History Essay Example | Topics and Well Written Essays - 1500 words - 12

History - Essay Example However, as former peasant, he was still sympathetic to the plight of the poor and so he kept taxes low and the granaries stocked in order to be prepared to meet famine (MNSU, n.d). He also established military superiority over the civilians both as a means of control over the people and as a means of defense against the Mongols continually threatening its territories. Hongwu also sought to control all aspects of government and he was able to keep the social order through the military and through his rigid administrative process (MNSU, n.d). Based on their values, the Aztecs maintained a socially stratified society and the family were considered the most important unit in that society (Rodriguez, 1994). They also emphasized on women or girls learning feminine duties like cooking, cleaning, and sewing. They also valued personal discipline, respect for the law, diligence, honesty, and respect for others (Rodriguez, 1994). Ming China, on the other hand, valued change within tradition, one which was â€Å"stable but lacked dynamic development† (Reich & Cunningham, 2005, p. 374). This resulted to economic decline among the people as the rulers also became corrupt; they also faced growing unrest among the people who were highly inclined to participate in rebellion and banditry (Reich & Cunningham, 2005). On an economic plane, the Aztecs and Ming China more or less experienced flourishing economies during their era. The Aztecs mostly bartered their wares with each other through marketplaces which were bustling areas of economic exchange. The currencies used were mostly cacao beans and cotton capes and through these currencies, the Aztecs experienced economic progress (Microsoft Corporation, 1999). Economic progress was also seen in China during the Ming Dynasty through increased food supply on account of the agricultural revolution

Managing Homeland Security Essay Example | Topics and Well Written Essays - 1500 words

Managing Homeland Security - Essay Example I will be working with the city planners and commission to evaluate the existing zoning laws and building codes. We will work with the local and state law enforcement agencies to analyze any potential for man made threats. As risks are encountered, I will work with the appropriate agency or department to resolve any budgetary concerns that are needed to take corrective action. As we work to reduce the risk and minimize the impact, we will also be preparing for a disaster should one strike. We will work with FEMA to draw up an appropriate response plan, and coordinate getting key people the necessary training that they may require. We will also develop a communications system and contact list so that we will be prepared to communicate with the appropriate local, state, or federal agencies and people as needed. We will be appointing numerous emergency planners in the major institutions and organizations in the community that we can coordinate our activity with in the event of an emergency. This will include the public utilities, hospitals, highway department, and public transportation. We will also work with local, state, and federal officials to assure that the city has the necessary resources needed during a disaster. This includes hospital supplies, fuel, and critical survival materials. In the event of an emergency or disaster, our department will coordinate the appropriate level of response. We will be responsible for contacting and monitoring the wide variety of agencies that may be needed. This will vary depending on the type of disaster, but may include fire and rescue, medical personnel, geologists, or the weather bureau. We will have a public information officer that will act as an information liaison between these agencies and the public in an effort to keep the people well informed. The disaster may be able to be handled locally, or may involve FEMA or specialized hazardous materials personnel. We will work with the public utilities to resolve issues with the gas and electric supply. We will also work with public transportation and the highway patrol in the event that an evacuation is needed. As the damage is assessed after the emergency, this department will begin to work to restore the city and its infrastructure. We will work with state and federal agencies in regards to funding and the availability of material resources. Some things may be able to be restored immediately, such as utilities, but other projects may be longer term, and managed by state or federal agencies. Temporary housing may be needed, as well as day-to-day supplies to maintain our daily life. While this department does not directly perform these functions, we assure the correct agency is responding appropriately. 2.) One of my first acts as the Emergency Management Coordinator would be to form an Emergency Planning Committee by selecting some key members from the police department, fire department, and the hospitals, as well as other agencies and organizations. I would then work with the committee to draw up an emergency response plan that outlined the roles of the various agencies in the event of an emergency. One of our first duties would be to create a contact list and a communications plan. I would

