Ancient Commerce in China Essay Example for Free

Ancient Commerce in China Essay 1- The route The Silk Road, or Silk Route, is the most famous and important historically trading route of ancient Chinese civilization. This historical network of interlinking, with more than 4000 miles, between East, South, Western Asia with the Mediterranean and European world, as well as parts of North and East Africa began to be used under the Han Dynasty (202 BC – AD 220). Originally, the Chinese trade silk occurred internally within the empire, but the caravans were often attacked by central Asian tribes, hoping to find some valuable commodities. In order to protect these caravans, the Han Dynasty extended its military defenses further into Central Asia. Later came the idea to expand the silk trade to central Asia. Silk Road extension: The land routes are red, and the water routes are blue Source: http://en.wikipedia.org 2- Name and Purpose The Silk Road gets its name from the lucrative Chinese silk trade that was the major reason to sustain the route for so wide area. Some scholars prefer the term â€Å"Silk Routes† because of the several network of routes existed there. Trading silk was not the only purpose of the Silk Road, many other commodities were also traded. In addition to silk the route carried other precious goods like gold and other precious metals, ivory, precious stones and glass, exotic animals and plants were trade as well. Indeed the silk was the most remarkable goods, mainly among the Romans, it became very popular in Rome for its soft texture and attractiveness making the Romans sees the route mainly as a Silk Route. Although this fact, the name â€Å"Silk Road† originated in the nineteenth century, coined by the German scholar, von Richthofen. 3- Routes The intercontinental Silk Road had two different overland routes bypassing the Taklimakan Desert and Lop Nur. The northern route started at Changan (now called Xian), the capital of the ancient Chinese Kingdom, which, in the Later Han, was moved further east to Luoyang. The route was defined about the 1st century BCE as Han Wudi put an end to harassment by nomadic tribes The southern route was mainly a single route running from China, through the Karakoram, where it persists to modern times as the international paved road connecting Pakistan and China as the Karakoram Highway. It then set off westwards, but with southward spurs enabling the journey to be completed by sea from various points. Crossing the high mountains, it passed through northern Pakistan, over the Hindu Kush mountains, and into Afghanistan, rejoining the northern route near Merv. From there, it followed a nearly straight line west through mountainous northern Iran, Mesopotamia and the northern tip of the Syrian Desert to the Levant, where Mediterranean trading ships plied regular routes to Italy, while land routes went either north through Anatolia or south to North Africa. Another branch road traveled from Herat through Susa to Charax Spasinu at the head of the Persian Gulf and across to Petra and on to Alexandria and other eastern Mediterranean ports from where ships carried the cargoes to Rome. The Silk Road in the 1st century Source: http://en.wikipedia.org 4- Mongol Age In central Asia, Islam expanded from the 7th century onward, bringing a stop to Chinese westward expansion at the Battle of Talas in 751. Further expansion of the Islamic Turks in Central Asia from the 10th century finished disrupting trade in that part of the world. For a long time during the Middle Ages, the Islamic Caliphate often had a monopoly over much of the trade conducted across the route. Under the command of Genghis Khan, the Mongol Empire rapidly proceeded to conquer a huge region of Asia, the Mongol expansion throughout the Asian continent from around 1207 to 1360 helped to bring political and stability and re-establish the Silk Road. The partial unification of so many states under the Mongol Empire allowed a significant interaction between cultures of different regions. The trading started to happen again and the route became important as path for communication between different parts of the Empire once more. The Mongols, in general, were more open to ideas, more sympathetic to different religions and nationalities promoting the trading. Around 1288, the Venetian explorer Marco Polo became one of the first Europeans to travel the Silk Road to China, he was not the first, however, the most well known and best documented visitor. In his tales, The Travels of Marco Polo, he describes the way of life in the cities and small kingdoms through which his party passed, with particular interest on the trade and marriage customs, opening the western eyes to some of the customs of the Far East. 5- The Peak, Decline and the Sea Route In seventh century, the Silk Route had its height of importance at this time during the Tang dynasty China was a living a relative stability after the divisions of the earlier dynasties since the Han. The art and civilization of the Silk Road achieved its highest poin in the Tang Dynasty. Changan, as the starting point of the route, as well as the capital of the dynasty, developed into one of the largest and most cosmopolitan cities of the time. By 742 A.D its population reached almost two million people and in 754 A.D it had around five thousand foreigners living in the city. During the Mongol Empire as mentioned before, the route established a new good period but despite the presence of the Mongols, the route never