How to Use Video to Stand Out as an Author

How to Use Video to Stand Out as an Author I adore trailers, and I was thrilled to have the chance to interview Jerome McLain from BookFrenzyStudios.com about the relevance of book trailers for authors as well as the importance of having a professional one done. My eyes were opened! Hopefully my questions drew out information you, as writers and authors, can use in your marketing. Notebook trailers arent necessarily for novels! Enjoy. 1) Visual is a strong attraction for most people as has been demonstrated on Facebook and other social media. Have you seen video work for books as well? Yes. Larger publishing companies have entire departments devoted to video and book trailer creation because they realize video drives engagement on the web more than any other content. If combined with a video marketing strategy, book trailers are a fantastic book marketing tool. 2) Can a video take a book from obscure to a sales success? No. A books sales success depends on many moving parts such as launch strategy, content and timing in the marketplace. What a video CAN do is get the book noticed among its competitors. According to Invodo.com, 80 percent of consumers are more likely to make a purchase after seeing a prom video. Placing the book trailer on a webpage that contains book purchase links is highly recommended because the trailer can prompt an impulse buy response. 3) How do you cram an entire book into a thirty second, one minute, or ninety-minute segment? What is the art to a great short video trailer? I always begin 4) Are some genres more conducive or appropriate for book trailers? I believe all book genres can benefit from a trailer. It just needs to be appropriate for the tone of the book. For example, trailers dont always need to be fast-paced and dramatic. They can take a subdued approach and be just as powerful. A popular trailer style used currently is to edit together interview clips of the author discussing the book. So, it’s really a matter of creating a trailer in the style that best compliments the book. 5) Do book trailers cost a lot to do well, or are they like most things, you get what you pay for? You definitely get what you pay for. Creating a really good book trailer requires time, creativity and technical expertise. Throwing together a PowerPoint slideshow with some dramatic music does not entice many people to buy. It comes off cheap. You dont need to spend a fortune but you do need to invest enough to look professional. Pricing can range between $500 for a very nice :30 teaser video to $10,000+ which includes live actors, location filming, etc. 6) What makes for a bad trailer? All bad trailers have these elements in common: == no clear or interesting story arc == too many book details (if you tell them everything, why read the book?) == poorly chosen music (audio is 50 percent of the video!) == copyrighted music and or images (this error can prove costly!) == unprofessionally edited (images stay up longer than necessary, bad transitions, etc.) == too long in length (:30 to :60 is a good rule of thumb) 7) Can authors create trailers themselves with little experience? They definitely can create a trailer without experience but it will most likely be perceived as amateurish. Online video editing software or DIY video apps allow you to easily create video. But no software or online app can replace the knowledge, skill and talent required to produce a professional book trailer. Its like an author creating their own book cover: If they are not also experienced in graphic design and typography, it probably wont turn out well. 8) When should an author decide to do a trailer for their upcoming book? When the marketing plan for the book is being developed is a great time to consider how to use a promo video/book trailer to amplify exposure and publicity. The trailer can be used to create buzz and awareness on social media platforms as well as a visual elevator pitch for the book to the media. Also, sending a professional book trailer out to prospective reviewers creates a great first impression of the book. 9) Whats the one brief word of advice you have for authors who are on the fence about investing in a short video for their projects? Youve spent a considerable amount of time writing. Youve invested in professional editing and book cover design. Dont let the first impression of your book be determined Find out more: BookFrenzy Studios provides professional video marketing services for authors including Cinematic Book Trailers, Promotional Videos and Social Media Video Ads. To learn more, visit their website at www.bookfrenzystudios.com

5 Peculiarities of the German Language

5 Peculiarities of the German Language You may have heard that German is a difficult and complex language to learn. This is true to some extent; however, much depends on the way the language is taught, the learner’s natural capacity for languages, and the amount of practice dedicated to it. The following peculiarities of the German language should not discourage you from studying German, but simply prepare you for what you will encounter. Remember, German is a very logically structured language, with many fewer exceptions than English. The key to your success in learning German will truly be as this old German adage states: ÃÅ"bung macht den Meister! (or, Practice makes perfect) The Difference Between a German Sausage and a Verb Why are we comparing a sausage to a verb? Simply because German verbs can be chopped and cut up just as  a German sausage can! In German, you can take a verb, chop off the first part, and place it at the end of a sentence. And in actuality, you can even do more to a German verb than what you can do with a sausage: you can insert another â€Å"part† (a.k.a. syllable) in the middle of a verb, add other verbs alongside it and even elongate it. How’s that for flexibility? Of course, there are some rules to this chopping business, which once you understand them, will be easy to apply. German Nouns Every German student loves this particular German-language peculiarity - all nouns are capitalized! This serves as a visual aid for reading comprehension and as a consistent rule in spelling. Further, German pronunciation pretty much follows the way it is written (though you need to know the peculiarities of the German alphabet first, see above), which makes German spelling not very difficult. Now to put a damper to all of this good news: Not all German nouns are inherently nouns and may, therefore, throw off the German writer at first as to whether to capitalize a word or not. For instance, verb infinitives can change into a noun and German adjectives can change into nouns. This role changing of words happens in the English language as well, for example when verbs change into gerunds. German Gender Most would agree, that this is the greatest hurdle of German grammar. Every noun in German is identified by grammatical gender. The der article is placed before masculine nouns, die before feminine nouns and das before neuter nouns. It would be nice if that was all there was to it, but German articles change, along with the endings of German adjectives, adverbs and nouns depending on the grammatical case they are in. For example, let’s take a look at the following sentence: Der Junge gibt der wà ¼tenden Mutter den Ball des Mdchens.(The boy gives to the angry mother the girl’s ball.) In this sentence, der wà ¼tenden Mutter acts as the indirect object, so it is dative; den Ball acts as the direct object, so it is accusative and des Mdchens is in the possessive genitive case. The nominative forms of these words were: die wà ¼tende Mutter; der Ball; das Mdchen. Almost every word was changed in this sentence. One very important point about German grammar gender is that nouns don’t necessarily follow the natural law of gender as we know it. For example, though die Frau (woman) and der Mann (man) are designated feminine and masculine respectively, das Mdchen (girl) is neuter. Mark Twain in his humorous account of â€Å"The Awful German Language† described this German grammar peculiarity in this way: Every noun has a gender, and there is no sense or system in the distribution; so the gender of each must be learned separately and by heart. There is no other way. To do this one has to have a memory like a memorandum-book. In German, a young lady has no sex, while a turnip has. Think what overwrought reverence that shows for the turnip, and what callous disrespect for the girl. See how it looks in print - I translate this from a conversation in one of the best of the German Sunday-school books:Gretchen: Wilhelm, where is the turnip?Wilhelm: She has gone to the kitchen.Gretchen: Where is the accomplished and beautiful English maiden?Wilhelm: It has gone to the opera. However, Mark Twain was wrong when he said that a student has to have â€Å"a memory like a memorandum-book.† There are some strategies that can help a German student figure out which gender a noun has. German Cases In German there are four cases: Der Nominativ (nominative)Der Genitiv/Wesfall (genitive)Der Akkusativ/Wenfall (accusative)Der Dativ/Wemfall (dative) Though all cases are important, the accusative and dative cases are the most widely used and should be learned first. There is a grammatical trend especially orally to use the genitive case less and less and replace it with the dative in certain contexts. Articles and other words are declined in various ways, depending on gender and grammatical case. The German Alphabet The German alphabet has a few differences from the English language. The very first (and perhaps most important) thing you need to know about the German alphabet is that there are more than twenty-six letters in the German alphabet.

Reading and Writing Processes Essay Example | Topics and Well Written Essays - 750 words

Reading and Writing Processes - Essay Example The assumption under the product school of writing is that writing, like any other skill, can be taught. By giving students proper and rigorous instruction in language usage and basic principles of writing, it is suggested they will be able to then be able to start producing high quality essays and research papers entirely on their own (Hairston, 1996). Using this approach, instructors use sample texts and ask the students to mimic the processes they see in the book, such as the traditional 5-paragraph essay. Grammar and rules are very important in this approach and a strong message is sent that the first draft is the final draft and the only draft that matters (Hairston, 1996). Creative exercises are seen as a waste of time because they tend to break the rules the teacher is trying so hard to enforce. Not surprisingly, the teacher is the guiding force in the classroom with the students simply doing as they are told. This approach is most helpful when students are learning about how to write mostly formulaic-type work, such as business reports or cover letters. It helps students identify poor grammar structure early in the process at the same time that it gives them a relatively predictable structure on which to build as they face complicated academic writing assignments. However, using this approach doesn't usually produce quality work. According to Eschholz (1980), such an approach will only result in "mindless copies of a particular organizational plan or style" (24). It has often been described as habit formation. "Writing is messy, recursive, convoluted and uneven", but the product approach with its focus on mimicry, ignores these characteristics of writing and can quickly set up students for failure. The process school, on the other hand, operates with the assumption that the skill of writing can only be acquired gradually. Rather than drilling students with the rules and conventions of writing, this school holds that it is better to allow students to dev elop their writing through a slow evolution of working with the instructor and other students in a process called peer review (Eschholz, 1980). In fact, the concept of collaboration is considered to be an important tool in learning to write. It more closely matches the actual writing process by acknowledging that there are several stages involved in writing a paper. There are multiple drafts and proper time and place for grammar - mostly in one of the final stages before the paper is turned in. Creative exercises are often encouraged as a way to get students past the blank page and perceived writer's block and students are much more involved as they work with each other and bounce ideas off of each other. This school was essentially founded by Janet Emig with the publication of The Composing Processes of Twelfth Graders" (1971). One of the biggest advantages of this approach is that it takes the pressure off of students that they have to get their papers right the first time. Instea d, they are encouraged to explore their ideas and play with their writing a little bit. This enables them to find their own voice, language, and style. It also gives the students a greater sense of control as it positions the teacher as facilitator or coach

