Ethical Issue Analysis Essay Example | Topics and Well Written Essays - 2500 words

Ethical Issue Analysis - Essay Example This makes them be accountable for their actions since the current working situation is more demanding not only to the customers alone but also to the society at large. This is not an exception for a dental college that is not yet well established in the sense that they could be lacking the appropriate facilities to offer quality training for the students. Fairness and honesty become a big issue in the sense that ethics are considered a moral dilemma. Brighton dental college has been established through the efforts of a community that is prone to dental diseases. This was regarded as a short cut to achieving good health for the teeth in future. The administration thought that sustainable development for all institutions in the society would start with the society itself coming up with strategies to help them. With time the college was expected to expand into a bigger institution and therefore for a start, it was advisable that they come up with flexible ethical considerations that would ensure that all those interested in pursuing a career course were included. Among the key players were the community itself who were regarded as a force with which the college would work for. It was assumed that once the college had accepted the introduction of the college into the society, they would be given an appropriate setting where they would slowly establish themselves. The institution itself has a team of tutors who are expected to deliver quality education with which they can attract more learners. To enable this to become a reality, the ethical considerations that are put in place should be those that the society can withstand. As a dental college, the management is expected to act according to its moral guidelines so as to be able to attract a large number of dental students to the college (Glenn & Rowe, 2010). However, this may not be the case since they do not have stable facilities and have to, therefore, come up with strategies though which to serve students

Competitive advantage through quality management in Universities Essay

Competitive advantage through quality management in Universities - Essay Example It is clear that no institution can possibly have infinite resources, and this is the context in which management becomes relevant and important. Especially, in the case of a university, which is viewed by our contemporary society as a non-profitable platform to impart knowledge to the upcoming generation, the resources can even become sparse. Yet when it comes to educating our future generation, the limitation of resources cannot be an excuse for lower quality. At any cost, a society needs to develop its youth so that the nation can progress and ensure the well-being of the people. In this backdrop, an educational institution like a university has to become immensely resourceful on how to put to optimum use its available resources. Yet another benefit of quality management, which is equally important, is that it the present scenario, any organization needs to be competitive to survive and be successful, and ensuring quality can guarantee this requirement. Daunoriene (2011) has identified the key benefits of quality management as â€Å"increasing profit, reducing costs and developing competitive advantage† (p.717). Though this essay is focusing on the importance of quality management to â€Å"developing competitive advantage† alone, it can be seen that cost reduction and enhancing income will also eventually add up as essential ingredients of â€Å"competitive advantage† (Daunoriene, 2011, p.717). ... Though this essay is focusing on the importance of quality management to â€Å"developing competitive advantage† alone, it can be seen that cost reduction and enhancing income will also eventually add up as essential ingredients of â€Å"competitive advantage† (Daunoriene, 2011, p.717). It has already been made clear that for a university, quality management is synonymous with knowledge management and the management of knowledge creation. This will involve a maximum and effective utilization of infrastructural resources as well as â€Å"intellectual resources† (Ahmadi, 2012, p.691). Here, knowledge is defined as â€Å"a combination of data and information to which the expert opinion, skills and experiences are added to help make correct decisions† (Ahmadi, 2012, p.695). Ahmadi (2012) has listed the various elements of knowledge management as â€Å"customer orientation, organizational learning, promote corporate culture, leadership and smart decisions, red esigning processes, generating new knowledge, converting tacit knowledge into explicit knowledge, and attention to the knowledge of people and the elite† (p.691). Keeping in view these specific elements, it has to be examined how they can contribute to competitive advantage. The four steps involved in this could be â€Å"identification and production of knowledge, storage and coding knowledge, knowledge dissemination and publication, and utilization of knowledge and getting feedback† (Ahmadi, 2012, p.692). These steps can also be converted into a six-stages process in which the stages are â€Å"knowledge identification, knowledge acquisition, knowledge development, knowledge sharing and distribution, operation and maintenance of knowledge, and using knowledge† (Ahmadi, 2012, p.692).