reached the heights that it did in the Tang dynasty. Furthermore, with the disintegration of the Mongol empire, that was fairly short-lived, the barriers rose again on the land route between East and West. After the Mongol Empire, the control of the Silk Road became economically and culturally separated. The demise of the Silk Road developed the Silk Route by sea at that time it was becoming easier and safer to transport goods by water than overland (Later however, the sea route suffered a lot of problems like bad weather and pirates). Beside this the sea route passed by promising new markets in Southern Asia at that time. The commerce with China and Asia at that time was very profitable and this situation is significantly important in explaining several factors about the present economy. It was the main driving factor for the Portuguese, and later Europeans, explorations of the Indian Ocean, including the sea of China. 6- Nowadays The last link along the Silk Road was completed in 1990, when the railway connecting Lanzhou to Urumchi was extended to the border with Kazakhstan, providing an important route to the new republics and beyond. Beside this the trade route itself is also being reopened, trading between the peoples of Xinjiang and Russia has developed quickly. The new republics in Central Asia have been contributing much of the heavy industry of the region. Trade with China has also utilized the route it was encouraged by the socialist market economy and its benefits to the market. 7- Conclusion The Silk Road played a key role in the development of the ancient economy in Asia, especially in China, In China it was the main responsible to significantly increase the number of foreign merchants present in China under the Han Dynasty and exposing the Chinese and visitors to their country to different cultures and religions. Buddhism spread from India to China because of trade along the Silk Route. This route was very important in foreign trade, during all history of civilization in the last 1200 years, placing China and India, and all East Asia, in a major role for contact with the western world in a time when this region was isolated by deserts and oceans. During the Mongol Empire, based on the Mongol’s idea of liberty about different religions and cultures, once more, the route had a very important role in the foreign trade and culture exchange between Asia countries and some countries of Europe and Africa as well. Later, the great population and the varieties of products attracted the European interest (economic center of the world at that time), by sea several expeditions in order to explore the commerce in that region change the course of the world, affecting the Americas and Africa as well Asia, being decisive in the current political, economic and social aspects of several countries in these continents.

Tourism in Greece, Italy, and Turkey Essay -- Tourist Vacations Papers

Tourism in Greece, Italy, and Turkey The fall in the costs of traveling over the past few decades has taken tourism out of the sole domain of the rich and extended it to the middle class. Consequently, the world tourism market has exploded, providing countries with a new source of jobs and income. In this paper I will examine the tourism industries in Greece, Italy, and Turkey in the context of both the European and worldwide tourism markets. Several questions will be addressed. How many tourists come to these countries annually? Where do these countries rank among the world's top tourist destinations? How much do tourists contribute to the local economy? From where do these countries draw most of their tourists What are the most popular cities to visit within these countries What are these countries doing to counter the effects of 11 September? In 2001, Europe attracted 58 percent of worldwide tourists, continuing its trend of being the world's most popular tourist destination (WTO 13). Since so many people visit Europe, the tourist sector plays a vital role in the economies of the respective countries. The tourism industry as a whole has struggled since the 11 September terrorist attacks, falling 0.6 percent worldwide and 0.7 percent in Europe in 2001 (WTO 11). However, the regions in which Greece, Italy, and Turkey lie (southern Europe and eastern Mediterranean Europe) have proved to be more resilient than other areas. Southern Europe actually experienced a modest 1.2 percent growth for the year (WTO 55). In the final four months of 2001, tourism in Europe dropped 6.6 percent, while the decline in southern Europe over this period was only 1.8 percent (WTO 11-12).? Moreover, due to strong growth in Tu... ...stabilities in the Middle East, Turkey has remained a popular tourist destination.? It has done much to develop the industry and promote the country to others.? The dip in tourists post 11 September does not seem to have hurt the growth in tourism very much.? If regional conflicts are assuaged, Turkey?s already strong tourist sector should continue to expand significantly.? With the multitude of attractions that these countries have to offer visitors, tourism should continue to prosper in the future in Greece, Italy, and Turkey. Works Cited Greek National Tourist Organization.? www.gnto.gr. Italy Tourism Office.? www.enit.it. Tourism Market Trends: Europe.? World Tourism Organization.? Madrid, Spain. 2003. Travel Industry World 2002 Yearbook.? Travel Industry Publishing Co, Inc.? Spencertown, NY.? 2003 Turkey Tourist Office.? www.tourismturkey.org.