Response to the book Essay Example | Topics and Well Written Essays - 1250 words

Response to the book - Essay Example In this article, we are going to analyze the sixth extinction portrayed in the book by Richard Leakey and Roger Lewin. Leakey is one of the most famous living Paleo-anthropologist in the world and from his experience in anthropology makes; us devote more time in trying to note the things that will hasten the next evaluation. This article will provide the pros and cons of what the two authors think will result to the sixth extinction. The book has several interesting points, which seems crucial to note, these points are also the stronghold of the book. Leakey accepts that homo sapience or the modern man is the most dominant species on earth currently. The ability to reason and have a vertebrate brain of man is the main reason why man is able to dominate other species. These are also the reasons behind the book claims that human activities are the main agents of extinction of the other species. Leakey identifies that man’s insight has led to technological improvement that have helped him expand his population at an alarming rate. The population increase and the advanced technology have led to overexploitation of the natural resources thus tampering with the ecosystem (Leakey and Lewin, 21). The book states that the historical past of man has led to killing of other species in the form of hunting for food and collections. Leakey identifies that man is destroying tropical forests that are the main habitats for millions of species either to expand their agricultural land or to build roads and cities. This will result to the extinction of these species (Leakey and Lewin, 27). This information is true basing my argument on Cantilena Island, which was known to develop a unique flora before man has destroyed it by inhabiting making it for his agricultural benefits. The unique flora is now extinct. The book states that the more man is becoming knowledgeable in science the more harmful he is becoming to other species. This is due to the

Critical Response Papers Research Paper Example | Topics and Well Written Essays - 1250 words

Critical Response Papers - Research Paper Example In the meantime, the three candidates have to confront the disapproving society that considers their relationship as somewhat unconventional. The homosexual relationships illustrate some form of deviation from normative practices, which disallow sexual relationships that fall outside the accepted forms of behavior in the society. In essence, the three men have to build a private world that exists within the larger external world and attempt by different means to redefine the conventions that determine the rules of sexuality. It becomes important to consider the fact that some of the issues that connect to the reality around the world have to be considered from the point of view of masculinity and sexuality. In normal practice, it is important to consider the fact that some issues that relate to matters of general interest have to be determined from the point of view of desire as it affects the male characters. The kind of relationship that defines the character of the different peopl e has to be considered within the context of a range of issues that influence perceptions and conventions. Desire, according to the conventions of the society, relates to the differences in perceptions involving sexual orientations, which appear to challenge and disrupt normative practices. The confusion that characterizes the lives of the characters in the movie is most telling when considered from the point of view of Tina’s life. The film explores the question of gender in a way that opens up the possibility of individuals converting into another gender. Tina switches from being a boy to a girl in order to engage in a love relationship with her father. The film illustrates the aspect of transcending normative practices and increasing the possibility of transformation across the lines of gender. In essence, it becomes important to consider the fact that some of the issues that connect within the structure have to relate to various issues that affect and are, in turn, affect ed by the practices of the main characters. Lesbianism and gay relationships are explored in ways that demonstrate the variations from norms and dominant perspectives of the society. Male attraction to fellow men features prominently in the film in ways that illustrate the unconventional nature of inner feelings and unstable conditions that define the kind of relationship between the male subjects. The male characters are portrayed as generally capable of engaging the major differences between the main actors and the different issues that affect perceptions on matters of sexuality and sexual relationships of one gender. In this manner, it becomes appropriate to consider the fact that some of the issues that concern the differences in character are considered as a sum of various influences that determine the worldview of the characters as perceived from the relationship of the major characters. Tina’s relationship with her father shows the extreme form of sexual disorientation that redefines the relationship between the male subjects. Generally, the movie explores the various angles of gender and sexuality with specific attention to the male characters. The definition of gender acquires multiple understandings because it is separated from the dominant perceptions

My Goal in Life Essay Example for Free

My Goal in Life Essay At the age of 8 we change our minds about what we want to do when we grow up about every week. At the 18 and a few months away from graduating some of us still don’t know what we want to do or where we want to go in life. Excluding all of those soon to be high school graduates, I already know what I want to do after high and know where I want to go. Since the age of 10, I’ve always dreamt of being a police officer. I cant see myself doing anything other than patrolling the streets and keeping people safe. After graduating high school, Im going to go to college for at least four years. When my four years is done and after I turn twenty-one, I’m going to join the police academy. Im going to work hard and do whatever it takes to get in and pass all my tests. My goal is to be the best police office on the force. When the time comes after a couple years of patrolling, I would love to work my way up to be a special agent or maybe even be a member of the SWAT team. I know a lot of people may doubt me and a lot of people may say, â€Å"A little girl like you can’t do a job like that.† but I will prove them wrong. I want to be able to say â€Å"I did it† instead of â€Å"I tried,† Failing is not an option, the key is to never give up and push yourself as far as you can go.