The Role Of the Teacher by Irving Layton critique Essay Example for Free

The Role Of the Teacher by Irving Layton critique Essay The essay The Role of the Teacher written by Irving Layton reviews the current state of our ever criticized school system. The author shows us how we view the problems of the school system and explains how and why we place blame on teachers. He shows how penny-pinching school boards'(p145) are the real ones to blame and not the teaches whom are the easiest to confront. A feeling has grown that schools and universities are not achieving that which they were intended: namely , the enrichment of the individuals life by giving him the tools of self improvement and the cultivated mind to use them'(p145) is how most people view the school board and what the author is trying to discuss. The author uses a logical pattern and an expository purpose. The author uses opinion based format for this essay. Irving Layton uses metaphor in his essay. books have become objects of curiosity; like an atomic pile, something heard about but never seen'(p145) This sentence lets people relate with the point that author is trying to get across to the reader. The reader now has a mental reference or link to what is being described so he can now better understand what he is reading. This stylistic device is used effectively in this essay. Knowledge spills over like a water from a seemingly inexhaustible fountain.'(p146) This is a good use of imagery. By applying this description of endless knowledge to a fountain or waterfall the reader can make a mental picture better allowing him to comprehend exactly what the author is trying to discribe. It is very hard to understand what endless knowledge would be like, so the author puts a picture of a fountain spewing knowledge forever, making the idea more plausible to the reader. The author did not use too many stylistic devices to prove his point. The few that were used only made the facts easier to grasp. The essay was based on opinion and the writer, used very relevant topics to get his point across and make the reader sympathetic to his views. Personal opinion is the main structural device used throughout the essay. If education means anything, it should mean the creation of individuals with a strong sense of social responsibility'(p146) Since this essay is in the Writing To Pursued section of the book the essays must have facts and opinions to move the reader to the writers opinion. The essay is describing the faults of the school system, this is the authors opinion. Since it is opinion based it can be argued that the school system is in a good condition. (I wouldnt) The essay was very effective because it used many relevant topics and ideas. It properly adjusted the blame from the innocent teachers to the greedy school boards, where the blame should be. Parents and alike see the faults of the schools and automatically place the teachers in the spotlight because they are the more tangible then a school board which has no shape to it.