Jazz Music between World Wars Essay

The jazz craze in music during the 1920s reflected a general spirit of the times for many commentators like Seldes that this decade became known as the Jazz Age. Following World War I, jazz music certainly captured the popular imagination. The rapid popularity of jazz music led to its equally rapid spread among musicians. No other style up to this time in American popular music so quickly came to dominate popular performance. The American vernacular, which had already made significant inroads into the commercial popular music market, had captured popular tastes at an unprecedented level, seemingly sweeping aside the old â€Å"standards. † And just as ragtime and syncopated dance music became part of earlier commercial popular music, the dominance of jazz in the 1920s also represented a major triumph of the black vernacular in American popular music. The jazz craze began through the influence of non-professional musicians. While still marginal to most legitimate venues, non-professional musicians performing the jazz vernacular were attracting audiences to clubs, theaters, restaurants, and were popular in the speakeasies of the 1920s. They also had opportunities for their music to reach a broader audience in a booming record market following World War I. Professional musicians, however, quickly adopted jazz music in their orchestras and smaller bands. They co-opted the jazz fever while simultaneously distancing themselves from non-professionals. (Charters, 39-43) By occupying the most lucrative jobs in theaters, dance halls, hotels, and other venues, professional musicians positioned themselves as the premier interpreters of this new vernacular idiom in commercial popular music. The common defense of jazz as good music during the Jazz Age embraced the professional musicians and professional composers who performed and created jazz music, not the non-professional musicians who first introduced it. In adopting jazz idioms, professional musicians were simply continuing the process of cultivating the American vernacular. Black professional musicians were already adopting black vernacular idioms in their music making in earlier syncopated society orchestras and simply adopted jazz idioms as well as the name in their â€Å"jazz† orchestras. (Bushell, 72-75) White professional musicians had performed rags as part of their repertoire in the past, but with the jazz craze, many were quick to adopt syncopated dance and jazz practices in some form as the defining style of their profession. White professional musicians also quickly followed black professional musicians in transforming their bands into jazz orchestras, and just as quickly claimed to be the modern proponents of this new American popular music. Black and white professional jazz orchestras in the 1920s established the basic instrumentation, arrangement, and techniques of the big band dance orchestras that dominated American popular music until the 1950s. In the 1920s, an emerging new ideal of good music involved a balancing of the previous cultivated practices and cultivated music of professional musicians with popular vernacular idioms. The proper balance, however, was hotly debated. Professional musicians would constantly distance themselves from the pure vernacular of non-professional musicians. In defending their balance of the cultivated and the vernacular in popular performance, popular tastes, however, were demanding jazz music and a professional musician would be remiss to ignore his patrons in the popular music market as much as stodgy critics and some professional musicians would rail against the pernicious influence of jazz. Professional musicians in mediating the popular music market had to continue to navigate the moral, aesthetic, class, and racial construction of good music in America. While popular tastes in musical entertainment promoted the black vernacular in commercial popular music, the plight of the African American community in the United States continued to be dire. Some leaders in the black community had hoped that African Americans’ participation during World War I in both the military and in industry, and the Great Migration out of the Jim Crow South, would change their fortunes as segregated and oppressed second class citizens. The post-war years, however, dashed most hopes of any immediate positive change. (DeVeaux, 6-29) Race relations went in the opposite direction. Race riots sprung up across the nation while lynching continued to be a regular occurrence. Efforts continued to secure the legal segregation of black communities, and the labor movement continued to exclude blacks. The Ku Klux Klan reached its peak membership and popularity during the 1920s. The segregation and denigration of the black community was also reflected in the social organization of American music. (Hansen, 493-97) Besides the segregation of audiences and most venues, black professional musicians also remained outside the artistic community of white professional musicians in terms of unions, band organizations, and this community’s vision of a professional class of artist in America. The balance of the cultivated and the vernacular among professional musicians also continued to run against elitist conceptions of popular music and popular musicians as less legitimate than the music, musicians, and composers of the European cultivated tradition of classical and opera music. Black professional musicians also continued to strive to break through the barriers erected against them in the world of European cultivated music. This continuing tension in the implied lower status of professional musicians who performed American popular music erupted during the Jazz Age into an open rebellion against the European cultivated tradition. Professional musicians in jazz orchestras attempted to counter the singular role claimed by the European cultivated tradition. These musicians asserted that jazz was a true American or African American school of fine art music in contrast to cultivated European music – a populist appeal for high art legitimacy. This high art turn in American popular music, however, ultimately