Major project Assignment Example | Topics and Well Written Essays - 1000 words

Major project - Assignment Example Therefore, it seems that the company had a policy of hiring from outside other than promoting its employees. The benefits of promotion from within policy to any firm are many. Promoting employees from within motivates thee employees to do even better, since they feel that their efforts and handwork has been recognized by the employer. It serves to increase the productivity of the employees (Clark, 2003). Furthermore, promoting the employees from within serves to attract potential employees willing to advance in their career path through the organization ladder. Promotion from within policy makes the company adopt a leadership training strategy, where it constantly trains and prepares its employees for future leadership roles in that company. Section II The company runs such an article as a first page cover, since the failure of the Human Resource function has proved so apparent. Since the Human Resource department in any organization is the backbone of the organization, in that it pr ovides the company with the most significant resource, its failure earns the department a bad reputation. The performance appraisals are so time consuming, yet they are not utilized for the benefit of the company or the employees. The departments are very bureaucratic and involve a lot of paper work (Hammonds, 2005). To avoid building such bad reputations, HR should hire the best, nurture their talents and provide favorable working environment for employees. Section III Question 1 The importance of a sound job analysis is to help an organization plan for its labor force requirement, helping the organization hire the best manpower and design an appropriate organizational structure. There are various data analysis tools available. They include: Functional Job Analysis (FJA) tool, applied to discover common elements in different jobs, the competency tool to evaluate the performance of the employees and job scan tool that defines the personality of the workforce (Clark, 2003). Question 2 There are various desired competencies for a successful career. Functional competency is necessary for the acquisition and use of specific skills and experiences desired in any profession. The core non-technical skills such as communication, planning and organizational skills are desired for successful career. In addition, leadership and teamwork skills are essential for any successful career (Peter, 2007). Question 4 An organization benefits from strong ethical cultures, in that it is a core element of fostering unity among the organization’s stakeholders (Peter, 2007). Organizational ethical culture serves to embrace the diversity of an organizations’ religious, political, economic and social perspective of the employees. This serves to enhance productivity among them. Question 5 A firm can implement corporate social responsibility program by indentifying the needs of the society from where it is operating and devising ways of meeting them. The identification of th e environmental conservation measures is yet another way that a firm can identify and implement a corporate social responsibility program (Peter, 2007). Some examples of corporate social responsibility activities undertaken by firms include building infrastructural facilities like roads, constructing social amenity facilities like hospitals and environmental con

Kobe Bryant vs Michael Jordan Essay Example for Free

Kobe Bryant vs Michael Jordan Essay At the age of 33, Jordan had played only 10 seasons while Bryant has played 16. Two of those seasons for Jordan saw him playing in less then 20 games. While Jordan left North Carolina after his junior season, Bryant entered the league right out of high school. Therefore Bryant basically has a three-year head start on his NBA career. Jordan only played 15 seasons compared to Bryants 16 yet he scored nearly 3,000 more points, 800 steals, 300 blocks, 200 assists and 500 rebounds. Bryant has played in 89 more games than Jordan. One more stat to throw at you: Jordan shot 49. percent from the field for his career while Bryant has shot only 45. 3 percent. Maybe you dont like stats. Maybe you feel trophies on the mantle judge greatness. Jordan led the league in scoring 10 times. He led the league in steals three times and also was named the Defensive Player of the Year once. Also lets not forget his five regular season MVPs and his six NBA Championships to go along with his six Finals MVPs. Bryant has led the league in scoring twice, and while he has been named to an All-Defensive team 12 times, he has never won the Defensive Player of the Year. While he has won five NBA Championships, he has only been named the Finals MVP twice. Bryant won the regular season MVP once. So Jordan has the edge in the stats as well as the trophy count. He also did the unthinkable and came out of retirement twice. His first retirement nearly lasted two seasons while the second last three years. Now while I pointed out errors in the video, the biggest error it made was show not how great Kobe Bryant is but how great Michael Jordan was. They say imitation is the greatest form of flattery and the video clearly shows that Bryant has tried his best to be like Mike. I know this article wont end this debate. While is easy to prove Jordans greatness now, in a few years Bryant will or should hold the edge in every statistical category. Also with the additions of Steve Nash and Dwight Howard, he could surpass Jordan in the title count. Whatever happens over the next few years, one thing wont change. In my opinion Michael Jordan is not only the greatest shooting guard but is by far the greatest player I have ever seen, but that is just my humble opinion.

How much is too much? :: Essays Papers

How much is too much? The founders of our country were all successful individuals who believed in the rights of an individual to succeed or fail on his own. Their experience with the British government convinced them that the less involvement by the government in economic affairs the better. These beliefs were central to the idea of liberal capitalism: that in a capitalist society, in order for everyone to enjoy economic opportunity, it was necessary for the government not to meddle in the nation's economy. As Americans we cling to a belief that if we just work a little harder, that if we sacrifice a little today, then tomorrow we will reap the benefits of our labors. Of course, history tells us that when big business and special interest groups dominate an economy by political influence, individual effort may not always equate to equal opportunity. There may be times when government intervention is necessary - but how much intervention by the government is necessary has always posed a problem. As American business became increasingly industrialized, living conditions for workers became worse and eventually a consensus developed under the "progressives," an umbrella term for different groups who saw the application of efficient business practices as a way to cure societal problems. Key to this belief was the idea that only government had the recourses to accomplish this. This steadily growing belief throughout the late 1800s and early 1900s would finally be put to the test 1929. After World War I, government non-intervention in the economy led to rampant speculation and borrowing. Many people borrowed money to invest in a stock market that only seemed to know how to go up. Unbeknownst to most Americans, bad economic decisions were being made by both businesses and the government's own economists. Decisions that would have terrible consequences on October 29, 1929, when the stock markets collapsed. President Herbert Hoover, a staunch believer in the Liberal conservative principle of non-government interference refused to intervene. Like most business-oriented people of the time, he believed that economies went through cycles of expansion and recession. He felt that this period of recession should be allowed to take its course Norton 473). As the economy continued to worsen, Americans elected into office a new President who offered to use the power of the government to do something about the economy. As the Progressives believed earlier, Franklin Roosevelt felt that only the federal government had the ability to marshal resources on a national level to stimulate the economy.

Efficient and Economical Forms of Team Processes

Purpose: The research aims to study key team processes, through which the team members share their individual knowledge, create shared understanding of the team, situation, task, leading to high team performance. The current research also aims to understand how teams adapt with team processes to high task load situation. Design/Methodology: Video recordings of Nuclear Power Plant operator teams’ activity have been used for collecting and analysing data. 16 operator teams had to follow the selected same scenario, including 96 team members’ interaction. The performance scores were made by the instructors’ evaluation. Team process categories were developed based on different theoretical, empirical frameworks of team processes and semi structured analyses of transcribed communication and video recordings. Results: Specific forms of team processes help team members to build a shared conceptualization of the faced problems, thus lead to higher team performance, such as: providing directions, summarizing, projecting to the future, coherent information flow. Economical forms of team processes may help to lessen and manage high task load situation. Limitations: Team performance evaluations were based on subjective assessments of performance. The study lacks explicit team knowledge measurements. Research/Practical Implications: The revealed team process categories may serve as a valuable input for team members’ social skill focused selection and development methods. Originality/Value: The study aims to capture team processes in a naturalistic and complex work environment. The analyses reveal how good performing teams manage unpredictable high task load situation with team processes from information, knowledge sharing perspective.

