizations only ?when the existing institutions for the establishment and maintenance of state hegemony are weak ...? (p. 286).

This is a significant conclusion regarding class/state power and ritual; I hope that others follow Bowie?s lead in studying this. The focus and strength of the book may be the history and ethnography, but by even joining together analyses of class and of ritual, Bowie has made a unique contribution to theory. In this, she pays attention to what she considers the key aspects of state ritual: agency and state hegemony; efficacy and ?false consciousness;? the need to include class analysis in consideration of the inherent ambiguity of symbolic multivocality; and dynamism in the historical trajectory of rituals. If this section is somewhat less satisfying than the history/ethnography, it is because it is so intriguing. She then carries out a too-brief consideration of state ritual in its historical context. She writes: ?As political rituals rise and fall, they become part of a longer historical trajectory of the use of ritual by states. A broader historical perspective illuminates the negotiation between the classes, the overture by the state, and the response by the people? (p. 47). Her discussion clearly points to the need for a full comparative history of Thai political rituals, and some paths to take in pursuing that study. Rituals of National Loyalty is an important step in that direction.

1. The BPP was Thailand?s premier counterinsurgency agency, in part funded and trained by American agencies.


The paradoxes of depression: a goal driven approach.

Mancini, F., Gangemi, A., (2012). The paradoxes of depression: a goal driven approach. in The goals of cognition: essays in honour of Cristiano Castelfranchi(edited by F. Paglieri, L. Tummolini, R. Falcone e M. Miceli), pp 253.273, College Pubblications

Depressive reaction (DR) is a common and normal reaction to loss and failures when there isn’t subjective  hope of recovery or valid substitution. DR has two main features: pain and inactivity. The latter is due to anhedonia and pessimism. DR presents two paradoxical aspects. From the premise that pain reveals investment in the lost good, derives a first question: why do people continue to invest in something they know is unreachable and irreplaceable? When it becomes clear that reaching the goal is impossible, they should deactivate it and move to another goal. Why does a mind invest in something it knows is unreachable? Why cry over spilled milk? From the premise that anhedonia and pessimism reduce motivation to pursue goals, derives a second question: why, in case of DR, there is a reduction of motivation instead of an increase that could be useful to improve the goal balance and compensate for the loss? Our response is based on the idea that, in DR, there is an increase in investment in the lost good and that the investment is not for its recovery but to avoid losing it even more. A deceased loved one can be further lost, for example, through forgetting, losing interest and becoming interested in other things.
Did DR imply some evolutionary advantage? And, in case of a positive answer, which one? Our solution starts from the premise that the psychological mechanisms of DR have the function of stabilizing investments in adverse situations. This function is advantageous primarily in unpropitious soft situations and can be disadvantageous in hard situations. Nevertheless, the former are much more frequent than the latter and therefore it is plausibile that individuals who have the ability to react with DR to adversity have had more evolutionary advantages than disadvantages

in evidenza
Eventi in evidenza
Vicenza, DBT-PTSD (corso ECM)
Vicenza, DBT-PTSD (corso ECM)
ott 15 – dic 3
Vicenza, DBT-PTSD (corso ECM) @ c/o Casa di Cura Privata Villa Margherita | Villa Margherita | Veneto | Italia
DBT-PTSD Dialectical Behavioral Therapy per il Disturbo Post-Traumatico da Stress Worshop rivolto a Psicologi, Psichiatri, Psicoterapeuti, Infermieri educatori professionali e Tecnici della riabilitazione psichiatrica DOCENTE [...]
Comprendere e curare la mente ossessiva (corso ECM)
Comprendere e curare la mente os…
ott 28
Comprendere e curare la mente ossessiva (corso ECM) @ Rondò Hotel | Bari | Puglia | Italia
Simposio rivolto a Laureandi e Laureati in Psicologia, Psicologi, Specializzandi in Psicoterapia, Psicoterapeuti e Psichiatri Comprendere e curare la mente ossessiva In occasione della pubblicazione [...]

Vedi calendario

Disturbo Ossessivo
Disturbo Ossessivo


exploring the biophysical origins of molecular evolution

—Yousif Shamoo

Tran T.T., Miller W.R., Shamoo Y., Arias CA. Targeting cell membrane adaptation as a novel antimicrobial strategy. Curr Opin Microbiol (2016).

Meyer P.A., et al. Data publication with the structural biology data grid supports live analysis. Nat Commun (2016).