failed when the depression wreaked havoc on the popular music market. With the introduction of a new popular music market of live performances, records, broadcasts, and films, the quest for legitimacy among professional popular musicians would have to take another route. It was a period where professional popular musicians in adopting the jazz vernacular went against the reigning cultural hierarchy in America. (Peretti, 234-40) The period following World War I was a crucial turning point in American popular music. The American vernacular in general was storming the ramparts of the old edifice of good music as Tin Pan Alley song and dance dominated popular performance. Both professional and nonprofessional musicians also were benefiting from more affluent times and the growing importance of entertainment in the lives of most urban Americans. To the chagrin of elite and moral defenders of nineteenth century cultural idealism, most urban Americans were readily joining a Cultural Revolution in commercial popular entertainment. And at the center of this revolution was the national craze for jazz music and jazz dance. The jazz craze made syncopated rhythms and other black vernacular idioms central elements of American popular music making. While many small jazz bands performed a black vernacular style of music from the Delta Region of New Orleans, jazz music in the 1920s encompassed not only this style but syncopated dance music, blues music, piano rags, and virtually any tune jazzed up by musicians. The jazz craze in essence was the craze for the black vernacular among popular audiences and the performance of this vernacular in some form by popular musicians and popular singers both professional and non-professional. The extent to which musicians and singers actually adopted the black vernacular rather than a superficial imitation – critique later jazz critics would make of certain sweet jazz during the 1920s – is less important than the fact that jazz entered the consciousness of the nation and musicians as the reigning popular music. The word Jazz seems to have found a permanent place in the vocabulary of popular music. It was used originally as an adjective describing a band that in playing for dancing were so infected with their own rhythm that they themselves executed as much, if not more, contortions than the dancers. The popularity of the raggy music has created a demand for music with exaggerated syncopation, an attempt as it were to produce the wonderful broken rhythms of the primitive African jungle orchestra. The jazz craze also coincided with the growth of black entertainment. During the 1920s, black entertainment districts like the South Side in Chicago and Harlem in New York City witnessed a major boom. Besides entertaining the large black populations of The Great Migration, black musicians and singers were entertaining white audiences who went uptown for their entertainment. The boom in the 1920s in black entertainment, as Kenny (1993, 89-92) and Shaw (1987, 122-30) show, was driven by the demand for the black vernacular. In musical theater, musical revues, vaudeville, dance, and speakeasies, the black vernacular and black artists were in demand. This demand was met not only in black entertainment districts, but also outside these districts as black artists performed for white audiences in musical revues, dance halls, and clubs in white entertainment districts. The popularity of the black vernacular also increased when record producers discovered a race market in black music. Most members of the New England School of cultivated music like Mason, and other defenders of the old ideal of good music, were stridently against the influence of jazz in both popular music and classical music. Repeating the moral, aesthetic, class, and racial epithets used to condemn the popularization of vernacular jazz, the guardians of the old ideal ridiculed any idea of jazz meriting the status of high art or even having an influence on serious music composition and performance. As David Stanley Smith, Professor of Music at Yale University, argued in The Musician of August 1926, jazz music’s â€Å"monotonous rhythm, as unvaried as the chug-chug of a steam engine, enslaves its practitioners within a formula, and induces in composer, performer, and listener a stupor of mind and emotion. † On the other hand, many of those individuals who embraced â€Å"modernism† in cultivated music were sympathetic to jazz music. These modernists emphasized jazz as the legitimate expression of the times and a nation. (Stewart, 102-109) The debate within the cultivated tradition between old idealists and modernists on the influence of jazz revolved mainly around the influence of popular jazz on serious music composition and performance. That the question would be posed in such a manner spoke to how, by the 1920s, the European cultivated tradition had organizationally and ideologically broken from the world of commercial popular music. Crossover between popular music and cultivated music occurred during the 1920s, but organizational and ideological barriers left little chance that jazz musicians would transform the cultivated tradition. The very formation of a separate world of cultivated music in the United States was predicated on its distinction from commercial popular music, popular musicians, and popular tastes – a distinction further exacerbated by jazz music being an expression of the black vernacular. The influence of jazz within the cultivated tradition, however, was debated during the 1920s as professional musicians laid claim to a truly American art form and modernists promoted the incorporation of jazz in serious music composition and performance. (Badger, 48-67) Traditionalists, of course, had reason to be optimistic as the economic depression following the 1929 stock market crash wreaked havoc on the commercial market of popular jazz music. Defenders of the European cultivated tradition also had reason to celebrate as the confident proclamations of professional musicians on jazz as America’s first authentic art receded to the background as these musicians adjusted to changed economic