Career Of Pedro Almodovar Film Studies Essay

Career Of Pedro Almodovar Film Studies Essay Pedro Almodovar is undeniably one of the great film auteurs of our age, having defined decades worth of Spanish national cinema. As stated by Isabel Cadalso By the time Francos death released Spains seething subculture, Almodovar was at the centre of it. (Cadalso)His combination of witty, flamboyant and daring scripts, brilliant performative actors and the vibrant setting of Spanish culture in Madrid always manage provide an in depth insight into the turbulent lives of his characters. Madrid has figured prominently in Pedro Almodovars cinema, gradually coming into focus as the implicit protagonist of nearly every work. In these films, the city is regularly images as a cultural force, producing forms of expression and action that challenge traditional values by tearing down and rebuilding the moral institutions of Spanish life: the family, the church and the law. (DLugo)There are always many layers to Almodovars films, particularly in the setting and social context, usually being Madr id. Throughout his career we can see how they have developed with the changing political climate of Spain as well as his maturing age, with his films being particularly different from the 80s to the 90s and onwards. Madrid is a metaphorical subtext in his films in many different ways, be it relating to characters, situations they are in or the political climate. As stated in A Punk called Pedro Madrid functions as a character, breaking down boundaries between the public and the private arenas. Madrid provides a framework for the new interactions between social behaviours and becomes the site of a radical series of social desires. (Toribio) Madrid is a place for Almodovars characters where They are able to seek kindred spirits in an atmosphere that is socially liberating and the impetus for new artistic creativity. (Toribio) As the city it changes, adapts and explains much of the action that is not in Almodovars films. Early in Almodovars career, he directed two fantastic, yet very different films; Labyrinth of Passion and Matador. These films were both critically acclaimed and duly noted for their vibrant display of Madrid as setting and as a representation of the new Spanish culture. As written in Pedro Almodovar: A Spanish Perspective during the 1980sSpain was experiencing a fascinating period of giddy and radical changes. It was a country thousands of miles away from the distorted portrait Franco had shown to the rest of the world, a portrait that fit only within the hypocritical moral values of a dictatorship. (Cadalso)It was during this period that Almodovar thrived and these two films were made. Madrid is the realistic, almost unaltered decor in which Pepi, Luci, Bom and Labyrinth of Passion were filmed and in which the characters could move more freely, reflecting the experience of a generation of Spaniards, like Almodovar himself, who could only quench their thirst for creativity in the la rge urban areas: cityscapes in these early films tend to emphasize the concept of physical movement and social mobility underscored the very word, Movida, movement.' (Toribio) We can see in Labyrinth of Passion the colourful new wave of Spanish culture, so vibrant and different to anything previously known to Spain. A prime example of this is in El Rastro a Sunday street market of Madrid, which was an important showcase for all subcultures, but significantly for the movida, because of its unsanctioned and vaguely transgressive status. It was used as a meeting place and some stalls displayed their fanzines, records of emergent punk groups etc. For this reason it is an apt setting for Labyrinth of Passion (1982), especially the opening scene where it becomes Sexilias shopping area for sex partners. (Toribio)We see the completely different society to that of what we would have seen under the Francoist regime, there is liberty and freedom, life and passion, which had not been experience d before, culminating in a paradise of difference. As kinder states The tortuously complex plot follows the tangled passions of an ensemble of young Madrilà ¨nes trying to escape the crippling influences of repressive fathers in order to pursue their own pleasure. (Kinder) The subtext of Madrid is telling us how The Castilian director unfolded his passions amid a society that had just started to enjoy its own freedom. His uncontrolled and colourful films found a receptive audience in a population that was eager for spontaneity and light, for new stimuli that could again bring joy to the living. The Mediterranean spirit of freedom had been squeezed for four decades, and suddenly there was Almodovar, who dared to show on screen all the passion that previously had been politically impossible for Spanish society or its arts to express. (Cadalso)We see as Sexilia moves through the city how there are many kindred spirits reciprocating the feeling and the buzz, yet there are also occasion ally non-movida city people, dressed in drab colours and expressionless, provide a background against which Sexilia, in her colourful attire, is distanced from the Spain they conjure up. (Toribio)This heightens her difference from traditional Spain and the old regime. In hiding the citys shortcomings Almodovar was able to reveal the mood of the country once more as it progressed through the initial euphoria of democracy into disenchantment. (Toribio) This shows how Maria fits into the Madrid setting and population easily with the new mentality and expressionism present in the place and her peers. In Matador we also see the new Spanish mentality evidenced through Madrid and its citizens. As stated in Pleasure and the New Spanish Mentality, it is a fast paced revolt that relentlessly pursues pleasure rather than power and a post modern erasure of all repressive boundaries and taboos associated with Spains medieval, fascist and modernist heritage. (Kinder) We see Diego furiously masturbating to dead bodies and mutilation, Maria stalking her prey in the dusty court yards of Madrid and Angel training to be a Matador in the bull fighting school. The setting of Madrid allows these events to be believable as it is part of Spanish culture to fight bulls as well as being renowned rampant lovers. Almodovar says I believe that our culture is more visceral. Intuition and imagination influence us more than reason. There is more adventure and spontaneity. We dont fear disorder or chaos. (Kinder)Appreciating this we see characters not traditional of Madrid or even Spain. To many, out of thi s context the events and people would seem perverted or unbelievable, yet Almodovars style and use of Madrid and its social context allow us the insight to look past the moral conflict we may experience. As Almodovar himself stated I always try to choose prototypes and characters on modern day Madrid, who are somehow representative of a certain mentality existing today, I think that since Franco died new generations have been coming to the fore, generations that are unrelated to former ones, that are unrelated to the progressive generations that appeared during the last years of dictatorship. How do people 20 years old live in Madrid? Its quite complex The characters in my films utterly break with the past, which is to say that most of them, for example, are apolitical. (Kinder)We can see how Spain has changed more in Almodovars films simply by viewing them, as this kind of film would never had been made under Franco. This is evidenced by another quote from Almodovar where he explai ns his