Write a three to four (3-4) page paper that answers the following three (3) items using headers to separate each item:
Discuss either two (2) civil liberties or two (2) civil rights events. One event must be from within the last two years, and the other may be from the past. Select events that have influenced a sense of social responsibility in the American government today. Provide examples to support your answer. In your response, consider how the events influenced the way state, local, or national political leaders or agencies responded in a socially responsible or ethical manner toward the community. Please cite your sources using Strayer Writing Standards. See below for details. Discuss two (2) media events (past or present) that have positively and/or negatively influenced the public’s opinion of a government agency. One event must be within the last two years, and the other may be from the past. Provide examples to support your answer. Consider how a news story or media coverage of an event positively or negatively changed the public’s opinion (or perception) regarding how responsible a government agency should be towards meeting the needs of its customers (i.e., the American people). Please cite your sources using Strayer Writing Standards. See below for details. Discuss two (2) differences between the Republican and Democratic parties that may have an ethical impact (positively or negatively) on the American people. Provide examples from the past 2 years to support your answer. Consider the different ideologies, values, morals, and/or goals held by the Republican and Democratic parties, and their different views on the ethically or morally right way to govern and make the best policies for the people they serve. Determine if your example presents any type of ethical concerns for or against the public best interest of the American people.
Picture Analysis of Cleopatra Disclaimer: This work has been presented by an understudy. This isn't a case of the work composed by our expert scholastic authors. You can see tests of our expert work here. Any feelings, discoveries, ends or proposals communicated in this material are those of the writers and don't really mirror the perspectives of UK Essays. Distributed: Thu, 09 Aug 2018 This paper investigations non-artistic sources as far as what data they can give about Cleopatra, including visual pictures, examinations of numismatic proof, and examination of engravings. The paper depends on six fundamental sources: Austin's The Hellenistic world: from Alexander to the Roman success. A choice of old sources in interpretation; Goudchaux's 2001 exposition entitled Cleopatra's inconspicuous religious system, found in Higgs' and Walker's Cleopatra of Egypt: from history to legend, or, in other words source; Holbl's History of the Ptolemaic Empire; Howgego's Ancient history from coins (moving toward the antiquated world) and Pollitt's Art in the Hellenistic Age. From these sources, pictures of Cleopatra, from figures, ceramics, mosaics and coinage, among others, are talked about, and their significance to Cleopatra's picture are dissected and examined. As Howgego (1995) contends, coins have much more than money related esteem, they can be vital in characterizing influence and influence structures, regarding legislative issues and as far as government, perceiving, in any case, that is hard to portray old political and influence structures in present day terms, as they were so altogether different from the structures that are around right now, and, accordingly, depicting such structures as far as current definitions can frequently itself prompt misconceptions and blemishes in research attempted. Most by far of coins that are known, for instance, indicate Cleopatra as a Hellenic ruler, in spite of the fact that she was, obviously, the last Queen of Egypt. This validates the way that Cleopatra was an incredible controller, and that, undoubtedly, she controlled her picture while alive with the end goal to hold control, in governmental issues, and over individuals. Depicting herself in Hellenistic pictures enabled Cleopatra to show to her kin that she was leader of Egypt, as well as, through her control of Alexandria, leader of the majority of the Hellenistic world. As Goudchaux calls attention to in his 2001 paper Cleopatra's unpretentious religious system, Cleopatra was a Ptolemy who spoke Egyptian. She had guarantee to An egyptian area, through her family, and furthermore to Hellenistic terrains, as contemporary coinage recommend. Cleopatra in this manner had political and regional control of numerous grounds, and furthermore moved uninhibitedly between numerous societies, acknowledged as she was in Egypt and over the Hellenistic world. Goudchaux (2001) contends that she was an inventive ruler, and without a doubt a result of her family's capacity and history. In this article, Goudchaux (2001) makes the point emphatically that Cleopatra needed to comprehend Egyptian ideas of religion as she understood that religion was one of the bonds which joined the Egyptian individuals and which made a bond with the land, as far as individuals having a point of convergence in the sanctuaries, which were all committed to Egyptian divine beings. All things considered, Cleopatra knew that, in a few regards, by controlling religion, she would control the Egyptian individuals. Clerics, Cleopatra acknowledged, were the most astounding pinnacle of Egyptian culture, with ministers ordering extraordinary regard and holding society together. Cleopatra understood this, understood the intensity of religion in Egyptian culture, and it is realized that Cleopatra herself held incredible regard for Egyptian clerics and did all that she could to comprehend Egyptian religion, as far as keeping ministers near her and guaranteeing that they pursued her run the show. This she at that point used to frame bonds with Roman commanders, for instance, Caesar, and, undoubtedly, Cleopatra constructed a sanctuary in Rome when she visited Caesar. Romans observed Egyptian style to be in vogue sooner or later in their history, yet as Cleopatra would later understand, this was a brief form, which before long dropped out of support with the dominant part of Roman rulers. Cleopatra, in this