View allAll Photos Tagged ethical
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
Paintings by Saint Louis artist Joan Elkin.
For more on Armstrong's life and work, see architectural ruminations.
Photograph copyright © 2005 Andrew Raimist.
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
Photograph by Andrew Raimist, 2007.
from ift.tt/2jDKvxu
To say that I’m a Kate Winslet fan would be putting it mildly. After Titanic‘s release, I began one of my first full-on obsessions where I’d buy or rent all the movies she had been in and watch every interview. It’s something I’ve done with a lot of celebs, though most I eventually get over. Kate is one of the few who I still adore.
I feel similarly about her costar in Wonder Wheel, Justin Timberlake. I was (and still am) a huge fan of his. I loved him on MMC. I favored *NSYNC to the Backstreet Boys. I bought his first album, his second album, etc. I contemplated using Napster to get some of his music back before he played Sean Parker in The Social Network. I’ve seen most of his movies.
At different points in my life, I’ve had fan sites for both Justin and Kate. I used to write RPF1 about Justin and *NSYNC. These are individuals I adore.
The writer and director for their latest movie isn’t.
To steal a term from the BDSM world, Woody Allen is a hard limit for me. I’ve seen one of his films,2 which I hadn’t noticed was his before I watched it.3 I can’t separate Allen’s work from the child sexual abuse allegations and from his bizarre choice to marry his former girlfriend’s adopted daughter. These are not actions I want to endorse, which is what I would feel I was doing if I watched the films.
I can’t watch my all-time favorite actress or one of my favorite musicians act together because the person making the film is a schmuck. And a part of me is kinda fucking pissed that they’ve both acted like working with him was not wrong or completely disgusting. I’ve felt that outrage with other faves, i.e. when Kristen Stewart not only acted in his film, but tried to excuse the behavior.
I can’t condemn people like Roy Moore or Donald Trump for being sexual predators if I’m not going to condemn people like Woody Allen, Roman Polanski, R. Kelly, Harvey Weinstein, etc. I can’t pretend to have an ethical standard then abandon it when following the standard gets a little difficult. I have to apply it to the people who I like it I apply it to the ones I don’t. Otherwise, it’s meaningless.
Wait.
No, it isn’t meaningless.
It just doesn’t mean what I want it to mean. It warps that standard into something tragic, vicious, and crude. It becomes hypocrisy.
I cannot be part of a system that gives abusers and racists a slap on the wrist, then wring my hands over what message is sent by that lack of punishment. I cannot pretend that it is okay to be watching a movie by a person I know is abusive. I can’t act like my money and my time aren’t essentially endorsing rape or abuse if I watch Wonder Wheel or any other movie or television show, so I won’t try to do so.
Photo by GabboT on Visualhunt / CC BY-SA
real people fiction ↩
Match Point ↩
I still feel guilty over watching it years later. ↩
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www.recyclart.org/2016/04/charity-t-shirt-upcycling/
This is a project I undertook to reuse RNIB T-shirts to make them into new, innovative designs that could be sold to raise money for the charity RNIB that helps and supports people who are blind and partially sighted. Ethical fashion and sustainability within fashion are a worldwide problem that needs to be addressed and through this work, I hope to inspire people to buy, sell and make ethical clothing choices.
I enjoyed this project because the principles that I have used to deconstruct and reuse the T-shirts could be applied to any t-shirt or unwanted item of clothing. So in turn, this idea could become more widespread through creatives to stop waste and spread the importance of re-using clothes and the ethical and sustainable issues within fashion that are destroying the planet.
Ethical Humanist Society of Queens at the Garden School, 79th Street, Jackson Heights, 23 June 2013. (Photograph by Elyaqim Mosheh Adam.)
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
Photograph courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
Our ethical standards in society are changing; getting lower and lower, day by day. A month ago there was an article published by the Associated Press about the "toxic work environment" in Yosemite National Park: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in... Sense then things have gotten even worse. The Superintendent abruptly retired because of the investigations. They appointed a female Acting Superintendent; this lasted a few days, just a PR stunt. The local papers said “Federal investigators are heading back to Yosemite National Park. We hope that workers won’t be afraid and will approach our investigators”, Nancy DiPaolo, external affairs director for the Interior Department’s Office of Inspector General.
I tried to get information on how to contact the investigators and was dismissed from one office to another. Speaking to the admin office I asked to make an appointment to speak with the acting Superintendent, was given the run around, told I would be contacted; never happened. I did get a contact web address from the only courteous person I came across. I filed a detailed online complaint with the Department of the Interior Office of the Inspector General.
To make a long story shorter; I met with the two Special Agents with Department of Justice in San Francisco. I showed them definitive evidence of harassment, bullying, employee misconduct, vandalism and personal property tampering. At the end of the interview they turned the recording off, said “the recorder is off, what do you think you did to cause this harassment”. I was blown away; what did I do to cause this harassment! That’s like asking a rape or mugging victim what they did to cause it. Not to diminish any act of violence, but minimalizing being harassed day after day, having low-lifes trying to take away your livelihood day after day, minimalizing the psychological effects of being defamed, discredited, setup, belittled day after day; asking a victim what they did to cause this….
