Personal Narrative Social Network Analysis - 1323 Words

Roshan Ravishankar Dr. Carton MGMT 101 2.20.2016 MGMT 101 Paper: Social Network Analysis As alluded to in the assignment description, it is useful to first define what my own personal idea of success entails. I view success as maximizing my achievement and that of my close friends and family, while defining achievement as the accomplishment of difficult and rewarding goals. Moreover, my personal ambition is to contribute to the implementation of knowledge from statistics and mathematics into the biological and biomedical sciences – either through a career in academia or industry. Maintaining a strong network can help me by serving as a source of new ideas, emotional support, guidance, and insight. For convenience, and because they are not†¦show more content†¦My first goal is to strengthen my ties with some of the individuals in my mentoring network, because my current network is diffuse and weak. My mentoring network consists of my advisors, research coordinators, and other career-oriented mentors. The density of this network is only about 15%. This group is more varied in terms of age, gender, and race than my peer network. After studying my mentoring network, I have realized that I need to improve the strength of my relationships with the members of this network. For example, I rarely interact with these members outside of instances where their direct consultation is necessary (such as when courses need to be selected, a form needs to be signed, or a roadblock is encountered in a project). This ultimately hampers my own accomplishment because it prevents me from benefiting from the advice and guidance that my network has to offer. Thus, in the future, I plan to communicate with the members of my mentoring network more frequently. First, I will keep them more updated on my progress, and not allow months to pass by without communication Sending updates will strengthen our relationship by showing them how much I value their mentorship. Second I will request their opinion and guidance more often. This will not only demonstrate my desire to better myself, but also grant be knowledge and perspective that will be helpful as a I move further in my

Do Australia s Ip Laws Adequately Protect Fashion

LAW3406 – Intellectual Property Law Name: Hannah Redmond-Josan Student ID: U1067123 Word Count: 3131 Question: Do Australia’s IP Laws adequately protect fashion? Introduction There is no doubt that there are laws within Australia containing provisions that may be applicable to fashion products. What is less clear, however, is how feasible and effective those provisions are in protecting fashion products in practice. The fact that the question is posed is perhaps a greater reflection of the dynamic nature of ‘fashion’, which encompasses a broad range of concepts and contributors with varying intellectual property law (â€Å"IP law†) requirements. This essay will look at the ways in which existing Australian design, copyright and†¦show more content†¦The interpretation in Nintendo Co Ltd v Centronics Systems Pty Ltd has ultimately had a significant effect on the extent to which fashion may be protected under intellectual property legislation. For instance, in fashion, ‘intellectual effort’ may extend to include manufactured or handmade garments and jewellery, patterns, sketches, prints, label/brand, photography, logos, slogans and invention. The applicability of IP law to fashion is significant as it creates enforceable rights that are intended to stimulate artistic expression and technological innovation. Through common law and statute, IP law provides some safeguards that assist individuals to obtain commercial benefit from their creative and intellectual labours. The enforceable rights help to protect designers and artists in the face of an increased number of imitations, the prevalence of which has been facilitated by the overwhelming accessibility that the internet provides to designs. The difficulty in applying IP law protections to fashion, however,