way, as Goudchaux (2001) clarifies, was a shrwed legislator, who comprehended what should have been done, and when, with the end goal to stay up to date with moving force battles, and to keep hold of her domain, which numerous individuals needed (counting the Roman officers). Cleopatra's exceptionally political character, in which she utilized her associations with numerous societies (Ptolomeic to Egyptian to Roman to Hellenistic) to accomplish her political points, as per the requirements of her kingdom as she saw them, itself prompted numerous pictures of Cleopatra being delivered. We have pictures of Cleopatra looking Egyptian, and pictures of Cleopatra looking Egyptian yet with some Greek highlights, for instance. These pictures are helpful in that they enable pieces to be dated precisely, as indicated by Cleopatra's known developments and cooperations with different rulers. As Goudchaux (2001) contends, as we have seen, Cleopatra was very much aware of the intensity of symbolism, and she utilized symbolism as a political device, regarding guaranteeing her self-introduction was impeccable with the end goal to accomplish her political points. As Walker (2001) contends, in his paper in Higgs and Walker (2001), Cleopatra was an ace controller, enabling pictures of herself to be made as the need emerged, with the end goal that we have pictures of Cleopatra that are Egyptian in inception, for example, Egyptian reliefs, which demonstrate Cleopatra as glorious, and all ground-breaking. We additionally have Roman pictures of Cleopatra, which, while on its essence appear not to compliment, as they demonstrate Cleopatra as womanly and in relatively explicit positions, at the same time, comprehended with regards to Roman culture around then, are really a compliment to her womanliness, and a method for introducing Cleopatra to the Romans in a way which would be valued by this general public. Different pictures of Cleopatra, from coins, for instance, indicate Cleopatra with exceptionally solid highlights, not under any condition excellent as is ordinarily assumed, and are believed to be a reflection, a re-go up against the likeness of her dad, Ptolemy XII, as a method for reviewing her ancestry to her kin. Symbolism of Cleopatra is hence both mind boggling and confused, and with the end goal to comprehend Cleopatrian symbolism, one needs to peruse this symbolism with regards to the time at which it was made, and what political happenings were happening at the season of the picture being made. Higgs and Walker (2001) broke down about four hundred antiques identifying with Cleopatra and her life, trying to comprehend Cleopatra's iconography. The book, or, in other words list of the British Museum presentation of a similar name, incorporates numerous new pictures of Cleopatra, including some papyrus bearing her mark which was as of late found, has caused as much sensation as the show, with numerous old researchers contending against the book, that it doesn't contain adequately top to bottom research, and that the examination it contains isn't high caliber. This admonition aside, the altered book contains many intriguing articles, among them Higgs' Searching for Cleopatra's picture: established representations in stone which clarifies that it is, really, to a great degree hard to recognize Cleopatra in old models, specifically, on the grounds that, as we have seen, Cleopatra was an ace controller of her picture, and in that capacity, there are a wide range of sorts of pictures of Cleopatra, and after that, over this, as a result of the masterful permit that numerous specialists took when characterizing Cleopatra in their work. Higgs selects some of what he considers to be basic highlights of any picture of Cleopatra, including snakes, haircuts and heads which are isolated from the body (speaking to, peculiarly, power), and demonstrates that these highlights can be utilized, by and large, to recognize pictures of Cleopatra. Goudchaux's article in this volume, as we have seen, is to a great degree valuable in going to some comprehension of the symbolism of Cleopatra, regarding her religious convictions and her utilization of religion to pick up, and keep up, political power, yet it is additionally helpful in indicating how emotional examinations of pictures of Cleopatra can be, and how maleable these pictures are, in that one individual can take a gander at a picture of Cleopatra, on a coin for instance, and think that its wonderful, while someone else can take a gander at that exceptionally same picture and find not excellence, but rather plain loftiness, for instance. As Goudchaux states, the way that a large number of Cleopatra's coins were made not from gold but rather from silver combinations, implies that a portion of these coins have not survived well and that, in view of this rot, they can give mutilated pictures of Cleopatra, basically by ethicalness of their harmed condition. This debasement of symbolism additionally should be considered, Goudchaux contends, while surveying the power and reason for pictures of Cleopatra, and the data that can be picked up from such pictures and symbolism. This examination of the different pictures of Cleopatra and the manner by which Cleopatra controlled her picture, and enabled her picture to be controlled, as a method for picking up and keeping up control over her kin and over remote rulers appears, eventually, the need for Cleopatra to act in the manner in which she did, as far as decision over a land that numerous individuals needed to pick up control of, from a city that the Romans wished to run the show. Her control of her picture, on coins she stamped, for instance, was, as Howgego (1995) contends, an immediate path for Cleopatra to depict the picture of herself that she needed to depict to her kin, with the end goal to pick up the impact she needed to pick up from her kin i.e., accommodation and support. As Higgs and Walker (2001) appear, through their decision, and indexing, of about 400 antiques identifying with Cleopatra, Cleopatra was not only her very own ace controller picture: she utilized craftsmanship and symbolism as a political device, trying to pick up impact abroad. Higgs and Walker (2001) contend, for instance, that the Ro>GET ANSWER