I’ll tell you what I did and continue to do; I do my job and give it 100%, I take pride in my work, I take pride in the facilities I maintain, I take pride in Yosemite National park. This offends and threatens the many employees that want to set on their ass all day. It offends the employees that feel it’s appropriate to play music with lyrics like Mother Fucker, Fuck, Cock, Niger at work (I apologize for such language) ; exposing our guest and their children to this loud inappropriate vulgar music, as they wait in long lines in our concessions. How dare I accuse these same employees of harassment, inappropriate behavior, not doing their jobs, contributing to the excessive waste, packing dog feces into my car handle, flatting my tires, throwing milk and punch on my car, illegally entering my residence, loosening the brakes, spokes, letting the air out of my bicycle tires, saying I’m crazy, paranoid day after day; how dare I say such things….
I was released from my job today; this in retaliation for exposing the truth. I spoke with the Special Agents Wednesday; they said they didn’t have my phone number ( I gave it with my online complaint, also to the woman who contacted me), they told me twice they called my HR department to get my phone number. This is what happens when one government agency investigates another. This is what happens when Americans expose the truth.
I’ll bounce back, always do; save your sympathy for our children.
Thanks for visiting my photostream
September 24, 2007 -- Beirut (the band) performs at the New York Society for Ethical Culture in New York, NY as part of the Wordless Music series.
© 2007 Kathryn Yu. All rights reserved. Use without prior written consent is prohibited.
The close proximity of the massive concrete fireplace positioned between the two entry vestibule creates a sense of fundamental elements being employed in a modern way. The use of fire and water are clearly used for symbolic as well as emotive expression.
The density, solidity, and relatively high quality of finish relate the concrete structural elements to the stone masonry construction developed over millenia. Concrete was often referred to as being the modern adaptation of the heavy massive walls and structure of monumental buildings of the past. Rather than brutalist in its expression (as many concrete structural expressions by other architects of the time), it has a refined quality, giving the impression of almost having been solid stone carved into the forms presented.
The fireplace has an almost surreal character. The two joined heavy pillars which constitute its flue are unique in the building. Yet the concrete box to contain the fire (and wood below) hardly seem capable of carrying the kind of weght involved. With a fire burning, this ellision of an emphemeral flame and a permanent, massive central column creates an intense flickering of matter along a vertical axis. The presence of a fire (and the upward movement of the resulting smoke) combined with the the massiveness of the structure (and the gradually widening columns) provides an intensely ambivalent image. In joining the sense of impermance and chaotic form (from the fire) with the massive, symmetrical, formal supporting structure, Armstrong focuses a great deal of attention on this central column.
By dividing the facade in this way and creating two entries of relatively humble scale and construction, the building suggests that the nature of structure is intended to relate directly to the human (and often imperfect) condition. In blocking the central axis in this manner, feelings of grandeur and transcendence seem to be severely reduced, if not eliminated altogether. This condition (creating a solid rather than a void at the center) deters any tendency for hierarchical, ceremonial displays. Historically, churches, cathedrals, temples, and other religious structures will often keep the central axis open and focus a great deal of attention on it formally, architecturally, and symbolically. Sometimes such an axis presents itself as a kind of sacred path from the imperfect outside world to the protected transcendence of the sanctuary within. These kinds of central axes can also facilitate displays of power, authority, and judgment upon those unable to follow such an honored route.
Armstrong's design seems to intentionally contradict that kind of hierarchical, monotheistic symbolism. Rather, the expression appears to focus attention on an individual's personal experiences and values as opposed to a pre-defined structure given by higher authorities. The design seems to emphasize the physicality of the human form, requiring the passage over a sort of bridge (over a symbolic moat) and entry through a blaze of light and color (in the shimmering glass facade). The visitor is given a choice to enter on one side of the central axis or the other without judgment; no one can choose to occupy the central path.
These concepts seem to relate in an appropriate way to the ideals of the Ethical Society itself. The relationship between the design of the building, its control of circulation, admission of light, and expression of structure (among other features) can be evaluated for the degree to which they seem to support the philosophy of the organization. I want to explore this idea in greater detail for this building and others designed by Armstrong that seem to merit such an interpretation and approach. In particular, I will be examining, comparing, and contrasting his designs for religious structures (built and unbuilt). Where appropriate, this analytic method will also be applied to civic structures and other buildings consciously expressive of shared cultural values, such as his entry to the Jefferson National Expansion Memorial Competition.
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
Photograph courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.
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Showcasing an uber-chic fashion appeal, this sports bra and leggings set in Dark Violet shade is made from handpicked organic materials with top class finesse. Both the supportive sports bra and super-soft leggings act as eco-friendly and functional fitness wear to keep you fresh and comfortable while its thermo-regulating properties control temperature to maintain your coolness. Make this eye-grabbing set your go-to workout wear to experience the goodness of sustainable clothing technology in preserving your wellness and your surroundings.
Visit: www.recycleclothing.com/organic/dark-violet-recycled-spor...