Hammerstrom,T.G., Beabout, K., Clements, T.P., Saxer, G., Shamoo, Y. Acinetobacter baumannii repeatedly evolves a hypermutator phenotype in response to tigecycline that effectively surveys evolutionary trajectories to resistance. PLOS one (2015).

Press release:

Researchers strategize to outsmart bacteria.

Beabout, K., Hammerstrom, T.G., Perez A., Magalhães, B., Prater, A., Clements, T.P., Arias, C., Saxer, G., Shamoo, Y. The ribosomal S10 protein is a general target for decreased tigecycline susceptibility.  Antimicrobial Agents and Chemotherapy (2015).

Click to go back!


Simply Unique

A Business project Manchester, Greater Manchester

Simply Unique is a brand new start up Events Company, embracing uniqueness, individuality in the Fashion and Beauty Industry.

Raised of £10,000 target

Days left

Fund it This project will only be funded if at least £10,000 is pledged by 9:01am 3rd November 2016

Project owner

Simply Unique is a brand new start up Events Company, embracing uniqueness, individuality in the Fashion and Beauty Industry.  Our aim is to provide show stopping experiences.

My business idea is basically based around events. I would like to be able to become an organiser who promotes opportunities for creative’s to get involved with events. I want to base it around fashion beauty music travel and food and drink. It will be a fashion and social event.
I would like to incorporate four main events linking to fashion shows, beauty, travel and food and music.

Ideally I would like to start a blog and magazine which supports local talent and incorporate it into an event which happens each year.

We will offer a range of services relating to events organisation, we can arrange shows, exhibitions, festivals and party celebrations. We will offer a unique set of services which will cater for clients requirements.

I have done some basic research on the market finding out what is already out there and what kind of events companies there is in my local area. I found that there are a small amount of events companies but none of them cater for more than one or two specific areas they limit it to one specific thing like fashion. Whereas mine will focus on four different things which will make it unique and diverse and an events company with a difference.

The fashion industry is constantly growing and the events market is on the rise. So many organisations are trying to make fashion become an event and this makes me believe that starting a fashion events company is definitely the way forward. I can see my business to become successful.

I want to be the Events Company that people talk about are recognised and people enjoy coming to my events. I want to become a global recognised business with a set of clients who will help to make this happen. I want aspiring models, and creatives to be given a chance within the industry so they showcase there talents and to promote the brand. Become a successful business which turn over a substantial amount of cash.

Open more branches and expand to other areas of the UK and further afield in other countries. To be able to get industry people involved and get the media marketing promotion e need to make this dream become a reality.


Table of Contents

Handbook of Islamic Marketing

Handbook of Islamic Marketing

Elgar original reference

Edited by Özlem Sandıkcı and Gillian Rice

Chapter 5: Gender and Privacy in Arab Gulf States: Implications for Consumption and Marketing

Russell Belk and Rana Sobh

Subjects: business and management, international business, marketing, economics and finance, islamic economics and finance

Russell Belk and Rana Sobh* GENDER AND PRIVACY Privacy and gender segregation are anchors for identity in Arab-Gulf Countries. The significant need for privacy of individuals in the region impacts different aspects of life including consumption. However, the meaning of privacy in Islam is different from that in Western culture and so the reason why it is prized in the Gulf is somewhat different from the reasons why it is valued in the West. Thus, a good understanding of this concept in the region and its implications for marketing practices is of paramount importance. In this chapter we report and analyze the findings of two qualitative studies involving gender and privacy in the Arab Gulf states of Qatar and United Arab Emirates. One involved the gendered spaces of the home and the second involved the privacy provided by ‘covering’ among young women. We find that privacy for females remains a key consideration in home design and use, while it is becoming less of a concern in the clothing and grooming practices of university students. Part of evolution in covering practices is generational, with young women wanting to distinguish themselves from older generations. Part is also due to their feeling greater attraction to ‘modern’ and ‘Western’ practices in response to increased wealth, openness to Western media, and the influx of foreigners in their countries. But part of the covering practices of these young women remains rooted in the same cultural traditionalism expressed in the conspicuous gender segregation found in the home....

Further information


How to Draw
Vector Flames

Sponsored Links

In this step-by-step drawing lesson, I will show you how to draw vector flames that are hot and loaded with fine transparency and gradient effects. Of course, to achieve this tutorial properly, you need a vector software.