A Narrative Journey Into Basquiats Universe Essay Example For Students

A Narrative Journey Into Basquiats Universe Essay The media immediately appreciated Bassists innovative style: With its public presentation, this painting declared Bassists rival as a new and authentic voice in the world of contemporary art (Hoffman 130). It continues to be a crucial work when analyzing his entire oeuvre. Richard Marshall said of this early period: Basque used painterly gestures on canvases, most often depicting skeletal figures and mask-like faces (CTD. In Backchat X). Indeed, this painting depicts a solitary shape, caught somewhere between a head and a skull. Many art historians, art critics, and art lovers are mesmerisms by this one piece, But what is it that makes this painting 50 powerful and enigmatic? Why is it so characteristic tot Basque? In January 201 1, the Mums ©e dart Modern in Paris held a retrospective of Basque5 work. During my visit to the museum, I was instantly captivated by the striking Untitled 5 Sis-lead). To me, this painting is an iconic work and is key in understanding Basque as an artist. The intensity of the painting left a deep and lasting impression on me, I will therefore focus on the research question: why has the 1981 painting Untitled (Head) become Jean-Michel Bassists most celebrated work? What elements has he used to create such a paramount image? This essay will investigate the principal themes of the painting. It will evaluate the importance Of scale, and also analyze Bassists use Of color and line. Finally, it will focus on the role of anatomy and heritage in an attempt to better comprehend the underlying meaning Of the work. 6 @Scale IF?Fig. I- Untitled (Head) 1981 Acrylic and mixed media on canvas 81 x 69 1/4 in. (205. 7 x 175. 9 CM). The Eli and Teethed L. Broad Collection, Los Angels 7 Fat_limited (Head) is a work of mixed media framed in a 207 x 175. 9 CM canvas. The impressive scale of the painting contributes to striking nature. During the retrospective, this particular ivory had a deep effect on me. Indeed, the power t exudes violently captivates the viewer. Furthermore, the size of the head in relationship to the canvas is extremely important. It is placed in the centre and occupies most Of the surface in such a way that one is forced to confront it. As it is much larger than a human head, it is rather daunting, and the fact that it is so full Of life and yet so solemn makes it an incredibly powerful image, full Of emotion and inner turmoil. As previously suggested, the figure in the painting is not just a representation. It is a living entity, filled With a supernatural spirit. Basque has given life to this creature. While it is contained on the surface of the canvas, it is also a container of a universe, barely held together by fragile stitches. The head creates an enclosed space; but at the same time Basque reveals the inner workings of the mind. However, it remains difficult to decipher exactly what the painter is intending on revealing. The head is prodigious but lacks heaviness, Quite on the contrary, it has a light and airy quality, as it it were floating. Despite having seen other paintings during the exhibition, such as untitled (Boxer) 1982 or Profit 1 1982, in which are depicted physically strong figures, the overwhelming rower of Untitled (Head) was far from being contested, The viewer feels diminished by the brilliant scale of the work Color One of Bassists greatest strengths is his confident use of color, As Mayer noted, Basque used unmixed color structurally, with direct and theatrically ham-fisted brushwork (Mayer 46). He liked a saturated, subtropical palette with sunny Floridian pinks, 8 gape green, kindergarten yellow and wan pastel aqua (Mayer 47). However, Basque did not consider color as a fundamental part Of his composition, and we can see that many of his works barely contain color, while others are simply n black and White. The industrial colors used in Untitled (Head) however are visually provocative. Surrounding the head sis royal blue sea, which insists upon the idea that the head is floating. The rest Of the background is an abstraction of orange, red and white. In painting the head itself, Basque does not follow a uniform tone for skin or bones. Rather, he uses raw colors to indicate rot and decay. To create perspective. Basque uses rudimentary black strokes, casting shadows on the right side of the face. The yellows and oranges contrast by illuminating the mouth and left jailing. In addition, the entire figure is outlined y a simple yellow line. In the painting, he employs many different hues that work coherently and patch the image together, The blue and orange are complementary and create a sense tot harmony which is aesthetically pleasing. However, there is a contrast between the calming serenity of the blue and the tortured chaos of the colliding colors inside the head The entire painting is layered with intense color, which gives the head a graphic quality, while also creating texture. @Fig. 11- Complementary blue and orange, Detail of Untitled (Head) 9 ?Basque was greatly influenced by his daily life. He once said: l dont think about art when Im working try to think about life? As a result, his love of comic books, Mad, Batman, Superman, and Popeye, permeated his oeuvre and caused him to appropriate the vibrant colors of popular visual media (Emerging 38). He was greatly influenced by Roy Liechtenstein and his use of bold, saturated colors. The reverberant pigments in Untitled (Head) translate the sense of immediacy, the spasms, the movements of Bassists hands, similar to a performance (Backchat XI)_ The rudimentary brushstrokes are abrupt and untidy, accentuating the crudeness of the work. Fig. 12- Brushstroke, Detail of Untitled (Head) Throughout history, artists have been engaged in interpreting and transmitting the ephemera Of sound into the visual. According to Katydids, Color is the key. The eye is the hammer. Much like Katydids. Basque used color as a visual depiction of music, especially that of the jazz genre. The use of blues evokes the melodious feeling of jazz, while the reds and oranges manifest its unpredictability and liveliness. In the painting, Basque balances control and improvisation. His gestures are intuitive and swift, exuding spontaneity and energy. In Untitled (Head), Basque has mastered the use of industrial co lors, and once again made them his own. Another feature that pertains to Bassists artistic process is the overlapping and layering tot paints. Sing a means tot cross- hatching- building up lines in layers that overrun, in a procedure similar to Jackson Pollocks, he constructs an intricate and stunningly complex composition. 