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
Photograph copyright © Andrew Raimist November 2005.
Roof of the St. Louis Ethical Society, Clayton, Missouri. Designed by Harris Armstrong, a nationally known modernist architect. The skyward thrust of the roof symbolizes the Society's aims to bring out the best in the human spirit.
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Seen at the visitor center in Middle Creek Wildlife Management Area.
www.pgc.pa.gov/InformationResources/AboutUs/ContactInform...
project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
publicbroadcasting.net/kwmu/arts.artsmain
Photograph by Andrew Raimist, 2006.
Ethical Culture Fieldston School, also referred to as Fieldston, consists of four divisions: Ethical Culture, Fieldston Lower, Fieldston Middle, and Fieldston Upper. Ethical Culture is located at 33 Central Park West; the other three are located in the Riverdale section of the Bronx. The school opened in 1878 as a free kindergarten, founded by Felix Adler. By 1890 the school was expanded and began charging tuition; in 1895 the name changed to "The Ethical Culture School," and in 1903 the New York Society for Ethical Culture became its sponsor. The school moved into its landmark Manhattan building in 1904. The entire school was located in that building until 1928, when the high school division to Riverdale; the Manhattan branch of the Lower School remained there, and in 1932 a second Lower School was opened on the Riverdale campus. In 2007, a new middle school was opened on the same Riverdale campus, for the 6th, 7th and 8th grades.
The Ramayana or Rāmāyaṇa (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]), is the first of two Sanskrit itihāsas (ancient Indian epic poem) traditionally ascribed to the Hindu muni (sage) Vālmīki - the other one being the Mahābhārata attributed to Kṛṣṇa Dvaipāyana Vyāsa.
The epic narrates the life of Rāma, a legendary rāja-kumāra (prince) of Kośala, his banishment from his kingdom by his father king Daśaratha, his travels across forests in India with his wife Sītā and brother Lakṣmaṇa, the kidnap of his wife by his enemies, resulting in a war with Rāvaṇa (the king of the island of Laṅkā) and eventual return to Ayodhya to be crowned king.
The Ramayana is one of the largest ancient epics in world literature. It is comprised nearly 24,000 verses (mostly set in the śloka meter), divided into seven Kāṇḍas (books) and about 500 sargas (chapters). In Hindu tradition, it is considered to be the ādi-kāvya (first kāvya poem). It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal wife and the ideal king. The Ramayana was an important influence on later Sanskrit poetry and Hindu life and culture. Like the Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rāma, Sītā, Lakṣmaṇa, Bharata, Hanumān and Rāvaṇa are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka, and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia.
There are many other versions of the Ramayana in Indian languages, besides Buddhist and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese, and Malaysian versions of the tale.
ETYMOLOGY
The name Ramayana is a tatpuruṣa compound of Rāma and ayana("going, advancing"), translating to Rama's Journey.
Textual history and structure
Traditionally, the Ramayana is attributed to Valmiki. The Hindu tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama. The story's original version in Sanskrit is known as Valmiki Ramayana.
According to Hindu tradition - and according to the Ramayana itself - the Ramayana belongs to the genre of itihāsa like the Mahabharata. The definition of itihāsa is a narrative of past events (purāvṛtta) which includes teachings on the goals of human life. According to Hindu tradition, the Ramayana takes place during a period of time known as Treta Yuga.
In its extant form, Valmiki's Ramayana is an epic poem of some 24,000 verses. The text survives in several thousand partial and complete manuscripts, the oldest of which is a palm-leaf manuscript found in Nepal and dated to the 11th century CE. A Times of India report dated 18 Dec 2015 informs about discovery of a 6th-century manuscript of Ramayana at the Asiatic Society library, Kolkata. The Ramayana text has several regional renderings, recensions, and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional recensions: the northern(n) and the southern(s). Scholar Romesh Chunder Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind."
There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana were composed by the original author. Most Hindus still believe they are integral parts of the book, in spite of some style differences and narrative contradictions between these two chapters and the rest of the book.
Famous retellings include Gona Budda Reddy's Ramayanam in Telugu, Kamban's Ramavataram in Tamil (c. 11th–12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha's Krittivasi Ramayan(also known as Shri Rama panchali) in Bengali (c. 15th century), Sarala Das' Vilanka Ramayana (c. 15th century) and Balaram Das' Dandi Ramayana(also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan's Adhyathmaramayanam in Malayalam.
PERIOD
Some cultural evidence - such as the presence of sati in the Mahabharata but not in the main body of the Ramayana - suggests that the Ramayana predates the Mahabharata. However, the general cultural background of the Ramayana is one of the post-urbanization period of the eastern part of north India and Nepal, while the Mahabharata reflects the Kuru areas west of this, from the Rigvedic to the late Vedic period.
By tradition, the text belongs to the Treta Yuga, second of the four eons(yuga) of Hindu chronology. Rama is said to have been born in the treta yuga to king Dasaratha in the Ikshvaku dynasty.