Ajanta and Ellora are the pride of Maharashtra

INTRO Ajanta and Ellora are the pride of Maharashtra. The rock-cut caves of both these sites are world famous and illustrate the degree of skill and artistry that Indian craftsmen had achieved several hundred years ago. Ajanta dates from 100 B. C. while Ellora is younger by some 600 years. The village of Ajanta is in the Sahyadri hills, about 99 kms. From Aurangabad; a few miles away in a mammoth horseshoe-formed rock, are 30 caves overlooking a gorge, `each forming a room in the hill and some with inner rooms.Al these have been carved out of solid rock with little more than a hammer and chisel and the faith and inspiration of Buddhism. Here, for the Buddhist monks, the artisans excavated Chaityas (chapels) for prayer and Viharas (monasteries) where they lived and taught. Many of the caves have the most exquisite detailed carvings on the walls, pillars and entrances as well as magnificent wall paintings. CONCLUSION In their range of time and treatments they provide a panorama of life in ancient India and are a source of all kinds of information†¦ air styles, ornaments, textiles, musical instruments, details of architecture, customs etc. It was from this collection of classical Indian art that a particular style was formed that traveled with Buddhism to many parts of the world. Similar paintings can be seen in Sigiriya in Sri Lanka, Bamiyan in Afghanistan, temples and shrines in Tibet, Nepal, China and Japan. Royal patronage made Ajanta possible. Professional artists carried out much of the work and each contributed his own individual skill and devotion to this monumental work.Visitors often ask how the artist who painted the detailed frescoes and chiseled out the intricate carvings, managed to work in the dark interiors of the caves. It has been noticed that the caves are illuminated by natural light for part of the day and it is presumed that metal mirrors or sheets of white cloth were used to reflect sunlight into the inner recesses. PG1 The Ajanta Caves (Aji ha leni; Marathi: ) in Aurangabad district of Maharashtra. The caves are located in the Indian state of Maharashtra, near Jalgaon, just outside the village of Ajin? ha (20 °31? 56? N 75 °44? 44? E).Caves are only about 59 kilometers from Jalgaon Railway station (on Delhi – Mumbai, Rail line of the Central railways, India); and 104 kilometers from Aurangabad (from Ellora Caves 100 Kilometers). They are cut into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills and are set in beautiful sylvan surroundings. These magnificent caves containing carvings that depict the life of Buddha, and their carvings and sculptures are considered to be the beginning of classical Indian art. PG2 , India are 30 rock-cut cave monuments which date from the 2nd century BCE to the 600 CE.The caves include paintings and sculptures considered to be masterpieces of Buddhist religious art (which depict the Jataka tales) as well as frescos which are reminiscent of the Sigiriya paintings in Sri Lanka. The caves were built in two phases starting around 2nd century BCE, with the second group of caves built around 600 CE. It is a protected monument under the Archaeological Survey of India. The caves vary from 35ft to 110ft in height. The caves of Ajanta consist of Viharas or Monasteries and Chaitya Grihas or monument halls cut into the mountains in two phases. The monasteries are of various sizes the tallest being of 52ft.The monasteries were used by the Buddhist monks for meditating and studying Buddhist teachings. They are mostly square shaped and projects didactic, devotional, and ornamental paintings from Jataka Tales and life of Gautam Buddha, contemporary people, kings, slaves, flowers, plants, fruits, birds and beasts. There are also the figures of yakshas, kinneras (half human and half bird) gandharvas (divine musicians), apsaras (heavenly dancers) seen in several wall paintings and sculptures and also art and architecture of the 3rd AD Gupta Dynasty. The 1st, 2nd, 16th and 17th caves can be rated as the greatest artistic works.Pg 4&5,6 First period This is a Buddhist community, comprising five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas. A first group of caves was created in the 2nd century BC: the chaitya-grihas open into the rock wall by doorways surmounted by a horse-shoe shaped bay. The ground plan is a basilical one: piers separate the principal nave from the side aisles which join in the apsis to permit the ritual circumambulation behind the (commemorative monument). This rupestral architecture scrupulously reproduces the forms and elements visible in wooden constructions.According to Spink (2006), the first phase was the construction of sanctuaries (known as chaytia-grihas) built during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) in the canyons of the Waghora River. The caves 9, 10, 12 and 15A were constructed during this period. [5] Murals preserved from this time belong to the oldest monuments of painted art in India. [edit]Second period A second group of caves was created at a later date, the 5th and 6th centuries AD, during the Gupta and post-Gupta periods.These caves were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadeva, the minister of the Vakataka king, Harishena (c. AD 475-500), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince, a feudatory. An inscription records that the Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura. Scholars disagree about the date of the Ajanta Caves' second period. For a time it was thought that the work was done over a long period from the fourth to the 7th century AD, but recently long-time researcher Walter M.Spink declared that most of the work took place over short time period, from 460 to 480 CE, during the reign o f Emperor Harishena of the Vakataka dynasty. Some 20 cave temples were simultaneously created, for the most part viharas: monasteries with a sanctuary in the structure's rear centre. According to Spink, the Ajanta Caves appear to have been abandoned shortly after the fall of Harishena c. 480 CE. Since then, these temples have been abandoned and gradually forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed. edit]Rediscovery by Europeans On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to one of the cave temples (Cave No. 10) deep within the tangled undergrowth. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith scratched his name in on one of his name and the date, April 1819. Since he stood on a five foot high pile of rubble collect ed over the years, the inscription is well above the eye-level gaze of an adult.Shortly after this discovery, the Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history. Cave 1-pg 7 and 8 The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in the Vakataka phase. Although there is no epigraphic evidence, it has been proposed that the Vakataka Emperor Harishena may have been the benefactor of this better-preserved cave.A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since per ished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends.The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6. 1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls.There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the ‘dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the ri ght walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. Cave 2-pg 9,10 Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation. [edit]The facadeCave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the [edit]The porch The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously â€Å"wasted areas† were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beau ty.The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior. [edit]The hall The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. [edit]The paintingsPaintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. Cave 3and cave 4-pg 11 CAVE 3 This is an incomplete monastery (10. 08 X 8. 78 m) and only the preliminary excavation of pillared verandah exist. CAVE 4 This squarish monastery consists of a hall, sanctum sanctorum, pillared verandah and is datable to first half of sixth century A. D. This is the largest monastery at Ajanta measuring (35. 08 X 27. 65 m).The door frame is exquisitely sculpted flanking to the right is carved Bodhisattva as reliever of Eight Great Perils. The cave was once painted, traces of which can be noticed. The ceiling of the hall preserves a unique geological feature of a lava flow. Cave 5,6,7-PG12,13 CAVE 5 This monastery (10. 32 X 16. 8 m) is an unfinished one. However, the richly carved door frame, and female figures on makaras are important ones. CAVE 6 This is a double storeyed monastery (16. 85 X 18. 07 m) consisting of hall, sanctum sanctorum and a pillared hall in the lower storey and a hall with cells, subsidiary cells and sanctum sanctorum in the upper storey.Buddha in preaching attitude is housed in both the shrines. The depiction of Miracle of Sravasti and Temptation of Mara are the imp ortant paintings. Sculptural depiction of Buddha in various attitudes and postures can also be noticed here. CAVE 7 This monastery (15. 55 X 31. 25 m) consists of a sanctum sanctorum, an oblong open hall with two small porticos supported by heavy octagonal pillars and eight cells. Buddha in preaching attitude is housed inside the sanctum. Other sculptural panels include Miracle of Sravasti, seated Buddha under the protection of Nagamuchalinda, etc.CAVE8,9 PG 13,14,14. 5 CAVE 8 This is an unfinished monastery (15. 24 X 24. 64 m) at Ajanta, located at the lowest level and perhaps earliest among the monasteries. Major portion of the frontage has been swept away by a landslide. CAVE 9 This apsidal chaityagriha (18. 24 X 8. 04 m) is datable to second century B. C. and belongs to the Hinayana phase of Buddhism. The chaityagriha consists of an entrance door, two side windows, central hall, nave flanked by side aisles (pradikshana) on either side separated by a row of 23 pillars and a stupa , the object of worship.The chaityagriha exhibits reproduction of wooden architectural styles, in the form of inward tapering octagonal pillars, evidence of fixing wooden beams ; rafters, etc. The chaitya was in use during later period also as indicated by the sculptures of Buddha on the facade and side walls facing the court. Inside the chaitya is seen two layers of paintings, the earlier dating back to the second half of 1st century B. C. and the alter to 5th – 6th centuries A. D. Cave 9 – One of the earliest prayer hall caves, notable for its arched windows that let softly diffused sunlight in the cave.This Theravada cave also features a large stupa. CAVE 10 In April 1819, John Smith, a British Army Officer noticed the huge arch of this cave from the view point which ultimately led to the discovery of Ajanta Caves. This cave is the earliest chaityagriha at Ajanta. A Brahmi inscription on the facade dated to the 2nd century B. C. reads ‘Vasithiputa Katahadiâ₠¬â„¢. The cave (30. 5 X 12. 2 m) consists of a large central hall, nave flanked by two aisles (pradikshana) separated by a row of 39 octagonal pillars and a rock stupa at the apsidal end, the object of worship.The cave consists of two period of paintings, the earlier dated to 2nd century B. C and the later 4th – 6th century A. D. Two Jataka stories of this period have been identified, namely, the Sama (Shama) Jataka and the Chhaddanta Jataka. The later period paintings contain Buddha figures in various poses mainly over the pillars. Cave 10 – Theravada prayer hall, thought to be the oldest cave temple at Ajanta, dating to the 2nd century BC. CAVE 11,12,13,14-PG 15, CAVE 11 This monastery (19. 87 X 17. 35 m) datable to beginning of fifth century A. D. onsists of a hall with six cells and a long bench, a pillared verandah with four cells, a sanctum sanctorum. Buddha in preaching attitude is housed in the sanctum against an unfinished stupa. Few paintings that available h ere depicts Bodhisattvas, figures of Buddha, etc. CAVE 12 This Hinayana monastery consists of a hall (14. 9 X 17. 82 m) the front wall is completely collapsed sided by twelve cells arranged on three sides. An inscription on the back wall of the monastery records the gift of this cave by one merchant Ghanamadada and palaeographically datable to 2nd – 1st century B. C. erhaps slightly later than Cave 10. The cell frontage are decorated with chaitya window motifs above the door opening. CAVE 13 This is a small monastery and belongs to the first phase. It consists of an astylar hall with seven cells on three sides. The cells are provided with rock-cut beds. CAVE 14 This unfinished monastery (13. 