films; They represent more than others, I suppose, the new Spain, this kind of new mentality that appears in Spain after Franco dies. Above all, after 1977 till now. Stories about the New Spain have appeared in the mass media of every country. Everybody has heard that now everything is different in Spain, that it has changed a lot, but it is not so easy to find this change in the Spanish cinema. I think in my films they see how Spain has changed, above all, because now it is possible to do this kind of film here. (Kinder)This is clearly shown and epitomised through his use of Madrid as the setting. The subtext of the city allows us an insight into the change of Spain as a whole. If we analyse Matador in a much more literal sense we can gather an even greater insight into the new Spanish mentality. It shows many famous and recognisable locations such as the scene where Maria is on the bridge and Diego is looking up at her after following her through Madrid. The bridges location is the Segovia Viaduct in southern Madrid, a notorious suicide spot since the nineteenth century. (Smith, Desire Unlimited: The Cinema of Pedro Almodovar)This provides an understanding of the character of Maria and her internal conflicts for natives of Spain who know the significance of this bridge, yet for the international audience it is still enough of a clue to foreshadow the film. Almodovar also makes a cameo appearance as the designer in the fashion show, that Eva is part of, where he tells scatty reporter Veronica Forque that the show is called Spain Divided, because Spaniards are either envious or intolerant. Almodovar thus invokes, parodically, the topos of the two Spains, of the painful divisions notorious in Spanish history, but in a playful register which deprives such clichà ©s of their continuing resonance. (Smith, Desire Unlimited: The Cinema of Pedro Almodovar)His use of Madrid as a forum for these insights allows the viewer an in depth comprehension of the social subtext prevalent in post modern Spanish culture. Almodovar states We have consciously left behind many prejudices, and we have humanised our problems. We have lost the fear of earthly power (the police) and of celestial power (the church), and we have also lost our provincial certainty that we are superior to the rest of the world that typical Latin prepotency. And we have become more sceptical, without losing the joy of living. We dont have confidence in the future, but we are constructing a past ourselves because we dont like the one we had. (Kinder) It is this kind of New Spanish Mentality that he shows in Madrid, representing Spain as a whole. Moving into the 1990s we see a slightly different take In Almodovars films, particularly in Live Flesh, where he directly confronts Franco and his regime at the beginning and culmination of his film. It was highly popular as it showed a maturing of Almodovar and its appeal to social and historical issues was untouched by the directors previous films. (Smith, Live Flesh) He states Yes, my relationship with Madrid is less intense now. Being known makes it harder for me to have a relationship with the reality of the city. And if I dont know it, I dont deal with it; I move to the reality of interiors. Its something like a married couple who are together out of habit, but Im longing to leave for other places. (Delgado)This could be why he shows Madrid in a past time of turmoil where its citizens were scared and helpless, rather than the times he thrived in and is most known for portraying in his films. Madrid, however, is not a static setting. Almodovar increasingly manipulates our view o f the city scape and adapts the mis en scene to the social advancement of his characters. (Toribio)Madrid changes as a setting as Victor matures throughout the film, it is a symbiotic relationship where both Spain and Victor are decidedly different and better at the end of the film. (Smith, Live Flesh) Through the subtext in Live Flesh we see what it was like in the past to be Spanish and how society rapidly changed when freedom was given. If we analyse the opening and closing in particular of Live Flesh it begins in Madrid with the ominous tones of the Francoist minister Manuel Fraga (still today a leading politician)announcing the suspension of what few civil liberties Spaniards enjoyed under Franco; it closes, boldly, at Christmas a quarter of a century later with a voice over from Victor stating that, A long time ago we stopped being afraid of Spain. The political framing of the personal melodrama makes Almodovars collective protagonist (the five central figures) the embodiment of a national narrative whose grand theme is the shift from dictatorship to democracy. (Smith, Live Flesh) From the beginning of the film we are thrust into a lonely and isolated Madrid, where no one is free and they are only out to survive, evidenced by the bus driver who is unwilling to help a pregnant woman in need. Citizens liberties are nearly non-existent, shown by the empty plazas. Madrid is used in particular for this scene as it is Removed from the provinces and the rural setting that were so familiar in Francoist cinema, the city is the only milieu in which Almodovars characters function. As DLugo points out, this may be partly because the rural and provincial settings were used to epitomize the purity of moral values which his characters reject. (Toribio)This again is evidenced by Paul Julian Smith claiming Victors birth is a new Nativity (with a bus taking the place of Christs stable) played out at a portentous time and place: a state of exception in the dying days of the Francoist regime and a spectral, deserted Madrid, lit only by tawdry neon decorations. (Smith, Live Flesh)The Madrid setting and subtext signifies the political situation the country has been immersed in. As we progress through the film and the characters develop more and more, we see how important Madrid is as a setting: by placing the characters in perfect settings where all their social and professional needs have been met, Almodovar ha s fulfilled his theory of contentment within the diegesis: the characters have no external worries and can concentrate on affairs of the heart. (Toribio)This is possibly why Almodovars films storylines and content are more accepted and believable. Madrid is the perfect setting because it encapsulates the buzz and hype of the social context but changes and adapts with the characters, allowing a deeper perception of the film. Madrid is an effective subtext in most of Almodovars films. As Toribio claims We may conclude that what comes out in the treatment of Madrid as part of the mis-en-scene is the directors own anxieties and fears inspired by a country in which the 1980s cosmetic changes have not been reflected in factual change. (Toribio)We are able to see how Madrid is very personal to Almodovar himself and his characters. The subtext of the city allows us to see the change the country has undergone to get to where it is today, mirroring the characters at the conclusion of the film. Madrid is embraced and an essential axis of meaning in much of his filmic work, while the icons of Francoist cinema those related to religion, the family, and sexual repression are set up as foils to stimulate the audience to embrace a new post-Francoist cultural aesthetic that ever present in Madrid. (DLugo) To summarise, as DLugo states, Madrid and This foregrounding of the city as an assertion of a vibrant Spanish cult ural identity is built around a rejection of the traditions that ordered Spanish social life for four decades. (DLugo)