The names of the characters(Rama, Sita, Dasaratha, Janaka, Vashista, Vishwamitra) are all known in late Vedic literature. However, nowhere in the surviving Vedic poetry is there a story similar to the Ramayana of Valmiki. According to the modern academic view, Vishnu - who, according to bala kanda, was incarnated as Rama - first came into prominence with the epics themselves and further during the puranic period of the later 1st millennium CE. Also, in the epic Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is depicted as a narration to Yudhishthira.
There is general consensus that books two to six form the oldest portion of the epic, while the first and last books(bala kanda and uttara kanda, respectively) are later additions. The author or authors of bala kanda and ayodhya kanda appear to be familiar with the eastern Gangetic basin region of northern India and with the Kosala and Magadha region during the period of the sixteen Janapadas, based on the fact that the geographical and geopolitical data accords with what is known about the region. The knowledge of the location of the island of Lanka also lacks detail. Basing his assumption on these features, archeologist Hasmukh Dhirajlal Sankalia has proposed a date of the 4th century BC for the composition of the text. Historian and indologist Arthur Llewellyn Basham is of the opinion that Rama may have been a minor chief who lived in the 8th or the 7th century BC.
CHARACTERS
Rāma is one of the protagonists of the tale. Portrayed as the seventh avatar of the god Vishnu, he is the eldest and favourite son of Dasharatha - the king of Ayodhya(current day Ayodhya, India) - and his Chief Queen, Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile. He kills the evil demon Ravana, who abducted his wife Sita and later returned to Ayodhya to form an ideal state.
Sīta is another of the tale's protagonists. She is daughter of Mother Earth, adopted by King Janaka and Rama's beloved wife. Rama went to Mithila (located in Janakpur, Nepal) and got a chance to marry her by breaking the Shiv Dhanush (bow) while trying to tie a knot to it in a competition organized by King Janaka of Nepal in Dhanusa. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatara of the goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by the demon king Ravana. She is imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later, she gives birth to Lava and Kusha.
Hanumān is a vanara belonging to the kingdom of Kishkindha. He is an ideal bhakta of Rama. He is born as the son of Kesari, a Vanara king in Sumeru region and the goddess Añjanā. He plays an important part in locating Sita and in the ensuing battle. He is believed to live until our modern world.
Lakṣmaṇa, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the god Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.
Rāvaṇa, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess Kaikeshi. After performing severe penance for ten thousand years he received a boon from the creator-god Brahma: he could henceforth not be killed by gods, demons,or spirits. He is portrayed as a powerful demon king who disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
Jaṭāyu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of an vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the direction in which Ravana had gone.
Daśaratha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years staying outside the city of Ayodhya. He was married to Mandavi.
Śatrughna is the son of Dasharatha and his second wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
Sugrīva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali – Sugriva's brother and king of Kishkindha – would be killed by Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali and fulfills his promise by putting the Vanara forces at Rama's disposal.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle, before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.
Kumbhakarṇa, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana's army. During the war he decimated the Vanara army before Rama cut off his limbs and head.
Sūrpanakha, Ravana's demoness sister who fell in love with Rama and had the magical power to take any form she wanted.
Vibhīṣaṇa, a younger brother of Ravana. He was against the kidnapping of Sita and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war and he was crowned king after the fall of Ravana.
SYNOPSIS
BALA KANDA
Dasharatha was the king of Ayodhya. He had three wives: Kausalya, Kaikeyi and Sumitra. He was childless for a long time and anxious to produce an heir, he performs a fire sacrifice known as putra-kameshti yagya. As a consequence, Rama is first born to Kausalya, Bharata is born to Kaikeyi, Lakshmana and Shatrughna are born to Sumitra. These sons are endowed, to various degrees, with the essence of the Supreme Trinity Entity Vishnu; Vishnu had opted to be born into mortality to combat the demon Ravana, who was oppressing the gods, and who could only be destroyed by a mortal. The boys are reared as the princes of the realm, receiving instructions from the scriptures and in warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy the demons.
Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of god". The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled beauty and charm. The king had decided that who ever could lift and wield the heavy bow, presented to his ancestors by Shiva, could marry Sita. The sage Vishwamitra takes Rama and Lakshmana to Mithila to show the bow. Then Rama desires to lift it and goes on to wield the bow and, when he draws the string, it breaks. Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with great festivity at Mithila and the marriage party returns to Ayodhya.
AYODHYA KANDA
After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi - her jealousy aroused by Manthara, a wicked maidservant - claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterises him throughout the story. He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me." After Rama's departure, King Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's sandals and keeps them on the throne, while he rules as Rama's regent.
ARNYA KANDA
Thirteen years pass and in the last year of exile Rama, Sita, and Lakshmana journey southward along the banks of river Godavari, where they build cottages and live off the land. At the Panchavati forest they are visited by a rakshasa (demon) woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organises an attack against the princes. Rama annihilates Khara and his demons.
When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha, around the cottage and casts a spell on it that prevents anyone from entering the boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita's hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and is then forcibly carried away by the evil Ravana.
Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama, refuses. Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set out to save her. During their search, they meet the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.