Elizabeth Gaskell and Industrialization Essay Example for Free

Elizabeth Gaskell and Industrialization Essay Two of Elizabeth Gaskell’s novels—North and South and Mary Barton—provide a critical insight into the author’s attempt at probing the issues surrounding industrialization in Victorian England. Apart from the fact that both novels feature female characters as protagonists, they also highlight the classic struggle between rich and poor classes in the face of an emerging industrial society. Without losing track of the flow of the stories’ plots, Gaskell is able to incorporate the vital aspects of industrialization. In North and South, Elizabeth Gaskell writes about the struggles of the urban working class in industrial England, specifically in its northern regions, during the 19th century in contrast to the lifestyles of those who live in the wealthier south. Because the story is shown from the perspective of the heroine, Margaret Hale, Gaskell is able to display the other side of the stereotypes attributed to women during the 19th century. For the most part, women at that time were barely able to face their personal circumstances and address them on their own. Margaret Hale, however, defies the notion that women largely depend on men just to live. She initially resists that belief by rejecting romantic proposals—a move that shows how she is in control of her life—and displays it at its highest when she throws her arms around John Thornton in an effort to protect him from the angry mob. The latter indicates that it is not always women who seek the protection of men because women can also protect men even at the expense of such women. As Patsy Stoneman indicates in her book Elizabeth Gaskell, â€Å"[Margaret Hale] confronts the fact that men of all classes are governed, in the public sphere, by a masculine code,† a code that effectively prevents the characteristic of tenderness attributed to females (Stoneman, p. 86). Margaret’s willingness to protect Thornton does not only imbibe the thought that women are tender and should not be harmed. It also presents the idea that women—especially those who are considered outsiders to industrial areas such as Milton—can also learn to sympathize with the people who are working under poverty. The incident in the story where the workers were in a strike against Thornton, the local mill owner, also underlines the idea that an outsider can relate to the woes and conditions of the workers more than those who are directly involved in the industrial system. Another interesting aspect of Gaskell’s thematic exploration of industrialization in North and South is how she was able to reunite, in a manner of speaking, the classes considered as polar opposites. As Dorice Williams Elliott observes in her article: â€Å"the novel bases its case for women’s mediation between classes on an analogy between marriage and class cooperation† (Elliott, p. 25). The presence of the outsider, Margaret, in the industrial town makes it possible for the marriage between the classes to commence. Margaret became no less than a person who paved the way for the better understanding between the rich and poor divide although her presence alone did not entirely dissolve the prevalent disparity. Elliott’s observation that Margaret’s mediation led to class cooperation simply reaffirms the idea that ‘class cooperation† in itself still presumes differences between social classes. In Mary Barton, the disparities between the rich and the poor classes take the shape of the story of a father who seeks to protect his daughter from becoming a fallen woman. Like Margaret Hale in North and South, the story revolves around the life and struggles of Mary Barton in Victorian England. John Barton, Mary’s father, is a millworker who lost most of the members of his family except Mary. One interesting part of the story is when John shot Henry Carson, the son of a rich mill owner. Being someone who deeply questions the wealth disparities between rich and poor—largely because he was â€Å"chairman at many a Trade’s Union meeting; a friend of delegates,† someone who was â€Å"ambitious of being a delegate himself† and a â€Å"Chartist† who was â€Å"ready to do anything for his order† (Gaskell, p. 25)—John’s murder of Henry symbolizes how the members of the poor class sometimes grow desperate. The story is ingenious in the sense that it perfectly subsumes the issues surrounding industrialization in Victorian England into the tale of a woman’s quest for love. Mary Barton is a classic example of how Gaskell effectively writes about the problems caused by industrialization in Victorian England without losing sight of the story’s plot. Despite the debates as to whether Gaskell’s novels genuinely reflect the true nature of the Victorian English society during the onset of the industrial period, it should be reminded that what her novels do is to give a fictional account of the problems people face when dealing with people from another social class. Susan Morgan writes that â€Å"the criterion of likelihood is an inappropriate approach to Gaskell’s work† (Morgan, p. 44). For example, â€Å"it may have well been unlikely in Manchester for relations between worker and employer to find solutions through individual friendships† (Morgan, p. 44). Whatever reasons there may be as to why Gaskell wrote as she did, it is enough to note that North and South and Mary Barton capture the struggles of fictional characters in the face of industrialization. The novels may be fiction at best, yet the circumstance they suggests—the epic divide between rich and poor—remains as real today as it once was. Works Cited Elliott, Dorice Williams. â€Å"The Female Visitor and the Marriage of Classes in Gaskell’s North and South. † Nineteenth-Century Literature 49. 1 (1994): 21-49. Gaskell, Elizabeth Cleghorn. Mary Barton. Ed. Shirley Foster. Oxford: Oxford University Press, 2006. Morgan, Susan. â€Å"Gaskell’s Heroines and the Power of Time. † Pacific Coast Philology 18. 1/2 (1983): 43-51. Stoneman, Patsy. Elizabeth Gaskell. Bloomington: Indiana University Press, 1987.

