Analysis Of Rio De Janeiro s Most Infamous Favela

Rochina. This is the name of Rio de Janeiro’s most infamous favela, where you have to â€Å"pay the cops to arrest criminals.† Rio de Janeiro, or simply Rio, is the second most populous city in Brazil and the sixth largest city in America; the city is known for holding hundreds of favelas where low-income residents reside. According to the findings of a 2010 census, about 22% of 6 million residents live in the favelas of Brazil (Hurrell).These favelas are known for their brutality and crime rate among the residents. The quality of life in the Brazilian favelas has in a way improved and also worsened. As Brazil is set to hold the Summer Olympic Games this year in 2016, the government has been intervening with the history of Rio’s violent crime†¦show more content†¦From the formation of these slums, the government never paid much attention to the welfare of these residents. The members of these favelas began to work together to provide medical care, method s of transportation and other necessities to one another. They lived in silence in the first half of the twentieth century until they began to attract political attention near the second half of the twentieth century. Due to the favelas being located near Rio’s most affluent neighborhoods, the Brazilian government attempted to eradicate the favelas. However, they failed to address the root causes of Rio’s poverty-stricken areas and the favela population maintained their expansion unwaveringly through the 1950’s, 60’s and 70’s. The government lost hope in the evacuation of the favelas and abandoned their endeavor in the late 1970s. In the 1980s, as the Brazilian government began to abandon military rule and establish democracy, Brazil became the core of the international trade of illegal drugs. The vast change in Brazil’s market due to drugs is elucidated in this quotation, â€Å"By 1985, not only had Rio de Janeiro become the country’s most important export node for drugs from the Andean regions to the United States and Europe, it had developed a sizeable local consumer market for cocaine that had been virtually non-existent in prior years.† The drug merchandise dominated by the numerous hoods in the favelas was also portrayed in the movie

Barriers to Economic Development in Ghana - 1431 Words

Economic development has to occur after a period of sustained economic growth. It is therefore the growth in total economic output accompanied by changes in the structure of the economy. There are many barriers to economic development in Ghana. Eight of them are discussed below: First and foremost, Ghana like most developing countries is enriched with natural resources or deposits but the human capital is not able to transform them to achieve rapid economic growth and development. For economic development to take off in any country, the human resource of the country should be in a position to harness the country’s endowed natural resources to fuel this economic development process. The skills and requisite know how that the human capital†¦show more content†¦Moreover, people who are in government and for that matter have access to huge sums of money usually do their savings outside the country because of fear. This is what is termed capital flight. Many government officials find it convenient to have their savings accounts outside the country in order not to stand the chance of losing everything should any political instability occurs. Many expatriates who work in the country also remit their earnings back into their countries of origin inste ad of saving at least part of it here for the business community to get access to capital so that they can expand their businesses to enhance growth. Also, lack of technological advancement is a barrier to economic growth and development in Ghana. Many countries that are experiencing rapid economic growth are technologically inclined. For instance, South Korea, China, Malaysia and Singapore are developing rapidly due to their advancement in technology. Ghana as a country still relies on traditional methods of doing things, example, using cutlasses and hoes in farming instead of tractors, ploughs and combined harvesters. All these traditional ways of doing things retard economic development. Industrialization which is the backbone of any rapid economic growth is not pursued much in the country mostly because Ghana lacks the required technology to support it. It is the industrial sector that will increase certain macro economic indicators like employmentShow MoreRelatedAnalysis Of The Board Of Directors For Tullow Oil Company1693 Words   |  7 Pagesin 22 different countries, 66 producing fields and has a workforce in excess of 2,000 worldwide. Tullow Oil has primary listing on the London Stock Exchange (LSE:TLW) and is a constituent of the FTSE 100 Index. It also has secondary listing on the Ghana Stock Exchange and Irish Stock Exchange. The company has a market capitalisation of  £29,526.95 (GoogleFinance, 2015). 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Bedřich Smetana’s Piano Trio in G Minor, Op. 15 - 1332 Words