KISHKINDHA KANDA
The kishkindha kanda is set in the ape (Vanar) citadel Kishkindha. Rama and Lakshmana meet Hanuman, the bigest devotee of Rama, the greatest of ape heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita. However Sugriva soon forgets his promise and spends his time in enjoying his powers. The clever former ape queen Tara (wife of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She then eloquently convinces Sugriva to honour his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east and west. The southern search party under the leadership of Angad and Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to Lanka.
SUNDARA KANDA
The sundara kanda forms the heart of Valmiki's Ramayana and consists of a detailed, vivid account of Hanuman's adventures. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way he faces many challenges like facing a gandharva kanya who comes in the form of demon to test his abilities and he faces a mountain naming Mainakudu who offers Lord Hanuman some help to take some rest but he refuses because of the time is running out and there is a very less time remaining for searching Sita. After entering into Lanka he finds a demon lankini who protects the entire Lanka and Hanuman fights with her and kills her in order to get into Lanka. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He offers to carry Sita back to Rama, however she refuses and says that it is not the dharma. She says that Rama himself must come and avenge the insult of her abduction.
Hanuman then wreaks havoc in Lanka by destroying trees and buildings and killing Ravana's warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.
LANKA KANDA
Also known as Lanka kanda, this book describes the Ramayana War between the army of Rama and the army of Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu) across the sea, using stones that floated on water because they had Rama's name written on them. The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana's son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded and is nearly killed. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana, and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.
On meeting Sita, Rama asks her to undergo an "agni pareeksha" (test of fire) to prove her purity, as he wants to get rid of the rumours surrounding Sita's purity. When Sita plunges into the sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity. The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In earlier versions this event does not occur and many scholars consider it to have been added later as society became more patriarchal. In Tulsidas's Ramacharitamanas Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed. This is the beginning of Ram Rajya, which implies an ideal state with good morals.
UTTARA KANDA
The uttara kanda is regarded to be a later addition to the original story by Valmiki and concerns the final years of Rama, Sita and Rama's brothers. After being crowned king, Rama passes time pleasantly with Sita. After some time, Sita gets pregnant with twin children. However, despite the agni pariksha (fire ordeal) of Sita, rumours about her purity are spreading among the populace of Ayodhya. Rama yields to public opinion and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his ashrama (hermitage). Here, she gives birth to twin boys, Lava and Kusha, who become pupils of Valmiki and are brought up in ignorance of their identity.
Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite about Sita's exile, Rama becomes grief-stricken and Valmiki produces Sita. Sita calls upon the earth, her mother, to receive her and as the ground opens, she vanishes into it. Rama then learns that Lava and Kusha are his children. Many years later, a messenger from the Gods appears and informs Rama that the mission of his incarnation was over. Rama returns to his celestial abode.
It was dramatised as the Uttararamacarita by the Sanskrit poet Bhavabhuti.
VARIANT VERSIONS
As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in north India differs in important respects from that preserved in south India and the rest of south-east Asia. There is an extensive tradition of oral storytelling based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives. Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.
In India
The 7th century CE "bhatti's poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.
There are diverse regional versions of the Ramayana written by various authors in India. Some of them differ significantly from each other. During the 12th century, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. A Telugu version, Ranganatha Ramayanam, was written by Gona Budda Reddy in the 14th century. The earliest translation to a regional Indo-Aryan language is the early-14th century Saptakanda Ramayana in Assamese by Madhava Kandali. Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulsidas in 1576, an epic Awadhi(a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti; it is an acknowledged masterpiece of India, popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version by Krittibas Ojha in the 15th century; the Vilanka Ramayana by the 15th century poet Sarala Dasa and the Dandi Ramayana (also known as Jagamohana Ramayana) by the 16th century poet Balarama Dasa both in Odia; a Torave Ramayana in Kannada by the 16th-century poet Narahari; Adhyathmaramayanam, a Malayalam version by Thunchaththu Ramanujan Ezhuthachan in the 16th century; in Marathi by Sridhara in the 18th century; in Maithili by Chanda Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu's Sri Ramayana Darshanam in Kannada.
There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the goddess Kali. Adbhuta Ramayana is a version that is obscure but also attributed to Valmiki - intended as a supplementary to original Valmiki Ramayana. In this variant of the narrative, Sita is accorded far more prominence such as elaboration of the events surrounding her birth — in this case to Ravana's wife, Mandodari as well as her conquest of Ravana's older brother in her Mahakali form.
Mappillapattu - a genre of song popular among the Muslims belonging to Kerala and Lakshadweep - has incorporated some episodes from the Ramayana into its songs. These songs, known as mappila ramayana, have been handed down from one generation to the next orally. In mappila ramayana, the story of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of characters except for that of Rama which is `laman' in many places. The language and the imagery projected in the mappilapattu are in accordance with the social fabric of the earlier Muslim community.
BUDDHIST VERSION
In the Buddhist variant of Rāmāyaṇa(Dasarathajātaka, #467), Dasaratha was the king of Benares and not Ayodhya. Rāma [called Rāmapaṇḍita in this version] was son of Kausalya, first wife of Dasaratha, Lakṣmaṇa [Lakkhaṇa] was sibling of Rama and son of Sumitra second wife of Dasaratha, and Sita wife of Rama. To protect his children from his wife Kaikayi, who wished to promote her son Bharata, Dasaratha sent the three to a hermitage in the Himalayas for a twelve-year exile. After nine years, Dasaratha died and Lakkhaṇa and Sita returned; Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā.