43 X 19. 28 m) was excavated above Cave 13 at a higher level. It was originally planned on a large scale. The depiction of sala bhanjikas on the top corners of doorway is beautifully depicted. Cave 15,15a,16,17-pg 16,17,18 CAVE 15 The monastery (19. 62 X 15. 8 m) consists of an astylar ha ll with eight cells, an antechamber, sanctum sanctorum and a pillared verandah. The sculptural depictions include Buddha in various postures, seated Buddha on simhasana inside the sanctum sanctorum. The traces of paintings indicate that it was originally painted. CAVE 15A Smallest of all the excavations at Ajanta this cave consists of a small central astylar hall with one cell on three sides. The front wall had an inscription in shell characters (which is now lost). The hall is relieved with chaitya window pattern rising from vedica pattern. CAVE 16According to an inscription found here, the excavation of this cave was caused by Varahadeva, the minister of Vakataka king Harishena (circa A. D. 475-500). The cave (19. 5 X 22. 25 X 4. 6 m) which is a monastery consists of a central hall surrounded by 14 cells on three sides, vestibule and a sanctum for Buddha image. The important painted themes depicted are the conversion of Nanda; Miracle of Sravasti; Maya’s dream; and certain incidents from the life of Buddha. The Jataka stories depicted are Hasti, Maha-ummagga, Maha-sutasoma. Painted inscriptions can also be noted inside the caves. CAVE 17A Brahmi inscription found here records the excavation of this cave by a feudatory prince under Vakataka king Harishena. This monastery (34. 5 X 25. 63 m) consists of a spacious hall surrounded by 17 cells on three sides, a vestibule and a sanctum containing the image of Buddha. The cave houses some of the well preserved paintings of the Vakataka age that includes Vessantara Jataka (right of door), a huge and gigantic wheel representing the ‘Wheel of Life’; flying apsara (to left of door), subjugation of Nalagiri (a wild elephant) by Buddha at Rajagriha, Buddha preaching to a congregation.The Jatakas depicted here are Chhaddanta, Mahakapi (in two versions), Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-miga, Machchha, Mati-posaka, Sama, Mahisa, Valahass, Sibi, Ruru and Nigrodhamiga. Cave 18,19,20,21-pg 19,20 CAVE 18 This consists of a rectangular excavation (3. 38 X 11. 66 m) leading into another cell. The hall has two pillars with moulded bases and octagonal shafts. CAVE 19 This chaityagriha (16. 05 X 7. 09 m) is datable to fifth century A. D. and could be the gandhakuti. The stupa is carved with a standing image of Buddha 7.This cave is known for it sculptural grandeur of the facade and particularly the two life size Yaksha images on either sides of the chaitya vatayana (arch). The hall has painted depictions of Buddha in various postures. CAVE 20 A pillar less monastery consists of hall (16. 2 X 17. 91 m) cells, sanctum sanctorum and a pillared verandah datable between A. D. 450 and 525. A Brahmi inscription in the verandah records the gift of the mandapa by one Upendra. Buddha in preaching attitude is housed in the sanctum. The sculpture of seven Buddhas accompanied by attendants is another important sculptural panel in this cave.CAVE 21 This monastery (28. 56 X 28. 03 m) cons ists of a hall with twelve pillars and twelve cells on three sides, sanctum sanctorum, pillared verandah (pillar’s restored now). Out of 12 cells four are with pillared porches. The sanctum house seated Buddha in preaching attitude. Trace of paintings are noticed which consist of a panel depicting Buddha preaching a congregation. Cave 22,23,24,25-pg 21 CAVE 22 This monastery (12. 72 X 11. 58 m) consists of an astylar hall four unfinished cells, sanctum sanctorum and a narrow verandah. Buddha seated in pralamba-padasana is carved on the back wall of the shrine.The sculptural depiction of Buddha in different forms, painted figures of Manushi-Buddhas with Maitreya can be noticed here. CAVE 23 This is an unfinished monastery (28. 32 X 22. 52 m) and consists of an astylar hall, sanctum sanctorum, antechamber ; side cells and a pillared verandah. The cave is known for the rich decoration of pillars and pilasters and the naga doorkeepers. CAVE 24 This is an incomplete monastery (29. 3 X 29. 3 m) and second largest excavation at Ajanta after Cave 4. The plan consists of a hall with pillared verandah and sanctum sanctorum.A chapel with pillared porch is excavated outside the verandah. The sanctum houses a seated Buddha in pralamba-padasana. CAVE 25 This monastery (11. 37 X 12. 24 m) consists of an astylar hall, pillared verandah and an enclosed courtyard and excavated at a higher level. Two cells are noted on the left end of the verandah and the hall has no cells. The hall is devoid of shrine. CAVE 26,27,28,29-PG 22/PG22,23 CAVE 26 This chaityagriha is quite similar to Cave 19, but of a larger dimension (25. 34 X 11. 52 m) and more elaborately and exquisitely provided with sculpted figures.An inscription (A. D. 450 – 525) found on the wall of the front verandah records the gift of this chaityagriha by a monk Buddhabhadra, a friend of Bhavviraja, a minister of the king of Asmaka (Vidarbha). The chaityagriha consists of a hall, side aisles (pradikshana) and a rock-cut stupa front by an image of Buddha. The facade, the inner pillars, the triforium (between pillars and roof arch), aisles side walls are extensively carved with images and decorative designs. However, the most striking and prominent image is that of Mahaparinirvana of Buddha on the right aisle wall nd the assault of Mara during Buddha’s penance adorns the same wall. CAVE 27 This cave could have been part of Cave 26 and it consists of two storeys, the upper one partially collapsed. The monastery consists of a hall with four cells, antechamber and sanctum sanctorum. Buddha in teaching attitude is housed inside the sanctum. CAVE 28 This is an unfinished monastery of which only the pillared verandah was excavated. CAVE 29 This is an unfinished chaityagriha (22. 8 X 12. 84 m) in its first stage of excavation and located at the highest level, located between Caves 20 and 21. Ending-pg 24 Ajanta and Ellora are the pride of Maharashtra INTRO Ajanta and Ellora are the pride of Maharashtra. The rock-cut caves of both these sites are world famous and illustrate the degree of skill and artistry that Indian craftsmen had achieved several hundred years ago. Ajanta dates from 100 B. C. while Ellora is younger by some 600 years. The village of Ajanta is in the Sahyadri hills, about 99 kms. From Aurangabad; a few miles away in a mammoth horseshoe-formed rock, are 30 caves overlooking a gorge, `each forming a room in the hill and some with inner rooms.Al these have been carved out of solid rock with little more than a hammer and chisel and the faith and inspiration of Buddhism. Here, for the Buddhist monks, the artisans excavated Chaityas (chapels) for prayer and Viharas (monasteries) where they lived and taught. Many of the caves have the most exquisite detailed carvings on the walls, pillars and entrances as well as magnificent wall paintings. CONCLUSION In their range of time and treatments they provide a panorama of life in ancient India and are a source of all kinds of information†¦ air styles, ornaments, textiles, musical instruments, details of architecture, customs etc. It was from this collection of classical Indian art that a particular style was formed that traveled with Buddhism to many parts of the world. Similar paintings can be seen in Sigiriya in Sri Lanka, Bamiyan in Afghanistan, temples and shrines in Tibet, Nepal, China and Japan. Royal patronage made Ajanta possible. Professional artists carried out much of the work and each contributed his own individual skill and devotion to this monumental work.Visitors often ask how the artist who painted the detailed frescoes and chiseled out the intricate carvings, managed to work in the dark interiors of the caves. It has been noticed that the caves are illuminated by natural light for part of the day and it is presumed that metal mirrors or sheets of white cloth were used to reflect sunlight into the inner recesses. PG1 The Ajanta Caves (Aji ha leni; Marathi: ) in Aurangabad district of Maharashtra. The caves are located in the Indian state of Maharashtra, near Jalgaon, just outside the village of Ajin? ha (20 °31? 56? N 75 °44? 44? E).Caves are only about 59 kilometers from Jalgaon Railway station (on Delhi – Mumbai, Rail line of the Central railways, India); and 104 kilometers from Aurangabad (from Ellora Caves 100 Kilometers). They are cut into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills and are set in beautiful sylvan surroundings. These magnificent caves containing carvings that depict the life of Buddha, and their carvings and sculptures are considered to be the beginning of classical Indian art. PG2 , India are 30 rock-cut cave monuments which date from the 2nd century BCE to the 600 CE.The caves include paintings and sculptures considered to be masterpieces of Buddhist religious art (which depict the Jataka tales) as well as frescos which are reminiscent of the Sigiriya paintings in Sri Lanka. The caves were built in two phases starting around 2nd century BCE, with the second group of caves built around 600 CE. It is a protected monument under the Archaeological Survey of India. The caves vary from 35ft to 110ft in height. The caves of Ajanta consist of Viharas or Monasteries and Chaitya Grihas or monument halls cut into the mountains in two phases. The monasteries are of various sizes the tallest being of 52ft.The monasteries were used by the Buddhist monks for meditating and studying Buddhist teachings. They are mostly square shaped and projects didactic, devotional, and ornamental paintings from Jataka Tales and life of Gautam Buddha, contemporary people, kings, slaves, flowers, plants, fruits, birds and beasts. There are also the figures of yakshas, kinneras (half human and half bird) gandharvas (divine musicians), apsaras (heavenly dancers) seen in several wall paintings and sculptures and also art and architecture of the 3rd AD Gupta Dynasty. The 1st, 2nd, 16th and 17th caves can be rated as the greatest artistic works.Pg 4&5,6 First period This is a Buddhist community, comprising five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas. A first group of caves was created in the 2nd century BC: the chaitya-grihas open into the rock wall by doorways surmounted by a horse-shoe shaped bay. The ground plan is a basilical one: piers separate the principal nave from the side aisles which join in the apsis to permit the ritual circumambulation behind the (commemorative monument). This rupestral architecture scrupulously reproduces the forms and elements visible in wooden constructions.According to Spink (2006), the first phase was the construction of sanctuaries (known as chaytia-grihas) built during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) in the canyons of the Waghora River. The caves 9, 10, 12 and 15A were constructed during this period. [5] Murals preserved from this time belong to the oldest monuments of painted art in India. [edit]Second period A second group of caves was created at a later date, the 5th and 6th centuries AD, during the Gupta and post-Gupta periods.These caves were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadeva, the minister of the Vakataka king, Harishena (c. AD 475-500), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince, a feudatory. An inscription records that the Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura. Scholars disagree about the date of the Ajanta Caves' second period. For a time it was thought that the work was done over a long period from the fourth to the 7th century AD, but recently long-time researcher Walter M.Spink declared that most of the work took place over short time period, from 460 to 480 CE, during the reign o f Emperor Harishena of the Vakataka dynasty. Some 20 cave temples were simultaneously created, for the most part viharas: monasteries with a sanctuary in the structure's rear centre. According to Spink, the Ajanta Caves appear to have been abandoned shortly after the fall of Harishena c. 480 CE. Since then, these temples have been abandoned and gradually forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed. edit]Rediscovery by Europeans On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to one of the cave temples (Cave No. 10) deep within the tangled undergrowth. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith scratched his name in on one of his name and the date, April 1819. Since he stood on a five foot high pile of rubble collect ed over the years, the inscription is well above the eye-level gaze of an adult.Shortly after this discovery, the Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history. Cave 1-pg 7 and 8 The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in the Vakataka phase. Although there is no epigraphic evidence, it has been proposed that the Vakataka Emperor Harishena may have been the benefactor of this better-preserved cave.A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since per ished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends.The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6. 1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls.There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the ‘dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the ri ght walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. Cave 2-pg 9,10 Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation. [edit]The facadeCave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the [edit]The porch The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously â€Å"wasted areas† were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beau ty.The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior. [edit]The hall The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. [edit]The paintingsPaintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. Cave 3and cave 4-pg 11 CAVE 3 This is an incomplete monastery (10. 08 X 8. 78 m) and only the preliminary excavation of pillared verandah exist. CAVE 4 This squarish monastery consists of a hall, sanctum sanctorum, pillared verandah and is datable to first half of sixth century A. D. This is the largest monastery at Ajanta measuring (35. 08 X 27. 65 m).The door frame is exquisitely sculpted flanking to the right is carved Bodhisattva as reliever of Eight Great Perils. The cave was once painted, traces of which can be noticed. The ceiling of the hall preserves a unique geological feature of a lava flow. Cave 5,6,7-PG12,13 CAVE 5 This monastery (10. 32 X 16. 8 m) is an unfinished one. However, the richly carved door frame, and female figures on makaras are important ones. CAVE 6 This is a double storeyed monastery (16. 85 X 18. 07 m) consisting of hall, sanctum sanctorum and a pillared hall in the lower storey and a hall with cells, subsidiary cells and sanctum sanctorum in the upper storey.Buddha in preaching attitude is housed in both the shrines. The depiction of Miracle of Sravasti and Temptation of Mara are the imp ortant paintings. Sculptural depiction of Buddha in various attitudes and postures can also be noticed here. CAVE 7 This monastery (15. 55 X 31. 25 m) consists of a sanctum sanctorum, an oblong open hall with two small porticos supported by heavy octagonal pillars and eight cells. Buddha in preaching attitude is housed inside the sanctum. Other sculptural panels include Miracle of Sravasti, seated Buddha under the protection of Nagamuchalinda, etc.CAVE8,9 PG 13,14,14. 5 CAVE 8 This is an unfinished monastery (15. 24 X 24. 64 m) at Ajanta, located at the lowest level and perhaps earliest among the monasteries. Major portion of the frontage has been swept away by a landslide. CAVE 9 This apsidal chaityagriha (18. 24 X 8. 04 m) is datable to second century B. C. and belongs to the Hinayana phase of Buddhism. The chaityagriha consists of an entrance door, two side windows, central hall, nave flanked by side aisles (pradikshana) on either side separated by a row of 23 pillars and a stupa , the object of worship.The chaityagriha exhibits reproduction of wooden architectural styles, in the form of inward tapering octagonal pillars, evidence of fixing wooden beams ; rafters, etc. The chaitya was in use during later period also as indicated by the sculptures of Buddha on the facade and side walls facing the court. Inside the chaitya is seen two layers of paintings, the earlier dating back to the second half of 1st century B. C. and the alter to 5th – 6th centuries A. D. Cave 9 – One of the earliest prayer hall caves, notable for its arched windows that let softly diffused sunlight in the cave.This Theravada cave also features a large stupa. CAVE 10 In April 1819, John Smith, a British Army Officer noticed the huge arch of this cave from the view point which ultimately led to the discovery of Ajanta Caves. This cave is the earliest chaityagriha at Ajanta. A Brahmi inscription on the facade dated to the 2nd century B. C. reads ‘Vasithiputa Katahadiâ₠¬â„¢. The cave (30. 5 X 12. 2 m) consists of a large central hall, nave flanked by two aisles (pradikshana) separated by a row of 39 octagonal pillars and a rock stupa at the apsidal end, the object of worship.The cave consists of two period of paintings, the earlier dated to 2nd century B. C and the later 4th – 6th century A. D. Two Jataka stories of this period have been identified, namely, the Sama (Shama) Jataka and the Chhaddanta Jataka. The later period paintings contain Buddha figures in various poses mainly over the pillars. Cave 10 – Theravada prayer hall, thought to be the oldest cave temple at Ajanta, dating to the 2nd century BC. CAVE 11,12,13,14-PG 15, CAVE 11 This monastery (19. 87 X 17. 35 m) datable to beginning of fifth century A. D. onsists of a hall with six cells and a long bench, a pillared verandah with four cells, a sanctum sanctorum. Buddha in preaching attitude is housed in the sanctum against an unfinished stupa. Few paintings that available h ere depicts Bodhisattvas, figures of Buddha, etc. CAVE 12 This Hinayana monastery consists of a hall (14. 9 X 17. 82 m) the front wall is completely collapsed sided by twelve cells arranged on three sides. An inscription on the back wall of the monastery records the gift of this cave by one merchant Ghanamadada and palaeographically datable to 2nd – 1st century B. C. erhaps slightly later than Cave 10. The cell frontage are decorated with chaitya window motifs above the door opening. CAVE 13 This is a small monastery and belongs to the first phase. It consists of an astylar hall with seven cells on three sides. The cells are provided with rock-cut beds. CAVE 14 This unfinished monastery (13. 43 X 19. 28 m) was excavated above Cave 13 at a higher level. It was originally planned on a large scale. The depiction of sala bhanjikas on the top corners of doorway is beautifully depicted. Cave 15,15a,16,17-pg 16,17,18 CAVE 15 The monastery (19. 62 X 15. 8 m) consists of an astylar ha ll with eight cells, an antechamber, sanctum sanctorum and a pillared verandah. The sculptural depictions include Buddha in various postures, seated Buddha on simhasana inside the sanctum sanctorum. The traces of paintings indicate that it was originally painted. CAVE 15A Smallest of all the excavations at Ajanta this cave consists of a small central astylar hall with one cell on three sides. The front wall had an inscription in shell characters (which is now lost). The hall is relieved with chaitya window pattern rising from vedica pattern. CAVE 16According to an inscription found here, the excavation of this cave was caused by Varahadeva, the minister of Vakataka king Harishena (circa A. D. 475-500). The cave (19. 5 X 22. 25 X 4. 6 m) which is a monastery consists of a central hall surrounded by 14 cells on three sides, vestibule and a sanctum for Buddha image. The important painted themes depicted are the conversion of Nanda; Miracle of Sravasti; Maya’s dream; and certain incidents from the life of Buddha. The Jataka stories depicted are Hasti, Maha-ummagga, Maha-sutasoma. Painted inscriptions can also be noted inside the caves. CAVE 17A Brahmi inscription found here records the excavation of this cave by a feudatory prince under Vakataka king Harishena. This monastery (34. 5 X 25. 63 m) consists of a spacious hall surrounded by 17 cells on three sides, a vestibule and a sanctum containing the image of Buddha. The cave houses some of the well preserved paintings of the Vakataka age that includes Vessantara Jataka (right of door), a huge and gigantic wheel representing the ‘Wheel of Life’; flying apsara (to left of door), subjugation of Nalagiri (a wild elephant) by Buddha at Rajagriha, Buddha preaching to a congregation.The Jatakas depicted here are Chhaddanta, Mahakapi (in two versions), Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-miga, Machchha, Mati-posaka, Sama, Mahisa, Valahass, Sibi, Ruru and Nigrodhamiga. Cave 18,19,20,21-pg 19,20 CAVE 18 This consists of a rectangular excavation (3. 38 X 11. 66 m) leading into another cell. The hall has two pillars with moulded bases and octagonal shafts. CAVE 19 This chaityagriha (16. 05 X 7. 09 m) is datable to fifth century A. D. and could be the gandhakuti. The stupa is carved with a standing image of Buddha 7.This cave is known for it sculptural grandeur of the facade and particularly the two life size Yaksha images on either sides of the chaitya vatayana (arch). The hall has painted depictions of Buddha in various postures. CAVE 20 A pillar less monastery consists of hall (16. 2 X 17. 91 m) cells, sanctum sanctorum and a pillared verandah datable between A. D. 450 and 525. A Brahmi inscription in the verandah records the gift of the mandapa by one Upendra. Buddha in preaching attitude is housed in the sanctum. The sculpture of seven Buddhas accompanied by attendants is another important sculptural panel in this cave.CAVE 21 This monastery (28. 56 X 28. 03 m) cons ists of a hall with twelve pillars and twelve cells on three sides, sanctum sanctorum, pillared verandah (pillar’s restored now). Out of 12 cells four are with pillared porches. The sanctum house seated Buddha in preaching attitude. Trace of paintings are noticed which consist of a panel depicting Buddha preaching a congregation. Cave 22,23,24,25-pg 21 CAVE 22 This monastery (12. 72 X 11. 58 m) consists of an astylar hall four unfinished cells, sanctum sanctorum and a narrow verandah. Buddha seated in pralamba-padasana is carved on the back wall of the shrine.The sculptural depiction of Buddha in different forms, painted figures of Manushi-Buddhas with Maitreya can be noticed here. CAVE 23 This is an unfinished monastery (28. 32 X 22. 52 m) and consists of an astylar hall, sanctum sanctorum, antechamber ; side cells and a pillared verandah. The cave is known for the rich decoration of pillars and pilasters and the naga doorkeepers. CAVE 24 This is an incomplete monastery (29. 3 X 29. 3 m) and second largest excavation at Ajanta after Cave 4. The plan consists of a hall with pillared verandah and sanctum sanctorum.A chapel with pillared porch is excavated outside the verandah. The sanctum houses a seated Buddha in pralamba-padasana. CAVE 25 This monastery (11. 37 X 12. 24 m) consists of an astylar hall, pillared verandah and an enclosed courtyard and excavated at a higher level. Two cells are noted on the left end of the verandah and the hall has no cells. The hall is devoid of shrine. CAVE 26,27,28,29-PG 22/PG22,23 CAVE 26 This chaityagriha is quite similar to Cave 19, but of a larger dimension (25. 34 X 11. 52 m) and more elaborately and exquisitely provided with sculpted figures.An inscription (A. D. 450 – 525) found on the wall of the front verandah records the gift of this chaityagriha by a monk Buddhabhadra, a friend of Bhavviraja, a minister of the king of Asmaka (Vidarbha). The chaityagriha consists of a hall, side aisles (pradikshana) and a rock-cut stupa front by an image of Buddha. The facade, the inner pillars, the triforium (between pillars and roof arch), aisles side walls are extensively carved with images and decorative designs. However, the most striking and prominent image is that of Mahaparinirvana of Buddha on the right aisle wall nd the assault of Mara during Buddha’s penance adorns the same wall. CAVE 27 This cave could have been part of Cave 26 and it consists of two storeys, the upper one partially collapsed. The monastery consists of a hall with four cells, antechamber and sanctum sanctorum. Buddha in teaching attitude is housed inside the sanctum. CAVE 28 This is an unfinished monastery of which only the pillared verandah was excavated. CAVE 29 This is an unfinished chaityagriha (22. 8 X 12. 84 m) in its first stage of excavation and located at the highest level, located between Caves 20 and 21. Ending-pg 24