Piano Trio in G Minor, Op. 15, is the first of several pieces of music to be inspired by a tragedy in Smetana’s life. Spurred by the death of his beloved daughter BedÃ…â„¢iÃ… ¡ka (1851-1855), â€Å"an extraordinarily gifted child, [Smetana was inspired] to compose [his] chamber work in 1855.† (Large 65) The trio starts with feelings relating to Smetana’s anguish, followed by a dedication to the memory of his daughter torn between her life and death, and ending with a movement that gives eventual closure to Smetana’s loss. The style of the trio involves stylistic elements of both Schumann and Liszt, as is characteristic of several of Smetana’s musical pieces (Clapham 65) and is composed of three voices: the violin, cello, and piano. In the first†¦show more content†¦The principle theme of the third movement (See Figure 3.) is taken from the Czech folksong Sil jsem proso na souvrait† (â€Å"I was sowing millet†), a theme which Smetana also uses in his â€Å"Characteristic Variations on a Czech Fok Song† and in his â€Å"Piano Sonata in G Minor.† This song is associated with the Rebellion of the 1840s in which Czech citizens struggled to end the Absolutism power and to make Czech the national language and encourage Czech identity (Large 34). By using a theme that represents the Czech radicals’ desire to express their identity, Smetana creates a parallel to his desire to come to terms with the loss of his daughter, a part of his identity that is lost forever. Figure 3 (Smetana). The principle theme consists of a polyrhythm with couplets versus triplets, giving an uneven feel to the flow of the piece. This could express the irregularity of his dying daughter’s heart beats. This part of the piece is played presto and the melody switches off between the piano and the strings. When the strings take over the melody, the dynamics crescendo, giving a more impassioned feel. This empowered section depicts the anger Smetana felt at the loss of his daughter. Smetana ends this portion of fury suddenly and decides to enter into a new slower and softer tempo (this is a standard characteristic throughout the