Marxism Concepts of Art | An Analysis

Marxism Concepts of Art | An Analysis The nineteenth century was significant in Europe because it spawned or brought to the forefront revolutionary new forms of culture and theology. Among these movements were feminism, Marxism, the romantic period of music, and the impressionist period of art. Marxism has been critically acclaimed for its adherence to the popular utopian traditions of past ages and its determination to exterminate the inequities of the feudal class system. Marxism was a nineteenth century behemoth, its shadow influencing not only social and political thought but also provoking minds around the world. Critics of ideologys influence on art harangue the latter as a restrictive form of interpretation, one whose hold over arts beholder evokes themes that override those intended by the artist. However, art created in the impressionist period was created on the basis of the artists perception, and if no one can recall exactly what the artist intended, then using ideologies of the time remains a logical basis o f interpretation. Marxism promotes the involvement of all aspects of society in its ideology. However, when used as an exclusive method of art, Marxism can be quickly dismissed as stringent and a useless art method. In his Theory and Philosophy of Art, Meyer Schapiro contends that ideology constricts the freedom of artistic expression. Schapiro insists that philosophers using ideologies in artistic interpretation forgo the artists rendering and draw their own conclusions, therein ignoring the prevailing themes and purposes behind the artists creation. Through intense speculation of an object, the philosopher has [deceived] himself in assertions which are not sustained by the picture itself but rather in his own social outlook (Schapiro 1994, p. 134). For example, Japanese aesthetics value the imperfect, almost deifying the worn and blemished. A rusty spade in a tool shed would be perceived by classical Japanese aesthetics as beautiful because of its natural state. The traditional Japanese artist would have painted the shed to exemplify its imperfections and the subtleties of its presentation. A Marxist contention might be that the artist presented the spade as a token of the working class, a tribute to the agrarian utopia sought after by many of the period. By making these assumptions, the individual perceiving the Japanese spade would be detracting from the paintings meaning; though agrarian utopia is a beautiful image, it is ultimately deviant from the artists purpose and casts the painting in a whole new light. Using a school of thought such as Marxism endeavors people to [imagine] everything and [project] it into the painting, causing them to experience both too little and too much in [their] contact with the work (Schapiro 1994, p. 138). Schapiro and his contemporaries are concerned with the nature of the work, not the beholders perception. Arts grandeur is in its presentation, which if misinterpreted bypasses the artists intentions, altering the state of art. Recurrent themes might be based on philosophy, but the concept of [the] metaphysical power of art remains a theoretical idea (Schapiro 1994, p. 139). It is irrelevant that there may exist a hidden message within the subject perceived. What is of consequence is rather what the object portrayed means to the artist. Projection and personal interpretation negates the fundamental aspect of the artists presence in the work, and metaphysical integration in interpretational method stints the potential of arts full meaning (Schapiro 1994, p 139). Marxism specifically denigrates the self in favor of the whole, therein detracting from art as a representation of the artist himself or herself. As a means of interpretation, Marxism is useless as the art becomes solely focused around the objective nature of the subject. Painters such as van Gogh and Monet did not popularize the impressionist movement because their objects were more true to reality than others of the age; they popularized the movement because their interpretations were revolutionary and unlike that of their contemporaries. In effect, all art becomes a piece from a self-portrait; the subject is turned to the spectator as a part of the artist, not an instrument of political ideology (Schapiro 1994, p. 140). Schapiro describes shoes as a recurrent theme in van Goghs paintings to solidify his argument. The focus of several paintings, van Goghs worn shoes are a portion of the self, a revealing theme (Schapiro 1994, p. 140). They do not signify the work ethic of a communist, nor does the weathered nature of the shoe imply the subject had anything to do