Social, Political and Economic Effects of WWI :: World War I History

Social, Political and Economic Effects of WWI "Everywhere in the world was heard the sound of things breaking." Advanced European societies could not support long wars or so many thought prior to World War I. They were right in a way. The societies could not support a long war unchanged. The First World War left no aspect of European civilization untouched as pre-war governments were transformed to fight total war. The war metamorphed Europe socially, politicaly, economically, and intellectualy. European countries channeled all of their resources into total war which resulted in enormous social change. The result of working together for a common goal seemed to be unifying European societies. Death knocked down all barriers between people. All belligerents had enacted some form of a selective service which levelled classes in many ways. Wartime scarcities made luxury an impossibility and unfavorable. Reflecting this, clothing became uniform and utilitarian. Europeans would never again dress in fancy, elaborate costumes. Uniforms led the way in clothing change. The bright blue-and-red prewar French infantry uniforms had been changed after the first few months of the war, since they made whoever wore them into excellent targets for machine guns. Women's skirts rose above the ankle permanently and women became more of a part of society than ever. They undertook a variety of jobs previously held by men. They were now a part of clerical, secretarial work, and te! aching. They were also more widely employed in industrial jobs. By 1918, 37.6 percent of the work force in the Krupp armaments firm in Germany was female. In England the proportion of women works rose strikingly in public transport (for example, from 18,000 to 117,000 bus conductors), banking (9,500 to 63,700), and commerce (505,000 to 934,000). Many restrictions on women disappeared during the war. It became acceptable for young, employed, single middle-class women to have their own apartments, to go out without chaperones, and to smoke in public. It was only a matter of time before women received the right to vote in many belligerent countries. Strong forces were shaping the power and legal status of labor unions, too. The right of workers to organize was relatively new, about half a century. Employers fought to keep union organizers out of their plants and armed force was often used against striking workers. The universal rallying of workers towards their flag at the beginning of the war led to w ider acceptance of unions.