In the explanatory commentary on the Jātaka, Rāmapaṇḍita is said to have been a previous incarnation of the Buddha and Sītā an incarnation of Yasodharā.
This version is notable for depicting Rama and Sita as siblings who marry. Such sibling marriages are a common symbolic imagery in early Buddhist literature to denote purity of a dynasty. As the Buddha is supposed to have come from the Ikshvaku dynasty (of Rama).
SIKH VERSION
In Guru Granth Sahib, there is description of two types of Ramayana. One is spiritual Ramayana which is actual subject of Guru Granth Sahib, in which Ravan is ego, Seeta is budhi (intellect), Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in existence of dasavtara who were kings of their times which tried their best to bring revolution in the world. King Ramchandra was one of those and it is not covered in Guru Granth Sahib. Guru Granth Sahib states:
ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ॥
हुकमि उपाए दस अउतारा॥
By hukam (supreme command), he created his ten incarnations,
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth. In dasam granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man.
He also said that the almighty, invisible, all prevailing God created so many of Indras, Moons and Suns, Deities, Demons and sages, so many Prophets and Brahmanas(enlightened people). But they too were caught in the noose of death (KAAL) (Transmigration of soul). This is very well same to as explained in Geeta which is part of Mahabharata.
JAIN VERSION
Jain versions of Ramayana can be found in the various Jain agamas like Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva, and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of the jinas) by Acharya Bhadrabahu (3–4th century BCE).
In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu version. In the end, Rama who led an upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to Jain version, Rama had four chief-queen's: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future tirthankara of next half ascending time cycle and Sita will be his Ganadhara.
IN NEPAL
Besides being the site of discovery of the oldest surviving manuscript of Ramayana, Nepal gave rise to two regional variants in mid 19th – early 20th century. One, written by Bhanubhakta Acharya, is considered the first epic of Nepali language, while the other, written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the renaissance of that language.
The Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The popularization of the 'Ramayana' and its tale, originally written in Sanskrit Language was greatly enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana, Bhanubhakta is also called 'Aadi Kavi' or 'The Pioneering Poet'.
SOUTHEAST ASIAN VERSIONS
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. In many Malay language versions, Lakshmana is given greater importance than Rama, whose character is considered somewhat weak.
The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer literature since the Kingdom of Funan era. It adapts the Hindu concepts to Buddhist themes and show's the balance of good and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical dance, theater known as lakhorn luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor Wat.
Thailand's popular national epic Ramakien(thai:รามเกียรติ์.,from Sanskrit rāmakīrti, "glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari(thotsakan and montho). Vibhisana(phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, but is later rescued by Janaka(chanok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.
Other Southeast Asian adaptations include Kakawin Ramayana of Java, Ramakavaca of Bali(Indonesia), Maharadia Lawana and Darangen of the Moro Muslims of Mindanao (Philippines) and the Yama Zatdaw of Myanmar.
Influence on culture and art
One of the most important literary works of ancient India, the Ramayana has had a profound impact on art and culture in the Indian subcontinent and southeast Asia with the lone exception of Vietnam. The story ushered in the tradition of the next thousand years of massive-scale works in the rich diction of regal courts and Hindu temples. It has also inspired much secondary literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 12th century, the Telugu-language Molla Ramayanam by poet Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th century Kannada poet Narahari's Torave Ramayana, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.
The Ramayana became popular in southeast Asia during the 8th century and was represented in literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of Ramayana, known as Ramlila, take place all across India and in many places across the globe within the Indian diaspora.
The Ramayana has also been depicted in many paintings, most notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring 72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in the permanent collection of the Malaysian National Visual Arts Gallery.
RELIGIOUS SIGNIFICANCE
Rama, the hero of the Ramayana, is one of the most popular deities worshipped in the Hindu religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at each of the holy sites along the way. The poem is not seen as just a literary monument, but serves as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or listener.
According to Hindu tradition, Rama is an incarnation (Avatar) of the god Vishnu. The main purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.
IN THE MEDIA
A number of movies and television serials have been produced based upon the Ramayana.
STAGE
Starting in 1978 and under the supervision of Baba Hari Dass, the Ramayana has been performed every year by Mount Madonna School in Watsonville, California. Currently, it is the largest yearly, Western version of the epic being performed. It takes the form of a colorful musical with custom costumes, sung and spoken dialog, jazz-rock orchestration and dance. This performance takes place in a large audience theater setting usually in June, in San Jose, CA. Baba Hari Dass has taught acting arts, costume-attire design, mask making and choreography to bring alive characters of Sri Ram, Sita, Hanuman, Lakshmana, Shiva, Parvati, Vibhishan, Jatayu, Sugriva, Surpanakha, Ravana and his rakshasa court, Meghnadha, Kumbhakarna and the army of monkeys and demons.