with attaining an agrarian utopia. For van Gogh, the shoes were a memorable piece of his own life, a sacred relic (Schapiro 1994, p. 141). Paintings of the shoes were brilliant because of what they meant to van Gogh. The virtuosity of van Goghs style and presentation make him unique; shoes by themselves mean nothing without the artists rendering. What makes a painter unique is his or her ability to present him or herself, manifesting personality into unconventional objects in such a way that an audience can connect and relate to the emotion evoked. The object presented means nothing without the artists intimation. A shoe, for example, is mere ly a protective covering in the real world. It does not exist to testify to the greatness of Marxism and its superiority over other ideologies. In art, objects do not exist to signify metaphysical forms or ideas, but to serve the artists meanings. The efficacy with which an object portrays the artist is what makes it extraordinary. Theology is useless as an interpretive method of art history because of its constrictive nature on the purpose of art; Marxism is particularly inhibiting because of its emphasis on the nature of being and the individuals position in society. If a painter were to create a work solely to advertise Marxist doctrine, the artistic creation itself would be impeded. Practical aims, rules methods, [and] fixed notions of style hamper virtuosity and the artistic process (Schapiro 1994, p. 202). Schapiro continues, stating, the creation of art has rested on the activity of self-directed [people] who regard their work as a free expression of their natures (Schapiro 1994, p. 204). Ideologies are not naturally occurring in society as a whole; they are indoctrinated and therefore are alien concepts. Marxism is not a natural conclusion, but rather one that had to be indoctrinated into the bourgeois, who in turn had to give up their advantageous statuses in order to better society. Because Marxism is forced by nature, it cannot be a viable art method in Schapiros system of interpretation. Though Schapiros passion for the personal and physiognomic on behalf of the artist is commendable, it too easily dismisses the possibility that social ideology played a part in the artists choice of subjects (Schapiro 1994, p. 139). Marxism changed the way men and women viewed society, and hence altered individual perception. Empiricism, or the theory that all knowledge is based on experience, is a testament to artistic presentation. Theoretically speaking, van Gogh may have painted his shoes because he was an avowed Marxist and chose to present a commonplace object in a Marxist light. Those testifying otherwise can prove their points only by having known the artist themselves, or by proving through communications relayed by the artist suggesting the contrary. Marxism, like other ideologies, is not an impossible basis of inspiration. For example, the twentieth-century composer Dmitri Shostakovich chose to proclaim his disdain with Soviet Russia through music. Political ideologies suc h as Marxism are revolutionary because they alter perception and opinion. As an inspirational method, Marxism is very useful. Ideologies and social movements lend form and base to art; whether they positively or negatively affect an artist, ideologies are an inspirational basis for many works. Marxism does not necessarily diminish art as a form of self-portrait in inspirational form. It molds and manipulates the course of the art. Though it changes the direction of interpretation (possibly detracting from the artists meaning), it is feasible as part of the subject if determined to be a prevailing theme of the work in question. Schapiro describes the philosopher Martin Heidegger and his interpretation of a painting as an [illustration of] the nature of art as a disclosure of truth (Schapiro 1994, p. 135). Contrary to Schapiros contentions of arts theoretical metaphysical implications, Heidegger purports art is metaphysical in nature. The artist is therefore presenting the object from a different vantage. The nature of art is metaphysical in its individuality, so ideology is not to be dismissed as a viable method of art history. Marxism in particular has the capacity to be an effective method of art solely because of its paradigm shift in the concept of individuality. Marxism, like other ideologies, is an irrevocable aspect of society, especially in nineteenth century art. Society is part of what makes an artist individual; it is the lifeblood of creativity and influence. Movements such as impressionism are themselves fashioned by society and altered interpretations. Schapiros stance is that society is