Hadith Literature Essays

Hadith Literature Essays Hadith Literature Essay Hadith Literature Essay Introduction Hadithliterature is a aggregation of Islamic Traditions which are considered by Muslims to be descriptions of the words and workss of the Prophet Muhummad, so hence a fancied Tradition is a composing which does non reflect the true words and workss of Muhummad but is falsely ascribed to the Prophet however. Islamic and Western beginnings both hold that an tremendous sum of counterfeit was committed during the creative activity of Hadith literature, with Ibn Hanbal doing the claim that fictions occur in the Hadith to such a great extent that these Hagiographas have been more affected by counterfeit than any other subdivision of literature. The sheer bulk of the fancied Traditions are believed to hold been introduced toHadithliterature by the storytellers themselves, through hammering the statements and invented ironss of transmittal from Muhummad to themselves from their ain imaginativeness to add legitimacy to theirHadith. The presence of false histories of the workss and words of Mu hummad is non allowable to Muslims, [ 1 ] so hence traditional and modern Muslim bookmans have made assorted efforts to place the fanciedHadithliterature and take them from the cannon. : Purposes of the Undertaking The primary purpose of this research undertaking is to analyze the extent to which the phenomenon of fiction occurs inHadithliterature and the ways in which Muslim bookmans have responded to this phenomenon. This undertaking besides aims to analyze the differences in sentiments between Muslim bookmans and Western bookmans that have arisen during treatments of counterfeit in Hadith literature. Through dividing my focal point into these two wide classs of analysis I am taking to analyze the possible influence of personal spiritual beliefs on the ways in which spiritual texts are analysed. This will be achieved by analyzing the differences between how Muslim bookmans have chosen to analyze this issue and how this compares and contrasts to the ways in which Western bookmans analyse the really same texts. Significance of the Undertaking The significance of this research undertaking is highlighted by the really being of voluminous sums of literature which explores the subject ofHadithcounterfeit, which serves as an index of the importance that this issue holds to both Muslim and Western bookmans. [ 2 ] This research is alone because it attempts to give a holistic history of fiction in theHadithliterature by every bit analyzing the different attacks that are taken by Muslim and Western bookmans and pulling decisions based upon a balanced attack which considers both point of views. Personal Motivation My personal motive for chosing this subject is a desire to derive a deeper and more sophisticated cognition and apprehension of the Koran. I am motivated to put my focal point onHadithliterature due to the fact that these traditions are cardinal to understanding how Muhummad related to his followings and behaved in mundane life and are hence an built-in componant of understanding Islam and the Koran in general. I am motivated to analyze this subject from both Western and Muslim positions because I am seeking to derive a holistic apprehension of the subject that can merely be gained through equal attending to literature developed by bookmans from both universes. Methodology The methodological analysis that I will use to analyze the extent to which counterfeits occur in Hadith literature and the ways in which Muslim bookmans have responded to this phenomenon will imply separate scrutinies of these issues from a Western position and from a Muslim position. I will carry on a reappraisal of literature written by non-Muslims who have an academic background within the Western educational context and besides coincident reappraisal of Muslim scholar’s Hagiographas on the same subjects. This research proposal will get down its treatment of the extent of fiction inHadithliterature by researching some of the point of views contained within the Hagiographas on this subject that have been presented by Western writers. The sentiment of these bookmans on this sacredly pertinent subject is important because unlike bookmans composing from a Muslim position, these writers presumptively view theHadithliterature without the prejudice that can perchance originate fro m a desire to warrant bing dogmatic spiritual beliefs. This statement does non presume that Western writers have approached this subject in an indifferent and scientific mode, but it is of import in any balanced research undertaking to see decisions reached by bookmans who approach the subject from different positions and who have different purposes and ends when carry oning their research. After an geographic expedition of some typical Western scholarly sentiments on the subject of the extent of fiction inHadithliterature, this research proposal will research the literature which expresses the point of views espoused by bookmans who write on this subject from a Muslim position. Due to the fact that these bookmans are composing on this subject from within the Islamic spiritual tradition, these bookmans presumptively view theHadithliterature as texts that are imbued with personal spiritual significance and hence have a position on this affair that widely differs from what that expressed by Western bookmans. While Muslim bookmans have engaged in a drawn-out argument about the extent to which fabricated Hagiographas permeateHadithliterature, as a generalization it can be said that Muslim bookmans hold that there is more historical truth in the word pictures of the words and behaviors of Muhummad so Western critics are willing to profess. This phenomenon can be partially at tributed to the fact that these Hagiographas have immense religious and spiritual significance to Muslim bookmans, summed up by M. M. Azami when he stated that theHadithof the Prophet is the 2nd chief beginning of Islamic jurisprudence, valid forever, and the life of the Prophet is a theoretical account which ought to be followed by Muslims irrespective of clip and topographic point. For this ground, the Companions, even in the life of the Prophet, began to spread the cognition of theSunnahand they were ordered by the Prophet to make so [ 3 ] . From this statement entirely we can see that through the lens of spiritual significance, as opposed to the scientific and historic lens of Western writers, texts gain an importance in a sacredly important mode and hence needfully keep truth to the reader as a affair of religion. This research proposal will so research some of the relevant literature on the assorted ways that Muslim bookmans are thought to see the extent to which fictions occu r in Hadith literature. This research proposal will so travel its focal point from a treatment of the extent to which fictions occur inHadithliterature to a treatment of the ways in which Muslim bookmans attempted to extinguish fictions from this literature. Once once more, Western bookmans who have written on this issue have differing sentiments to the bookmans from a Muslim background. Due to this obvious fact this research undertaking will discourse the ways in which Muslim bookmans responded to this phenomenon through their assorted methods which were designed to extinguish fictions fromHadithliterature. Following this geographic expedition of the efforts that have been made to extinguish fictions I will discourse the assorted unfavorable judgments that have been directed by Western bookmans towards these methods and the diehards who implemented them. Despite the fact that considerable attempt has been invested by Muslim bookmans in finding whichHadithTraditions are counterfeits and which are accurate, the methods employed by Muslim bookmans have been widely criticised by Western writers on the subject. Looking at the subject from the point of view of a Muslim bookman who believes that Islam was established by an infallible prophesier, it is wholly plausible that Muhummad would hold foreseen the hereafter development of Islam and the centrality of the Hadith to the Islamic people and hence have taken stairss to guarantee the truth of theHadithliterature. To a Western bookman nevertheless, this is a much less scientifically plausible state of affairs than Muhummad moving in a mode that was non witting of the signifier that Islam would finally take. Unlike Muslim bookmans, Western writers have no spiritual jussive mood to happen truth in theHadithliterature and hence have a basically different attack to the spiritual tradition as a whole. With this critical point in head, this research undertaking will eventually analyze some unfavorable judgments aimed towards the methods through which Muslim bookmans attempted to place counterfeits withinHadithliterature. Literature Review There has been a important sum of attending given to the subject of the extent of fiction inHadithliterature by bookmans in the Western universe, but it is widely acknowledged that the first bookman who explored this subject from a Western position was Gustav Weil in 1848 [ 4 ] . In the sentiment of Weil, the extent of the presence of fiction inHadithliterature is so terrible that really small acceptance should be lent to the genuineness of theHadithliterature, as the sheer bulk can non be flatly proven to be true histories of the life and workss of Muhummad [ 5 ] . Western bookmans since Weil have by and large supported his decisions sing the extent that fiction occurs inHadithliterature. For illustration, the German bookman Ignaz Goldziher was another Western advocate of this point of view. The chapter researching the fiction ofHadithliterature in his book Muslim Studies’ reached the decision that no portion of theHadithcan be flatly proven to be the reliable vocalizations o f Muhummad or even a dependable description of the manner in which he behaved [ 6 ] . In the position of Goldziher, theHadithis simply a aggregation of fictions which arose from the societal and historical development of Islam that occurred in the first two centuries after Muhummad, and hence theHadithcan non be considered to incorporate any accurate word pictures of the life of Muhummad whatsoever. If the point of views of these Western writers are taken to be accurate, one can reason that theHadithliterature is so prevailing with fictions and inaccuracies that it is impossible to find if the literature contains any historical truth at all. While there is no argument among Muslim authors that fictions are present inHadithliterature, there is nevertheless dissensions that revolve around the extent to which they occur and when these fictions originated. For illustration, in his book entitled The Authenticity of the Tradition Literature’ , Juynboll stated that All Muslim theologists agree on the fact that counterfeit of traditions has occurred on a bit by bit increasing graduated table from the center of the first century