WIKIPEDIA
Board during the Session " Ethical by Design: Embedding Values in Technology " at the Annual Meeting 2018 of the World Economic Forum in Davos, January 24, 2018. Copyright by World Economic Forum / Christian Clavadetscher
Three inspirational Greater Manchester entrepreneurs behind local businesses with community benefit at their heart have scooped awards endorsed by Nobel Peace Prize winner Professor Muhammad Yunus.
Organised by the University of Salford, the Yunus Social Business Awards recognise social entrepreneurs and businesses embracing Professor Yunus’s concept of social business, by which someone identifies a social need and creates a non-dividend company to meet this need, helping people and communities to help themselves.
Pictured is 'Rising Star' award winner James Goddard (left), founder of AIM Boxing Academy, with University of Salford Vice-Chancellor Professor Martin Hall.
Yasemin Sarihan (BFA 2023)
Publication
A collection of images taken of my neighbors over quarantine, questioning the “ethics” of surveillance.
21.06.2022, Barcelona
"Ethical AI in geopolitical world" workshop at PSC headquarters.
foto: Jordi Play
Got my copy of Stacey Clare’s book that I was able to help crowdfund. She’s one of the founders of the East London Strippers Collective, where I’ve been able to make so many fun drawings of fabulous poledancers and strippers. Looking forward to getting into it (the book, that is, not the the stripping!)
www.recyclart.org/2016/12/modern-ethical-jewelry/
I design every jewelry piece using modern designs and materials like Argentium silver. Combining with the traditional technique of handmade paper. I'm a graphic designer and certified handmade paper artisan. In my home/studio, I made the handmade paper pages for the handmade paper design collection. This is the beginning... I work with vintage books pages that I also transform in one of a kind piece. In my search for an ecological jewelry process, I find Argentium silver. I use Argentium silver for the ear wires and the paper pendants in my necklaces. Argentium silver using only recycled silver for production and guarantees traceability of its raw silver. Due to the fire stain-resistant nature of Argentium, the use of toxic chemicals used to remove fire stain is eliminated, helping to protect the environment. Many properties of Argentium allow it to be manufactured more quickly and efficiently, decreasing labor and resource costs and cutting back on making time.
Introduction: Doctors and dentists possess special training and expertise which patients and their families do not. This special knowledge and skillset, which has the potential to benefit as well as harm patients, places on the medical or dental professional the moral obligation to act in the interests of the patient.
Aim: To present a clinical case as an example of an ethical dilemma that orthodontists may face when advocating for the best interests of a child.
Case Presentation: A five-year-old girl attended my private orthodontic clinic with a main complaint of lower anterior teeth overlapping her upper anterior teeth. She was in the primary dentition stage. There was a conflict between the orthodontist’s interests of the child and the need to respect parental autonomy. Her mother had doubts and misgivings about the effectiveness of orthodontic treatment and was reluctant to have her daughter begin treatment at this age.
Discussion: Factually, there are ethical problems continuously encountered by orthodontists during orthodontic interventions, even though there are important human values at stake in the course of treatment. These values may include preventing pain, maintaining and restoring oral function for normal speech and eating, preserving and restoring the patient’s physical appearance, and promoting a sense of control over and responsibility for one’s own health. Last but definitely not least, orthodontists deal largely with children, and ethical problems arise especially when there is moral uncertainty.
Conclusion: The ethical traditions and codes of conduct of medicine and dentistry require orthodontists to act in the interest of their patients regardless of financial arrangements, and even, at times, with risk to themselves. In the case of children, this interest in the patient becomes even more pronounced and may conflict with the orthodontist’s interests to respect the wishes of the patient.
Author(s) Details
Dr. Maen Mahfouz
Department of Orthodontics, Najran Specialized Dental Centre, Ministry of Health, Saudi Arabia,Faculty of Dentistry, Arab American University, Jenin, Palestine and Department of Dentistry, AL-Zafer Hospital, Najran, Saudi Arabia.
Dr. Yara Mahfouz
Department of Dentistry, AL-Zafer Hospital, Najran, Saudi Arabia.
Read full article: bp.bookpi.org/index.php/bpi/catalog/view/53/535/472-1
View More: www.youtube.com/watch?v=xpHQ3_416jI
This is some artwork I created for my webiste and promotional material. I am an ethical graphic designer and the tree symbolises design working in unison with the green movement. Design, and inparticluarily print design doesn't have to be a bad thing - it is not only paper that can be printed upon!
Upon founding the Light Foundation, Matt dreamed about starting a camp where young men could learn lifelong skills that would help them be R.E.A.L (Responsible, Ethical, Accountable, Leaders). For its 10th consecutive year, the Light Foundation’s premier program, Camp Vohokase has done just that.