constraining and the ideologies of which it is comprised imperil [artistic] liberty (Schapiro 1994, p. 201). Marxism is only constraining, however, when applied to capitalist societies. It is impossible for a human being to be completely unbiased and unaffected by ideologies as every human being has some affiliation with a school of thought. Marxism has the ability to inspire just as much as it has the ability to constrict and limit artistic freedom. Though Heidegger may ignore what those shoes meant to van Gogh himself, he may have also suggested a new side of van Gogh, one that is revealed in a new light just as van Gogh presented shoes in a new light (Schapiro 1994, p. 147). Marxism further may serve as a basis of ideas and concepts. Schapiro himself admits, a disciplined classic style needs a source of ideas, a continuously renewed energy of concept ionotherwise [art] is a sterile routine (Schapiro 1994, p. 201). Ideology, by nature, is a set of conglomerated beliefs and observations. Why, then, does Schapiro assume it to such an inefficacy as a method of art history? Schapiros conclusions border on myopic as he fails to consider the possibility that ideologies can also serve as inspirations, as a possible source of ideas rather than the only source. All ideologies become constrictive if used exclusively. More constrictive on the artistic process is the elimination of ideology as a viable method; by consciously restraining interpretive vehicles, art is stinted and the liberty Schapiro so treasures becomes finite. As far as impressionism is concerned, Marxism is as effective as any other method of art history. The word impression refers to the objective, what the mind itself perceives. The very nature of impression is derived from the illusory rather than reality. Speculation, when observed within moderate means, is the purpose behind an object. Using an ideology such as Marxism does not impede interpretation so long as it is not used exclusively. Schapiro describes Heideggers speculative method as detracting and self-serving, purporting that he conjectures that his reader could imagine himself wearing [van Goghs] old leather shoes (Schapiro 1994, p. 149). The speculative approach to impressionism is its very basis. Had van Gogh intended to portray the shoes as part of his history, perhaps he would have painted himself wearing them. That he chose to focus on still life and not a self-portrait insinuates the possibility that van Gogh wanted to portray the shoes as open to outside interpretation as well. Marxist interpretations would not be indicative of useless method in the aforementioned perception so long as the interpretations outside the obvious are secondary in nature. To further his argument against ideologies such as Marxism as viable methods of art history, Schapiro addresses the opinions of French philosopher Denis Diderot. He describes Diderots preoccupation with freedom, considered in its inner and outer circumstances (Schapiro 1994, p. 201). If utilizing Marxism is a transgression on freedom, then it is a safe assumption to make that no artist will ever be free. All forms of thought are constrictions so long as they are regarded as limiting the abstract. Artistic production is reliant on the power of suggestion. The power to create is reliant on the power to envision, and the power to envision is subsequently dependent on the power of suggestion. Schapiro, however, takes Diderots stance that the artists inner freedom is the impulsive, unaccountable flow of the pencil an d brush, of images and ideas; verve, enthusiasm, spontaneity, and naturalness are its outward signs and without that flow, there is no authentic art (Schapiro 1994, p. 201). Marxism, therefore, would erstwhile be an obstacle in the artistic process. However, impulses are drawn from ideas, and spontaneity requires inspiration, both of which may be derived from ideologies. Schapiro supports this contention, writing that the conditions most favorable to the flow in art are not only a matter of temperament but are also social (Schapiro 1994, p. 201). Art history reveals that social ideologies such as Marxism are not only viable methods, they are also intrinsic in the creation of art. Diderot anticipated a dilemma of artists: they wish to be free creators, unconfined by any goal external to art but also wish to participate in the most advanced consciousness of their society and to influence it by their work (Schapiro 1994, p. 207). If ever there was an ideology that encapsulated total social involvement, it was Marxism. So if artists participate in the most advanced consciousness of their society, how can they be truly free by Schapiros