of the Higra onwards, until such writers as Bukhari, Muslim and others had compiled their about unflawed aggregations ; by making so they gave the tradition literature its decidedly sound signifier. [ 7 ] However, another Muslim bookman, A §-eidd?q Bash?r Na §r claimed that Juynboll’s sentiment is prevailing with bias, reasoning that Juynboll concluded this position from the statements of theologists and that the original Traditionists did non keep this position. Na §r argues that the most likely day of the month of the outgrowth of fictions in the Hadith literature is the center of the first century [ 8 ] . InNa §r’sposition there is dependable historical grounds that can be used to presume that the fiction began during the Caliphate of gt ; Uthm?n or even gt ; Al? who died in 40 A.H.. [ 9 ] Other Muslim bookmans argue that fictions began to emerge while Muhummad was still alive. For illustration, to back up this position that fiction began during the life-time of the Prophet. Aumad Am?n often quoted Tradition which reads, Who intentionally lies about me, he will seek himself a topographic point in Hell. [ 10 ] Am?n understood this Tradition to connote that the counterfeit took topographic point at the clip of the Prophet and this tradition was uttered in response to an incident in which some words were attributed to the Prophet but he was non responsible for them. [ 11 ] Other Muslim bookmans choose to reason against the Western statements that no truth can be attributed toHadithliterature by indicating that that the truth position ofHadithliterature is merely expressed in likely footings. Wael Hallaq is a advocate of this line of logical thinking, reasoning that the early and mediaeval Muslim bookmans acknowledged that theHadith’struthfulness can non of all time be known apodictically [ 12 ] . Hallaq pointed out that theHadithare separated into theMutawatirwhich figure less than a twelve and are provably true, and theAhadwhich are merely thought to be likely true [ 13 ] . Since the majority of theHadithHagiographas autumn into the latter class they can non be capable to the Western historical unfavorable judgments that authors such as Weir and Goldziher subject them to. While the above Muslim writers chose to put their focal point upon when fictions began to happen in theHadithliterature, other bookmans such as the Pakistani bookman Fazlur Ra hman deny the strong presence of fictions withinHadithliterature. In his book Islamic Methodology in History’,Fazlur argues that in line with the Arabic tradition of passing down verse forms, expressions, and statements of their Judgess and tribal leaders, there is no uncertainty that the workss and stating of person they considered to be the Prophet of God would be narrated every bit accurately as possible [ 14 ] . Rahman argues that the rejection of this natural phenomenon is equivalent to a grave unreason, a wickedness against history [ 15 ] . Despite the fact that Rahman argues that theHadithcompetently covers Muhummad’s behavior, he does profess that it besides contains extra stuff such as asides, analogies, and new thoughts, but that these add-ons are non needfully pure fictions based upon falsenesss. So while Muslim bookmans do reason about the extent to which fictions have occurred inHadithliterature and when they began to happen, it is clear that they are much less critical of the pervasion of fictions withinHadithliterature than Western bookmans. TheHadithliterature was originally transmitted from one individual to another through unwritten agencies. When they were recorded in the written word they were by and large accompanied by a series of links between the people who originally transmitted the narratives or cognition contained within theHadith. This concatenation of transmittal, referred to as theisnad, was closely studied by the medieval and traditional Muslim bookmans who sought to find whichHadithswere falsified and which were a true word picture of the life and behavior of Muhummad. For aHadithto be considered echt it had to hold an unbrokenisnadconcatenation with no spreads in the transmittal and the personal unity of the people quoted in theseisnadswas of tantamount importance in finding if theHadithwas to be considered dependable. [ 16 ] This close appraisal of theisnadscame to be known as the Science of the Hadith’ which was unusually sophisticated and at one phase was divided up into 200 sub-fields of ques tion [ 17 ] . In add-on to the close appraisal of the attach toingisnadof each piece ofHadithliterature, Muslim scholars besides note that thematn, or the content, of eachHadithis besides of import. On the footing of the methods of unfavorable judgment developed by Muslim critics, there were legion rules for the unfavorable judgment ofmatnthat were utilised in finding the possible fiction of each personHadith. For illustration, the Traditions incorporating disproportionately high wagess for undistinguished good workss or disproportionately terrible penalties for ordinary wickednesss must be rejected ; the Traditions incorporating the excellence and congratulationss of individuals, folks and peculiar topographic points should be rejected ; the Traditions which contain elaborate prognostications of the future events with day of the months must be rejected ; and the Traditions containing such comments of the Prophet as may non be in maintaining with his prophetical place, or such looks as may non be suited to him, should be rejected. [ 18 ] This method was besides applied in order to do cross comparings between theHadiths. For illustration, theHadithsof different pupils of the same bookman were compared in order to turn up inaccuracies and falsenesss. In add-on to this method, the statements of a individual bookman at different times were compared. This method of unfavorable judgment was applied to look into whether the sender added something to the Hadith or it remained the same as he transmitted it before. Finally, harmonizing to theMuuaddith?n, the information gained from books is more reliable and accurate than what is based on one’s memory. The German bookman Ignaz Goldziher was among the first of Western writers to knock the methods of the traditional Muslim bookmans in placing forgedHadithliterature. Goldziher criticised these bookmans for puting their primary focal point when look intoing counterfeits on the accompanyingisnad( concatenation of transmittal ) and paying less attending to thematn( content ) of theHadithtradition. When theisnadis the primary standards for placing counterfeits, argues Goldziher, of import incompatibilities in the content ofHadithliterature are frequently unmarked [ 19 ] . One of the important hints for Western bookmans that aHadithTradition is deceitful is through placing mentions attributed to Muhummad refering events which could merely hold taken topographic point after the decease of Muhummad. Western bookmans make the premise that this occurs due to the fact that possibly people wanted to do their ain doctrinal place more legitimate by imputing it straight to Muhummad. For illustratio n, when Western bookmans see aHadiththat says When a Prophet was still among us, we compared no work forces with Abu Bakr and, after him, with Umar, and so Uthman. We made no differentiation between the staying Companions, ( Abu Dawud ) they point out that this is a direct mention to the split between the Shiites and Sunni Muslims which occurred long after the decease of Mohummad. Therefore, in the eyes of Western bookmans, thematnof thisHadithis historically inaccurate and it must be considered a counterfeit [ 20 ] . From this illustration it becomes clear that from a Western point of view aHadithmust be capable to strict scientific and historical standards, but from a Muslim point of view it must run into wholly different standards which are chiefly based upon the personal unity and honestness of the people mentioned in the concatenation of transmittal. This is merely one illustration of the divide that separates the two ways of analyzing spiritual texts for truth. From the literature reviews explored in this research undertaking it has become clear that there is undeniable grounds in support of the impression that a great manyHadithTradition came into being from mere fictions of the life, words, and workss of the Prophet Muhummad. However, these Traditions were sifted out and set under probe through textual unfavorable judgment by Traditional Muslim bookmans who devised vigorous standards for sorting the Traditions harmonizing to the nature of thematnand theisnadof each peculiar piece of literature. Despite these great attempts to place fictions, Western writers have been really critical about the historical and scientific truth of these methods. From a Western position the honestness and personal unity of the people quoted in theisnadof each peculiarHadithis non sufficient grounds to propose historical truth in theHadith, which has been the primary tool of probe employed by Muslim bookmans to place counterfeits. To Western bookmans the survey of thematnis of greater importance, and even if thematncontains no incompatibilities, absurdnesss, or inaccuracies, Western bookmans remain firm in their point of view that these standards entirely can non be sufficient for labeling literature as historically accurate. One ground to account for this can possibly be found in the fact that these bookmans have no spiritual jussive mood to happen truth in these Hagiographas, and whether they be proven to be fact or fiction has no consequence on their personal or spiritual lives. Regardless of the grounds which underlie this disagreement in sentiment between Western and Muslim bookmans, the divide in sentiments is prevailing with important ideological differences in the attack to the spiritual tradition of Islam as a whole and is non likely to be reconciled with the debut of any longer rigorous analytical standards ofHadithtexts. Mentions As-Siba`i, Mustafa.1961,As-Sunnah Washington Makanatuha fi at-Tashri` al-Islami. Cairo: Dar al-`Urubah. Azimi, M. M. , 1977,Surveies in Hadith Methodology and Literature, Indianapolis: American Trust Publications. Fazlur, R. 1965,Islamic Methodology in History, Pakistan: Central Institute of Islamic Research. Garden, K. 2005,The Koran and Hadith, Middle East Institute, Viewed April 22neodymium2006, lt ; www.mideasti.org/articles/doc395.pdf gt ; Goldziher, I. 1967,Muslim Surveies, London: George Allen A ; Unwin LTD. Hallaq, W. B. 1999, The Authenticity of Prophetic Hadith: A Psuedo-Problem, ’ inStudia Islamic, Vol. 89, pgs. Juynboll, G. H. A. , 1969,The Authenticity of the Tradition Literature, Leiden: E. J. Brill. Nasr, A. , 1992,Dabit Ar-Riwayah `inda Al-Muhaddithin.Rottenstone: Dar ash-Shuruq. Shabbir, M. 1982,The Authority and Authenticity of Hadith as a Beginning of Islamic Law,New Delhi: Kitab Bhavan. Zubayr Siddiqi M. , 1961,Hadith Literature: Its Origin, Development and Special Features, Calcutta: Calcutta University Press.