This tutorial isn't too complex, you just need to understand how to mix all the right ingredients to come up with the right recipe! A fire is extremely organic and different from one second to another, so creating the perfect shape for your flame isn't too important.

These steps are displayed from back to top (layer order), but it doesn't mean that you should create your drawing using the same procedure. The third step is the one you should start with since it is easier to create a drawing from the shape that is closer to the final silhouette of your subject.

I have decided to display these steps from back to top to help you understand how each layer is done and how you should place every element of the drawing. The blue area on the left of each image was placed to help you see some elements that were hard to see on a white background.

Step 1

Vector flames

First, you have three little flames that are visible on the back of my fire. Only transparency was applied on each element.

Step 2

Vector flames

Next, another layer made of a smaller flame was placed on each element. These new vector flames are darker and also have a transparency effect applied on them.

Step 3

Vector flames

In this step, the main part of the fire is drawn. A subtle gradient effect was applied (as you can see, the bottom of the shape is a little darker than the top).

Step 4

Vector flames

Here, two other shapes are added on the bottom of the flame. The second shape is covering the first one, but applying a little transparency on both shape does make the transition smoother. Also, notice how the color of the red shape is similar to the color of the main shape.

Step 5

Vector flames

A white circle and an irregular shape colored in yellow are added to the drawing. Once again, adding a little transparency on both shapes does create a nice result.

Step 6

Vector flames

Finally, a couple of white, yellow and orange details are applied to complete the image.

Step 7

Vector flames

That's it! You now have the perfect recipe to create cartoon flames that are cool, visually interesting and not too difficult to create!

Go back to How to draw cool vector drawings
Go back from How to draw vector flames to home page

Did You Find What You Were Looking For?

Please enter the word that you see below.


Serena Williams
Serena Williams wants others to respect women for the work they are doing.Reuters

Serena Williams reached the Wimbledon 2016 final after a stunning display of power tennis against Elena Vesnina, winning the match 6-2, 6-0 in a mere 48 minutes. If the American manages to defeat Angelieque Kerber, who stunned the top seed in the Australian Open earlier this year, in the title-decider, she will pocket £2 million, which is the same amount that the men's singles winner shall receive as well.

All Grand Slams, including Wimbledon, since 2007, has had the same prize money for both the men's and women's tennis. And when Serena was quizzed by a journalist after her semifinal match, asking her if the equal prize money was fair, consdiering the outright dominance on court, which led to a lopsided match, the world number one threw down a wonderful smash of her own.

"Yeah, I think we deserve equal prize money. Yeah, absolutely. I mean, if you happen to write a short article, you think you don't deserve equal pay as your beautiful colleague behind you?," Serena asked.

The question must have cropped up due to Serena's match against Vesnina, which finished 12 minutes under an hour. The Russian will still earn the same amount as the losing semifinalists in the men's department, irrespective of how long the match goes. However, Serena believes that sex should not determine the prize handed out to the players, while adding women should be equally respected for their work.

"I've been working at this since I was three years old. Actually, maybe younger, because I have a picture where I'm in a stroller. I think Venus is pushing me and we're on court. Basically, my whole life I've been doing this. I haven't had a life. I don't think I would deserve to be paid less because of my sex or anyone else for that matter in any job."

However, this is not the first time that talk about equal pay has come out in the open. World number one in the men's singles -- Novak Djokovic -- stated in March that more money should be paid to male players, who are followed more. During that time as well, Serena slammed the Serbian for  his comments.

Though the Grand Slams might have equal prize money, interestingly, the cost of tickets for the Wimbledon finals are different. The women's singles final ticket starting price stands at £145, compared to men's at £175, but hopefully, after the women's singles final, the only questions that will be asked to Serena or Kerber will be about the match on court.

Also read


News: Iwatchonline alternative domain,

Saturn’s secrets are out. The ferocious weather, the evolving ring system and the discovery of active geology on Saturn’s moons has rewritten the textbooks. Scientists are looking for life on Saturn’s moons and they may have found it on Titan.

Episode Title: Is Saturn Alive?
Airs: 2014-08-6 at 08:00 pm


Report inadequate content

White Wine in Uvinum's blog

Bon appetit! French gastronomy for beginners

One way to organize a well-combined meal is to pay attention to the current season. French food is considered one of the most important cuisines in the world. It is often very aromatic and stands out for its textures and fats, especially in winter time, accompanied by full-bodied wines. Here are some examples of typical dishes of the gallic cuisine. Bon appetit!