standards? Is it because they have made a conscious decision? Their choices, however, are influenced by their desire to be a part of something larger. In effect, they are limited by their desires, which are concrete aims and goals. Marxisms all-encompassing doctrines are a reflection of scientific method, designed with multiple factors and social tenets in mind. Stephen Eisenman presents Marxism as a useful method of art in his Nineteenth Century Art, presenting evidence that certain critics consider the scholarly (scientific) method and subject matter [of art] perfectly merged (Eisenman 1994, p. 9). Marxism is based on a single concept: total egalitarianism. To serve that end, Marxism lists several factors and instructions. Art is similar, centered on a singular subject or theme. Different details delineate and instigate thought on the aforementioned subject, drawing further parallels between art and ideology. Eisenman furthers his contentions opposite that of Schapiro by stating outright how empiricism has dominated studies of nineteenth century art but has rarely been explicitly acknowledged as a methodology, whether inspirational or interpretive in nature (Eisenman 1994, p. 10). In defining true expression, many scholars reject the purist tyranny of abstract and absolutist systems such as those defined previously by Schapiro, insisting t hat art historians should be as flexible, various, and comprehensive as possible in their approaches, and be willing to consider anything from the history technology to the abiding mysteries of genius and psychology as potentially illuminating their ever more vast subject (Eisenman 1994, p. 10). Therefore, Eisenman counters critics who lambast ideologies as limiting, stating that by closing interpretive doors on art methods, one further inhibits the freedom of expression. Separating artists from society alienates the artist from humanity, therein isolating the artist as potentially self-deprecating. Diderots dilemma of the artist seeking to be creatively free and yet still a driving force of society is a paradoxical query answered by Eisenmans assertions in favor of Marxism. Eisenman supports the statement that art history itself, especially art history of the nineteenth century, has been significantly transformed by the prevailing attitudes of radical scholars; Marxist philosophy has played a signal role in overturning the formerly prevailing confidence that art history could be told as a straightforward, descriptive narrative independent of the interests, politics, gender, or ideology of artists, audiences, and critics (Eisenman 1994, p. 10). The aspects listed by Eisenman encapsulate what drives artists to create. Marx postulates that while humans by their nature as humans have senses and perceptions, these are rude and unformed in the absence of their specific development and cultivation, which only occurs historically (Eisenman 1994, p. 11). In the Marxist school of thought, Diderots emphasis on creative freedom still remains paramount to artistic creation. However, Marx stipulates that the abstract is only given form by prevailing attitudes of the day. Eisenman supports Marxism as a method of art, writing, all the senses are differently developed according to the nature of the particular society in which the person lives: a capitalist society in which the sense of having dominates is clearly different in its sensual or perceptual capacities from a feudal or Communist society which does not subscribe to the concept of private property (Eisenman 1994, p.11). Ultimately, art methods are only viable given the freedom of interpretation they allow. Marxism is viable because it promotes inspiration on part of the artist, as well as affording an observing art beholder a unique avenue of interpretation. The only caveat to employing ideology as a method of art is its constrictive nature. When applied exclusively, any single art method exudes glaring inefficacy in the face of constricted artistic freedom. However, the singling of any art method as a useless art method lends itself to the practice of restriction, defeating the requisite observation of creative freedom, whether the artist or the one perceiving art practices that freedom. Marxism, in turn, is just as useful an art method as any other ideology, so long as it is utilized as one possible perception among many. Marx argued, the cultivation of senseswhether in the form of art, music, or literaturein its turn plays a significant role in the historical unfolding of a society, and it is an untenable fact that history plays a part in shaping art, whether in the form of ideology or any other aspect of humanity (Eisenman 1994, p. 11).