Essay about study guide

Essay about study guide Essay about study guide Introduction: Role of IS strategy in business organizations: manages how people work, must be managed as a critical source, IS are part of almost very aspect of the business, IS enable or inhibit business opportunities and new strategies, IS can be sued to combat business challenges from competitors. It is an ongoing process, you have to be constantly evaluating. People and technology work together, integrating business and information systems. â€Å"digital natives† who grown gaining expertise in IS. IS is only getting cheaper and easier, so it is hard to keep a competitive advantage. MANAGERIAL ROLES : VISIONARY, INFORMATION AND INTEPERSONAL, STRUCTURAL, (FIG 1.2). Mintzeberg describes anagement in behavioral terms, by categorizing three major roles of a manager: interpersonal, informational and decisiomal. This model is useful because it considers the chaotic eneviroment in which managers live in (1.4) CLASSIC MANAGEMENT MODEL: INCLUDES FOUR ACTIVITIES PERFORMED BY MANAGERS TO REACH ORGAZIATIONAL GOALS AND EACH DEPENDANT ON THE OTHERS: PLANNING, ORGANIZING, LEADING, CONTROLLING. (1.3) Functional view: based on the functions that people perform such as accounting, finance, marketing, operations and human ressources. Information ressources flow up and down through specialized sets of tass , information first flows vertically up and down between line positions and management , after analysis it may be transimitted across aother functions for use elsewhere in the company. Process view: describing business in terms of primary and support activities, that are performed to create delover and support a product or service.primary activities (inbound, logistics, marketing sales, services )are those that transform the business from a raw product into a set of values, this value chain is supported by cpmmon activities shared across all the primary activities(support activites) (1.6) process view related to the value chain. Information hierarchy:data, information, knowledge.(15) 1.7. 1.8 Informations doesn’t wear out, it can become obsolete or no true, IS replicated at almost zero coset without limit, doesn’t physically exists, when sold seller may still process and sell again.price based om value of the customer (1.9) IS: technology, people, process.(1.10) , information systems, management. Chapter 1: Business strategy from mission statement of the organization: te different steps of how the business is going to get there. Organizational strategy: includes the organization’s design as well as the choices it makes to define, set up, coordinate, and control its work processes. The organizational strategy is a plan that answers the question: how will the company reorganize to achieve its goals and implement its business strategy? Porters competitive advantage: cost leadership, difrenciation, focus (1.3) , an application of these dynamic business processes (ability of the firm to adjust to the rapid changing environment and adjusting its organizational ressources ) is destroy your business like the example of GE. Figure 1.4 looks at the differences between these two models. Organizational strategies :The business diamond: it identifies the crucial componenets f an organzoatioms’ plan as its information/control, people, tructure and tasks. All of the componenets are inrelated. Over the years there has been variations of this model, substituting terms like business processes, culture and management systems for leavitt’s orginal terms. All the componenets impact one another so for example if an organization tres to change its people but fails in changing its processes, this can have a huge impact on the prganzixaton vecause they all work together. Fig 1.5 all of them are interelatesd. Collaboration: using social IT to extend the erach of skateholders, both employees and those outside the entreprise walls. Social IT such as social networks enable individuals to find and connect with each pther to share

Prominent economist Essay Example | Topics and Well Written Essays - 250 words

Prominent economist - Essay Example Ken went ahead to prove the existence of the theory in a practical aspect coming up with critical theorems. He did proof the existence of the theorem. Most significantly, he came up with the social choice theory, while in his PHD research he came up with the Arrow impossibility theorem. In essence, his research in health care economics revealed startling results, with close relation to insurance, its market value, and marginal share costs (Pauly, 2001). Most significantly, his distinguished position as a professor in Stanford Operations Research Department gave him more energy to provision of solutions to linear programming. As a mathematical economist, he came up with diverse policies with different implications in the economic field. He did oppose the governmental urge to support the ushering in the supersonic passenger plane. He has been the chairperson of national Institute of Medicine committees, whose core aim is to advocate for affordable malarial treatments in Asian and African countries. Essentially, his articles and published works are reckoned all over. He has over a hundred articles, twenty-two books as an author or co-author, an editor to 24 books, done forty-one non-technical articles and overwhelming 226 research publications. With the summed up achievements, it is no doubt that Kenneth remains an icon and a hero in the economics

Cold War Essay Example | Topics and Well Written Essays - 750 words - 4

Cold War - Essay Example The USSR needs to take a firm stand on the Afghan war. If we cannot, the war may be lost, and soon it will be difficult to contain the internal masses. If the war lasts for another four years, it will easily cripple our already fragile economy. It will be difficult to justify to the subjective masses why we sponsored the war without the necessary capacity to sustain and win it within acceptable time frames. Winning in the nearest future (perhaps one or two years) means that the USSR has to commit more resources to the war, on such a large scale as to beat President Reagan’s enormous funding. While such a move is relatively highly risky and a huge gamble, its success will be the ultimate prize. One serious and immediate concern for your leadership is the growing influence of the US in Western Europe. We understand that the United Kingdom and France are jointly building aerial interception centers and equipment for launching long-range missiles. In fact, our intelligence has gone beyond this public faà §ade and exposed the real reason why the centers are being built. These are centers for launching both ground and aerial attacks on the USSR and conduct aerial surveillance in the country. Without the possible option to bomb these centers down, for the obvious reason we feel we may not amicably bear the escalated consequences of such a move, it is important to set up a counter-station in Eastern Europe for our own protection. Recently, the US has shown greater willingness to engage us in a nuclear war.