Each year, Matt chooses four incoming high school freshmen from an at-risk community and asks them to commit the next four years to our leadership program, which includes 10 days at Chenoweth Trails each summer. There are always 18 boys in camp, four from each grade level, with each group coming from a different part of the country. Those locations, all with a connect to the Light Foundation, include Greenville, Ohio, where Matt grew up; Woonsocket, Rhode Island, close to where Matt holds his signature fundraising event; New Orleans, Louisiana, where a like-minded charity had asked for help; West Lafayette, Indiana, where Matt attended Purdue; Gloucester, Worcester and New Bedford, Massachusetts, all close to where Matt played during his NFL years; Hammond, Indiana, where Matt’s wife Susie grew up and identified a need for support; and new this year, Washington D.C, where the treasurer of the board resides.
The young men are required to keep good academic standing, complete a yearly community service project back home, and check in with our head counselors on a frequent basis. Program Director Edgar Flores tracks the kids’ progress year-round. He also does quarterly visits in order to foster the ongoing relationship between the campers, their class, and the foundation. By interacting with them in their own space, we can learn more about their behaviors and how those connect with their personal situations. By entering their homes, we often have the chance to stand as a united front with their parents or guardians in ensuring they’re doing exactly what they need to do to succeed. These visits are critical in reassuring to the young men that we are committed to them and serve as a true support system and not just a summer camp counselor. Not to mention, we have a lot of fun! They bond over some good grub and connect about what’s going on in their lives at that moment. Past day trips during a visit have included: Dave & Buster’s, paint balling, laser tag, amusement parks, farms, and bowling. We do try and balance the fun with more educational opportunities like volunteer community service projects, visiting local museums, or making a college visit for some of our juniors and seniors.
In return of having a good academic standing, the campers spend ten days among nature enjoying all that our beautiful facility has to offer whether it be skeet shooting, woodworking, canoeing, archery, fishing, dirt biking, etc. Despite all the fun we have here, the young men are responsible for daily chores, site visits to area businesses, and the completion of a service project around Darke County. Each night of the stay is reserved for fireside chats. These chats are structured to help create a dialogue about the very real and difficult issues these young boys face back home.
For a lot of these kids, all they need is an opportunity. We use the outdoors as a real teaching tool and a way to get kids to open up. And with us, these kids aren’t given anything. We make them work for everything they achieve. But through that they understand and value hard work, they learn work ethic, and they become proud of what they do, and want to share their accomplishments. Our hope is that after four years, each young man graduates from the program ready to become leaders in their own communities, equipped with the necessary tools and a heart for service.
In the past 11 years, 30 at-risk young men have graduated from Vohokase Cultural Leadership Camp with the tools to tap into their greatest potential as people and community leaders.
Dr. Lewis S. Terry and Dr. Leo L. Williams founded the Ethical Pharmacy on Florida Avenue around 1930. It remained in business more than half a century.
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project: Ethical Society
architect: Harris Armstrong
date: 1965
location: 9001 Clayton Road, Ladue, Missouri
condition: good condition, somewhat modified
For more on Armstrong's life and work, see architectural ruminations.
Photograph by Andrew Raimist, 2007.
Sayan Devaan Leanage Fashion Photography © 2012 All rights reserved
If you like my photography please put a LIKE on my Facebook Page. Thanks :)
I love connecting with other photographers. Add me on Flickr or go crazy and Find me on FaceBook
Click here to browse my other fashion photography work
Click here to browse my photo stream and other SET's
Sayan Devaan Leanage Fashion Photography © 2012 All rights reserved
If you like my photography please put a LIKE on my Facebook Page. Thanks :)
I love connecting with other photographers. Add me on Flickr or go crazy and Find me on FaceBook
Click here to browse my other fashion photography work
Click here to browse my photo stream and other SET's
* wool jumper – charity shop * skirt – vintage/resale shop * shoes – clarks orginals * brooch – ??? very old * coat – handmade by Dave *
Ranjan Raja, Information Researcher, Computer Forensics and Mobile Forensics Investigator, Linux Architect (Red Hat), Networking and Network Security Expert (Cisco) Having more than 2 years of experience in Ethical Hacking, Network Security, Computer Forensics, Vulnerability Assessment, Penetration Testing, Red Hat Enterprise Linux, Cisco Router and Switch and Service Provider and seo “search engine optimization”, Pursuing his Bachelors (B.Tech) from Punjab Technical University, Punjab with multiple highest level of certification from world’s leading organizations.
Tremendous hands-on working skill set which includes Pentesting,Vulnerability Assessment Cisco Network Infrastructure, Network Securities, Network Exploitation, Red Hat Linux Security.
Good communication & interpersonal skills in addition to excellent Team building & leadership skills. Possesses the ability to build and maintain business relationships with decision makers and influencers.
Conducted more than 30 different training sessions on various topics related to Cyber Security, Ethical Hacking, Forensic Investigations, Linux and Network Security to an audience comprising Students, Corporate Executives, Law Enforcement Personnel, Entrepreneurs and Technical Specialists. He possesses an in-depth knowledge and insight into today's security risks and tomorrow’s potential threats.
His research interests include Computer Security, Networking and Network Security, Data Forensic, and Information Security.
Specialities: Cyber Security, Vulnerability and Penetration Testing, Ethical Hacking, Cyber Crime Investigation, Server Administration, Digital Forensics, Disaster Recovery, Designing Networks and Implementing Network Security