Leonardo da Vinci in Milan according to Giorgione Essay Example For Students

Leonardo da Vinci in Milan according to Giorgione Essay The objective of this essay is to provide an explanation of Leonardo da Vincis life and work as an artist in context with his time spent in Milan. Following an initial introduction to Leonardos formative years in Florence (and his apprenticeship to the sculptor and painter Andrea del Verrocchio, 1435-88), I will attempt to explain the significance of his presence in Milan with detailed descriptions of his work there. Giorgio Vasari (1511-74) was also an artist and architect, but is perhaps better known for his book on the lives of well known painters, sculptors and architects (published 1550; from Cimbue to his autobiography which was included in a revised edition): Vasaris book offers his personal evaluation of the works of these artists, as well as discussions on the state of the arts. His easy, natural writing style helped to make his book one of the most enduring of art histories. His reflections on Leonardos life include insight specifically relating to his unusual character and the intellectual merit of his lifes work. Using this evidence I hope to provide valid observations on Leonardos significance as a father of the High Renaissance. Leonardo (who was christened Lionardo, the name to which Vasari refers) was born near the small town of Vinci on 15th April 1452. The town was situated in the Florentine province of Italy, where his father, Ser Piero was a notary. According to Vasari, Leonardo was somewhat of a child prodigy in his studies, but he showed little commitment to one single area, constantly finding new interests in other subjects: Thus in arithmetic, during the few months that he studied it, he made such progress that he frequently confounded his master by continually raising doubts and difficulties. He devoted some time to music Yet though he studied so many different things, he never neglected design and working in relief, those being the things which appealed to his fancy more than any other. Being very conscious of his sons talents, Ser Piero moved to Florence with Leonardo and his wife (not Leonardos mother, as he was illegitimate and never took his fathers name) to utilise them professionally. Being a friend of the artist and sculptor Andrea del Verrocchio (1435-88), Ser Piero convinced him to recruit Leonardo as an apprentice by the promise shown in his work. Verrocchio strongly encouraged da Vinci, and his admiration of his students talents convinced Verrocchio to allow Leonardo to participate in the creation of his own paintings and sculptures. According to Vasari, Leonardo was highly skilled in many fields of design, he prepared many architectural plans and elevations, and he was the first, though so young, to propose a navigable canal of the Arno River from Pisa to Florence. Vasari talks at length on the subject of Leonardos early drawing skills, delving with some depth into the aptitude of his draughtsmanship, often indicating that his works were executed like a master, which he became officially in 1478. Drawing may have been a craft in which he gleaned experience directly from Verrocchio, whos own biography by Vasari states: His drawings were) made with great patience and knowledge, among which are heads of women, with graceful manner and hair arrangements that, because of their exceeding beauty, Lionardo da Vinci always imitated. Although in 1472 he entered the San Luca guild of painters in Florence, which would indicate that he had attained a degree of professional independence, he remained with Andrea del Verrocchio until 1480. Of his earliest works, one that he painted as an assistant is the angel holding clothes, kneeling on the left of Verrocchios picture The Baptism of Christ (c. 1472-1475). Verrocchio, as indicated by Vasari, was so impressed by the implications of his pupils genius that would never afterwards touch colours, chagrined that a child should know more than he. Since Leonardos earliest large-scale work The Adoration of the Magi (begun 1481 unfinished), he had gained a reputation for leaving works incomplete, perhaps fittingly in the nature of this, his first commission an altarpiece for the chapel of the Palazzo Vecchio, the Florentine town hall, was never executed. Conveniently, Vasari attempts to provide an explanation for this force of habit: His knowledge of art, indeed, prevented him from finishing many things which he had begun, for he felt that his hand would be unable to realise the perfect creations of his imagination, as his mind formed such difficult, subtle and marvellous conceptions that his hands, skilful as they were, could never have expressed them. As to the truth of this statement, this is difficult to prove, but clarification could be seen in the great number and range of Leonardos studies and designs that never progressed further than the initial planning stages, due to his constant need to illustrate his new and innovative concepts. The Adoration of the Magi was an early illustration of Leonardos genius in technical innovation, even if it was unintentional. Despite the piece not being completed, the drawing and base painting serve to demonstrate the success of Leonardos technique of drawing straight onto the board without first having to demarcate outlines by using a collection of cartoons (preparatory sketches) as was the technique for painting in buon-fresco or in tempera. The cuban mile EssayThis provided an even greater sense of relief and a sculptural quality to paintings by using an exaggerated depiction of light and dark tones emphasising the shape of a form. I have chosen two works from this period, which by personal opinion, I consider to be the finest in his undertaking and most expressive of his paintings. The Portrait of Cecilia Gallerani (Lady with an Ermine) was painted around 1490 midway through his employment to Ludovico; indeed it is sometimes believed that the Lady was his mistress. This painting uses chiaroscuro to a great effect with modelling used around the side of the head, neck and upper chest and around the arms, clearly illustrating the depth of the figure. Notice how obscured the background is, thus making the use of sfumato impossible on the figure, except for where the torso of the ermine is cast in shadow by the Ladys hand and arm. Her clothing and jewellery appear very sophisticated and luxuriant incorporating crisp details in the fabric. The ermine itself, which was prized for its valuable fur, also acts as a designation of wealth. Dominican monks of the Santa Maria delle Grazie monastery commissioned possibly the most notable painting by Leonardo in Milan, The Last Supper painted using an experimentary use of media from 1495-8. A great work in its magnitude, the composition has become the epitome of Last Supper paintings, despite its well-known fragility it still remains following attempts at restoration since 1726. It is constantly falling apart since Leonardo attempted to work in oil and tempera on plaster. Vasari wrote of the work: Lionardo has seized the moment when the Apostles are anxious to discover who would betray their Master. All their faces are expressive of love, fear, wrath or grief at not being able to grasp the meaning of Christ, in contrast to the obstinacy, hatred and treason of Judas, while the whole work, down to the smallest details, displays incredible diligence, even the texture of the tablecloth being clearly visible so that actual cambric would not look more real. Vasari also professes to Leonardos diligence in working on this project, although according to an eyewitness report from one Matteo Bandello (narrated in Novella, 1497) the artist would at times paint in the refectory from sunrise to darkness, never laying down the brush to eat or drink. Then, days would lapse in which Leonardo would not touch a brush but would either contemplate what he had painted or labour at the Corte Vecchia on the monumental clay model for the Sforza equestrian monument, and then, when the fancy took him he would take a brush and give a few touches to one of the figures; and then suddenly he would leave and go elsewhere. The painting itself has little evidence of its former glory left, although the use of both chiaroscuro and sfumato are still visible in the scenery and between the figures, and this grants the vision a certain elegance of form and composition. The arrangement of the apostle figures in groups of three is often commented upon due to the number acting as a recurring theme in the painting; often the number three was used to designate the importance of the Holy Trinity. The robes are very much in the tradition of scholarly togas; there is still even a suggestion of lurid colour still left in the cloth. It was soon after he had completed this work that Leonardo withdrew from Milan as the Duke had done to escape the French who had overrun the state, French archers also destroyed the clay equestrian colossus that Leonardo had made by using it for target practice. Leonardo only returned to Milan in 1506 under the guardianship of the ruling French governor, Charles dAmboise, and still only visited whilst undertaking commissions. Leonardos lack of popularity (in his own time, as a named artist) is surprising. He was a victim of the cultural marginality of the Milanese court as well as of his own commitment to technical and scientific projects rather than to literature, and the scarcity of works circulating under his name. To some extent this is largely true, but obviously becoming famous was not a great ambition of Leonardos. As is mentioned, there was a lack of works (paintings) that would have had a circulation around important circles: By 1503, Leonardo had forged a reputation for jilting his patrons with unfinished projects. This would surely have been the case, but what cant truly be answered is, did this make Leonardo responsible for his own lack of popularity? It never seemed to be that way to Vasari anyhow, who wrote with a very sympathetic style about Leonardo, making eloquent excuses where Leonardo could be found blameworthy. It is probably true to say that Leonardo was highly respected as a founding father of the high period of the renaissance, and all in all lead a comfortable life worthy of his standing.