circumstances and a new popular music market. Professional musicians’ struggle for legitimacy during the Jazz Age, however, laid the ideological and musical foundation upon which the next generation of professional musicians would construct a modern jazz paradigm. In their quest for legitimacy as professional artists, they were the first popular artists to attempt to transform the moral, aesthetic, class, and racial constructions of the old ideal of good music in America. While their efforts contained their own complicity in manners of distinction, the contradictions of an elite populism embedded in a racist culture, they did struggle to create an alternative understanding of art and society in America. As the self-appointed mediators of the American vernacular, professional musicians and composers ardently worked to construct an alternative form of good music to that of the European cultivated music tradition – a music reflecting in some fashion the world of popular audiences and popular tastes. ( DeVeaux, 525-40) In this process of syncretism, the reinvention and reinterpretation of musical idioms and practices, these artists created the American big band dance orchestra and the Tin Pan Alley song that dominated American popular music until the middle of the twentieth century. While jazz did not become a universally recognized American high art form during the Jazz Age, professional musicians and composers transformed it into legitimate popular art music, although at the expense of those non-professional vernacular musicians who did not assimilate into their profession. The need for professional musicians to legitimate popular dance orchestras disappeared after the 1920s, and the old ideal of good music no longer occupied this professional class of musician. (Gioia, 213-20) The emergence of an alternative ideal of good music among professional musicians signaled a final separation between popular music making and the cultivated tradition in American music. This break was both ideological and practical; a reflection of both a new professional ethos among professional musicians and the culmination of the division in the social organization of American music between the world of popular music and the world of European cultivated music. (Lopes, 25-36) The previous crisscrossing professionally between the cultivated tradition and popular music making was no longer part of this profession. The future big band leaders and musicians of the Swing Era began their professional careers not in symphonies, but in the small jazz ensembles and jazz orchestras of the Jazz Age. The fate of jazz was seemed threatened by the power over popular music of a new mass media industry of broadcasts, recordings, and film. Just when the fortunes of jazz seemed dead and buried, however, the swing craze reignited popular interest in the cultivated jazz vernacular. (Hennessey, 156-60) The promotion of sweet music and the subsequent swing craze, however, set in motion a new distinction within the profession of musician. No longer than singularly obsessed with the world of European cultivated music, professional musicians who assimilated the black jazz vernacular now viewed sweet music as their more direct nemesis. The race and class boundaries articulated in the old ideal of good music were now articulated more directly for professional musicians in the distinction between the popular music cultures of sweet and swing.

Advantages And Disadvantages Of Research - 1469 Words

Research is essential in academic study to allow a person to build on their existing knowledge. There are numerous routes to research a subject, each with their own advantages and disadvantages. For this essay I am going to focus on four methods; internet, text books, television and professional journals. In modern society a common research tool used is the internet, one if its key advantages is its accessibility. Most people have access to the internet throughout the day and night; at home, on the move via mobile phones and tablets, education premises, workplace and public libraries, this creates flexibility and allows people to research information at a time and place convenient to them. Another strength is the amount of information†¦show more content†¦The content in text books is generally accurate and of good quality due to it being well researched itself and being subject to review and quality checks by the publisher. In addition, the format of a text book makes it easy to locate the information required and simple to book mark key points for future use. Another strength is the details necessary for referencing the source are clearly presented. Some disadvantages of using text books are the physical and financial barriers to accessing them. Copies available in libraries may be limited and the time needed to visit a library could be restricted by an individual’s personal commitments. To purchase a text book can be expensive and often difficult to source locally. In addition, written sources can become outdated, e.g. new theories and discoveries could be made which consequently make the content inaccurate or irrelevant. Television and radio as a research tool can be a welcome alternative to reading. The benefits being that information displayed in a visual or audio format can in some instances be understood better than on paper, presented in an engaging manner making it more interesting and holding the viewers’ attention. In addition, radio/podcasts can be listened to whilst additional tasks are completed, e.g. driving, walking the dog. The negative side being the narrative can be at a fast pace resulting in note taking being restricted and essential facts notShow MoreRelatedQualitative Research Advantages And Disadvantages1154 Words   |  5 PagesResearch Qualitative Research- is used to gain an understanding of underlying reasons, and unravels problems which may come up later. It also provides insights into to current trends, which would be useful as it would show what the band is doing well, or if they are not succeeding you would be able to research into it and work out why. 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