Female Marital Submission in The Yellow Wallpaper :: Charlotte Perkins

Female Marital Submission in "The Yellow Wallpaper" by Charlotte Perkins "The Yellow Wallpaper" explains a woman's life in that time period, especially that of the narrator, who is living a life of a typical housewife of that time, but who is not able to cope with the oppression. Seems like the narrator fails to see her imprisoned state till towards the end of her story. The main character or the narrator is married to a doctor who is a typical male of those times. Also she has a brother who is in a similar profession as her husband. The narrator knows that she is not too well and that John - her husband does not realize the intensity of her sickness, he ignores her continuous efforts to make him aware of the real situation and her suffering. To make the situation worse he imposes his opinions on her even when it comes to her health. This story shows us the life and the thoughts of the narrator which lead her to be free, but go out of her mind in the sense of the real world. This story is written as if the narrator is writing it. The narrator is sick and her husband has made her a study project, She is continuously watched and thus she has no privacy. The critic of this paper Beth Snyder points out a similar view Hon's condemnation of both the narrator's imaginative vagaries and her writing impels his wife to write in secret and to seek a kind of obscurity in the bedroom, because no one must "find" her writing. Writing, then, becomes its own means for establishing inferiority. But because so much of the story relies on looking and being looked at, both obscurity and secrecy are problemised for Gilman's narrator. Hidden, she cannot hide, and is always illuminated for her spectator-husband "when the sun shoots in through the east window" or when "the moon shines in all night when there is a moon". Snyder in her paper, also mention another view, "It is essential for the narrator to believe that she is writing on dead paper, but she writes for an audience regardless of the paper's "lifelines" and brings another consciousness into the bedroom (the introduction of the audience seems to defy the deadness of the paper)". The narrator is extremely lonely, not in a physical sense, but in a emotional sense.