Portuguese cuisine for beginners

Portuguese cuisine can be considered part of Mediterranean cuisine. Its 3 axes are bread, wine, and oil. But it also has a significant influence from the Portuguese ex-colonies of Asia, Africa and Latin America (Brazilian cuisine), mostly in the use of spices such as piri piri, paprika and cinnamon.

What is the basis of Portuguese cuisine? We will briefly explain ...

Sour wine? Don't throw it away! You can take advantage of it

If you have a sour wine in your home and you cannot drink it, there are always other ideas to get the most out of it. Do not throw it away!

One of the best ways to use it is in the kitchen. As long as you don’t drink it from a cup, you can use the sour wine in the preparation of certain dishes and improve those flavors of the meat or fish, either baked or cooked in...

Six health benefits of white wine

We all know the health advantages of red wine, but white wine also has their beneficial properties in addition to its fruitiness and its unmistakable aroma. What are the main health benefits of white wine? Below we share some of them:

1. It is good for the lung related diseases

Among the benefits of white wine, it is emphasized that it prevents lung disease. According...

Love cheese? You will adore this Saboyana fondue

We adore cheese. So today we want to share with you this Savoyard Fondue recipe from the Alps, it consists of several types of cheese.

Ingredients for 6 people:

600 grams of young Beaufort 600 grams of cured Beaufort 2 cloves garlic, peeled 1 knob of butter 60 cl dry white wine 7 cl of Kirsch Grated nutmeg Ground pepper to taste 1...

Go for the tasty fish! 3 recipes for the grand gourmets

Good weather, and a good feeling: on the terrace, with white wine and some tasty fish ... Doesn't sound so bad, right? The best of all is that fish is a good source of Omega 3, highly beneficial for our skin and cardiovascular system. So don't hesitate on including fish in your diet. To help you doing that we'll share three finger licking fish recipes with you. If you ...

Friuli: captivating white wines

In Friuli, in the Northeastern Italy, we find some of the best known Italian white wines, although the region is relatively small compared to the rest of Italy.

In this region, vignerons grow thirty varieties of wine of different types, which often occurs in small amounts. Among the most popular areas of the region, we find the following ones:

1. Friuli Grave

8 Keys to understanding how Brexit might affect the wine industry from a Spanish perspective

Almost a month since the 'no' came from the UK to Europe, the most immediate response in consequences on the economy was the low level of the pound.

The time passed since the referendum has inspired one to envision various possible economic scenarios, especially in the field of food and wine, in which the UK has a primary role as a buyer.

Consequences for the export...

Kosher food: how is it?

The kashrut is a series of laws regulating the Jewish religion preparation and consumption of food. The term kosher or casher thus defines the set of safe food, which exclude animals considered "impure" such as pork and shellfish, most of the insects, including some lobsters, mixtures of meat and milk...

Accepted animals must also be killed following a few defined...

4 Vegan cocktails to enjoy this summer

Being vegan should not mean that you can’t enjoy a delicious cocktail, so today we propose some cocktails that contain no ingredients of animal origin. Delight yourself with these fresh drinks for the summer.

3 White-fleshed peaches 1 tablespoons of lemon juice 1 bottle of sparkling Prosecco

Place the peaches...


The protesters voiced their anger at the regime’s killing of Seyyed Saleh Al-Hallai, who died on Friday after suffering tear gas inhalation one day earlier during a massive anti-government demonstration.

Regime forces also attacked protesters attending the funeral procession of another protester, Seyyed Jawad Hashem, on Friday.

Hashem, who inhaled tear gas fired into his home by regime forces on Monday, died on Wednesday night.

Thousands of anti-government protesters have been staging demonstrations in Bahrain since mid-February, demanding political reforms and a constitutional monarchy — a demand that later changed to an outright call for the ouster of the ruling Al Khalifa family following its brutal crackdown on popular protests.

Scores of people have also been killed and many others have been injured in the Saudi-backed crackdowns on peaceful protesters in Bahrain

کلیدواژه ها :

این خبر را به اشتراک بگذارید :


DDW Design Ride

During the Dutch Design Week one of the official Design Rides was carrying an autonomous arrow that was constantly pointing towards the exhibition of the University of Technology Eindhoven.
Knowing your own GPS position and knowing the coordinates of the exhibition are enough to let the arrow physically show which direction to go to find the exhibition.


Cataloguing and classification, Humanities

Cataloguing and classification are two interrelated processes that are performed in a library. The basic purpose of these two operations is to aid the readers (users) of the library in locating and selecting appropriate library materials (documents as well as others) required for their study and research, in case such materials- are present in the library. To a large extent, these two processes are complementary and supplementary to each other.

Classification decides the subject of the book and hence books are arranged according to class numbers on the shelves of the library. As books are physical entities these can be placed only at one location on the shelves of the library. When books deal with only one subject (e.g., An Introduction. to Mathematics) then this scheme is useful to the readers.

But when a book/document deals with two or more main subjects or subdivisions of a main subject, we cannot keep the book (physical entity) at two places/locations on the library shelves. Ideally this book should be kept at two places, one at cataloguing and another at classification in order to reveal the subject of the book. But this is not possible. This book can be kept at only one place i.e. Library Cataloguing. The second subject library classification is brought to the notice of the reader by preparing analytical entry under the class number for classification. Such analytical entries prepared for all books dealing with two or more subjects or for multidisciplinary subject or subjects representing phase relations. Thus, cataloguing supplements - classification. Similar is the case for books of anthologies and readings where contributions are made by various authors. In these situations, author analytical entries are prepared in order to bring to the notice of readers the authors of different contributions. Thus, we find that cataloguing and classification are supplementary and complementary to each other. Both these activities jointly bring to the notice of the readers the whole contents of the documents possessed by the Library. Consult the sections on Analytical Entries from the Block 3 of BLIS-4P and Block 4 Subject Indexing of this Course, for further explanation of the interrelationship between cataloguing and classification.

A library catalogue can also be used as a reference tool for answering many questions of users of documents. In fact, the library catalogue is used on most occasions as the starting tool for answering enquiries related to information on documents.

For example readers 'queries on books written by a particular author, books on a subject or full name and year of birth of an author, real name of a pseudonym or a full name of an Institution, etc. can he answered with the help of a library catalogue.

A library catalogue usually contains other valuable information on documents, besides bibliographical data for accessing and locating documents. The Notes Section, Collation (which includes illustrations and related data), etc., provide useful starting points for a search for documents on subjects.

Posted Date: 10/26/2012 4:22:01 AM | Location : United States

Related Discussions:- Cataloguing and classification, Assignment Help, Ask Question on Cataloguing and classification, Get Answer, Expert's Help, Cataloguing and classification Discussions

Write discussion on Cataloguing and classification
Your posts are moderated
Related Questions
explain the importance of the various elements of communication

Please compare and/or contrast the journey to human self-knowledge in the ancient narratives of both manna and Oedipus Rex. How does each figure come to teach us certain lessons ab

Tracing   Tracing is a separate paragraph. This is the last paragraph in the Main Entry of a Dictionary Catalogue., This part traces the additional entries that are provided fo

CHARACTERISTICS OF DIVISION (DEPARTMENTATION)   The process of grouping related work activities into manageable units is known as departmentation. The purpose of departmentatio

European History after 1715 -Through the last decades of the seventeenth century the dominant European power is France, brought to a pinnacle of prestige through that mainly absolu

1. Trace the development of the Industrial Revolution in early 19 th century America. How did life for the American workers change during the Industrial Revolution? Were workers b

Define Conflicts of Interest?  Conflict of interests is a situation in which two or more interests are not at the same time realizable. It is the disagreement among public obli

Subject cataloguing - Meaning and Purpose   Since an entry in the catalogue serves as a document substitute, it is necessary to provide relevant information for individualising

What is Ageing and Health- ? Please provide me report on Ageing and Health . It is about 2000 words count report on topic Ageing and Health . Ageing and Health- Ageing, irre


へようこそ Hotel Atico Retiro Madrid, Atico Retiro is set next to the famous El Retiro Park and 2 minutes’ walk from Ibiza Metro Station. This attic apartment has a terrace with views of the park. The apartment features traditional décor, 無料Wi-Fi, air conditioning and heating. The lounge has a sofa and a flat-screen TV, while the modern kitchen includes a microwave, 冷蔵庫, オーブン, coffee maker, 解除, a washing machine and dishwasher. The apartment is set in an area with many shops, バーやレストラン. Puerta de Sol is a 30-minute walk away. The famous Prado, Reina Sofía and Thyssen-Bornemisza museums can be reached in a 20-minute walk across the park. Atocha Railway Station and the AVE High-Speed Railway are within 2 km of the apartment. (Hotel Atico Retiro Madrid hotels 予約).