The Funeral Mask of King Tutankhamen

Perhaps one of the most amazing finds in Egyptian archeology is the tomb of King Tutankhamen. Howard Carter, the archaeologist whose subsequent death fueled speculation of the actuality of the mummy’s curse, discovered it in 1923 (â€Å"Tutankhamun,† par. 2). Most well known because it was largely intact at the time of its opening, the site gives modern viewers a rare insight into the life and death of a pharaoh. Today, the tomb remains shrouded in fascination as people all over the world visit displays of the artifacts retrieved from the crypt. According to the National Gallery of Art, archaeologists retrieved fifty-five items from the site, and among the items, King Tutankhamen’s Funeral Mask is possibly the most recognized (par. 1). It is also the most stunning example of Egyptian art recovered from the tomb. The mask of King Tutankhamen, better known as King Tut, is a large headpiece with the face of the young king, worn over the head and shoulders of the deceased. The entire mask is made of solid gold with inlaid blue glass and stones that create horizontal lines along the right and left sides of the head, down to the shoulders. This blue and gold striped headdress, also known as a â€Å"nemes,† which is a â€Å"royal head cloth† to be worn only by the ancient kings (â€Å"Death Mask,† cap. 1). On the forehead portion of the nemes are two small statuettes, one of a vulture and another of a cobra. According to experts, the â€Å"vulture, Nekhbet, and the cobra, Wadjet, protected the pharaoh† (â€Å"Death Mask,† par 1). On the back, the lines of the nemes converge at the bottom, in the center. The piece spares no detail, including the eyeliner worn by the ancient king. As a piece of Egyptian art, the Funeral Mask shows masterful use of the elements of design. The use of color is simply exquisite. Blue, gold, red and black, which comprise the piece, are still colors representative of royalty today. The use of line and space on the sides and collar create the illusion that the young king was large and imposing. In addition, the level of symmetry and balance in the piece is textbook. However, perhaps the most overtly powerful element in the piece is the use of symbols. Iconography and symbols are key to understanding the artists and the subject. The shape of this mask itself is reminiscent of the cobra, ostensibly representative of his power and fierceness. Also, the lines along the sides of the nemes seem to reflect the image of sunrays. In fact, it appears as if the rays of the sun were radiating from the king’s face. The sun god did play a large role in ancient Egyptian religion, but it is also possible that this represents the artists’ love of their young pharaoh. The most obvious symbols on the mask are of the cobra and vulture. Other than their use for King Tut’s protection, they may also represent his adherence to the old religions. According to Britannica Encyclopedia, â€Å"†¦serpent, vulture, and sphinx are all motif symbols tied up with such religious cults as the cult of the pharaohs and the gods and the cult of the dead† (par. 2). Considering the animals’ religious affiliation, and the fact that Tutankhamen spent his short reign reestablishing the various god religions of the past, one must speculate as to the   animals’ religious significance as well (â€Å"Tutankhamun,† par. 5). Perhaps these two particular animals were representatives of the gods that the pharaoh worshiped. Above all, these artists give the impression of adoration for King Tutankhamen in the medium chosen. The entire work is comprised of precious metals and stones that are historically synonymous with wealth and power. Goldsmiths spent a great deal of time refining and molding the metal, while small stones were cut and polished by hand to fit together almost seamlessly in the piece. Today, not only would the piece be expensive to recreate, it would also be somewhat laborious. Even with the use of modern tools, the work would be tedious at best. While it must have been somewhat difficult to achieve this level of work, without these elements the image of their king would have been somewhat dimmed. Although the Funeral Mask would have been exquisite even in clay, ancient craftsmen used materials fit for a pharaoh. Furthermore, ancient artisans obviously put a great deal of care into making their pharaoh’s mask a true representation of the ruler. It appears that their hope was to represent the king accurately and powerfully in the afterlife. Although their belief was that Tutankhamen would carry all the elements of his tomb into the underworld, they fitted him perfectly for presentation to an audience thousands of years later with all the riches one would expect to accompany such a powerful man as pharaoh of ancient Egypt. Even today, the Funeral Mask awes visitors with its royal visage. While some of the elements, such as facial features, seem crude on the surface and lacking realism, they are perfect in their simplicity. Thousands of years later, the artistry of the mask is virtually unmatched. Modern artists and goldsmiths would find the exact recreation of the mask difficult, if not improbable. When combined with the use of color, line, and symbols used by the ancient Egyptians, the mask is perfect. Twenty-first century artisans could not complete such an important task more appropriately. When given the commission of designing a similar piece, with the originality of this one, most artists would fail to find such a faultless balance of elements and design, which makes King Tutankhamen’s Funeral Mask the most superb piece of ancient Egyptian artwork found in the tomb, and perhaps even the world. Works Cited â€Å"Death Mask of King Tutankhamun†. King Tutankhamun by Wysinger. 27 March 2007. . â€Å"Jewelry.† Encyclopedia Britannica. 2007. Encyclopedia Britannica Online. 27   March 2007.   . â€Å"NGA – Treasures of Tutankhamun.† National Gallery of Art. 27 March 2007. . â€Å"Tutankhamun.† 27 March 2007. Wikipedia.com. 27 March 2007. .