13- Cross-hatching, Detail of Untitled (Head) Bassists working also mirrors Charlie Parsers re-recording technique, characterized by the superimposing of music from different instruments (Calumets 5). The build-up of colors and the collage Of fragments invites the reader to look for a deeper meaning in the picture. In an interview by Suzanne Mallory (Clement 2000), Basque qualified his stylistic tendency to overlay and erase as his version of penitent ¶. This, in combination with his unique X-ray vision, creates a transparency effect that is so idiosyncratic Of Basque. Line According to Jean-Michel Basque, Every line means something. Indeed, line is a crucial learnt of Bassists art. It is used to delineate shapes and figures, to imply texture, to create movement. Bassists line is spontaneous, confident and contributes to the improvisational feeling of his paintings. In Untitled (Head), attention to line is inevitable. Whether it be the outline of the head, the cryptic lettering in the top left hand corner or the repeated scribbled marks, we cannot discount the effect that line has on the overall painting. In most of Bassists works, line remains non-dimensional, and produces images that do not have any depth. On the contrary in this painting, the use of line is extremely effective in creating perspective. Aquatic draws three-dimensional cubes within the skull. These box-like shapes produce the impression of chambers or rooms inside the head, with ladders and stairs connecting each unit. Pig. Chamber, Detail of ? ¶Ã‚ ©Ã‚ ¶The fact that the face is on a slight profile also lends depth to the work. The brushstrokes and graphic patterns shape and delimit the features. In addition, Basque uses a bold black outline in this painting to establish a dichotomy between the head and its surrounding. While the background remains flat on the canvas, the figure seems to be disconnecting itself from it and comi ng into existence. The repetition of line creates movement and continuity: the stitch arks resemble railway tracks, beginning at the chin and traveling up the left side of the face. The use of narrative in film EssayIndeed, Basque constantly borrowed elements from Nubian I , Egyptian and African art (Calumets 5). This can be seen for example in his 1983 painting The Nile, Basque extracted numerous symbols and objects from Egyptian and Nubian cultures and incorporated them into his painting. However, when asked about his influences, Basque claimed that he tried to fight the inclination to paint large grotesque masks (Mayer 45). Nevertheless, we will come to see that those masks are central elements to many of Bassists paintings. The artist was profoundly interested in his heritage and was always trying to define his cultural identity. He once said, Im interested in painting the black person. Hes the protagonist in most of my paintings. The representation of the African- American was a dominant focus Of Bassists work. Many art critics agree that Basque used art to process what he knew about history, about the cultural richness Of the African Nubian is a region along the Nile, in northern Sudan and southern Egypt 17 Footpads and his Caribbean roots specifically, and about the epic historical struggle of African Americans. (Mayer 43). In untitled (Head), the face seems to be scarred by suffering. The fracture in the figures jawbone exposes a line of broken teeth, which emphasizes pain and torment. Although the eyes shine with angst and despair, they are full of vivacity and personality. Through his art, Basque was trying to denounce not only consumerism, but also inequality and racism. This painting could be p erceived as a visual embodiment of the pain Basque was especially interested in the spirituality that radiates from African art. The motif tot the mask, as a spiritual energy, is temperamental in his oeuvre (Carbon De la Carry ©re 7), Indeed, Basque borrowed stylistic features of African masks over and over again throughout his career. In his paintings, masks and faces engage in a macabre dance (Bliss ©nee 18). These masks are clearly identifiable in Mitchell Crew 1983. However, we can see that Basque has wholly integrated them into his work, and in the end they become defining elements of the painting. The artist transcends appropriation: he grasps the symbolism of the mask and yet makes it unique within his picture plane. Although Untitled (Head) does not overtly depict a mask, there are elements of it which, when deciphered, show that it does contain the stylistic features of a mask. African Inflicted upon African-Americans, which underlines the idea that Bassists art is an art of rage and revolt2 (Emerging 37). F-gig_ 4- Eyes, Detail Of Untitled (Head) Quote translated by the author of the essay ?masks are usually highly complex and difficult to interpret, much like the head in this painting. The overlay Of colors and the repeated gig Gag Of the lines ornament the head and emphasize the decorative mask-like appearance. Furthermore, the grimace of the face strongly evokes the menacing expression seen on many masks. Another characteristic of a mask is the elongation of facial features. In Untitled (Head), Basque tries to contain the features in a proportional head. However, their exaggeration is still apparent: a single white line trickles down from the forehead and traces the form of the nose. The continuous stroke puts emphasis on the lengthening of the physiognomy. The mouth is reminiscent of an African mask: it is highly detailed and also enlarged in size, The slight elliptical shape of the eyes further reflects this influence, In African rituals, masks represent deities, supernatural forces that allow the wearer to possess a divine quality. Basque used these traditions and symbols as a way of reconnecting art to the human soul. In addition, the artist painted the grits fewest Africa. Grits were revered traveling storytellers who used an oral tradition of poetry and rhythm to teach people about a community history, its cultural traditions etc. Jean-Michel Basque repeatedly painted grits throughout his artistic career. They are usually presented with grinning expressions, round smooth heads and elliptical eyes, as seen in Gold Grist (1984), Flexible Gig r Grill (1384). Ay contrast, in Untitled (Head), the link to grits is not as explicit. Rather it is the figures living quality that establishes its relation to West Africa. The head takes on the role off grist: is alive with a human spirit, much like traditional African masks. In this way, Bassists painting takes on a mythical dimension. He captures the magic and power of a rich and varied heritage. The head is not simply a representation, it is a powerful and sacred talisman. Furthermore, Grits, it is decreed, are left to rot in hollow trees way on the outskirts often (Tate 2). The broken lines and use of dark colors suggest that the figure in Bassists painting is decaying and rotting itself. Moreover, a mask hovers between something that is inanimate, and something that is brought to life by ritual. In untitled (Head), the head is also trapped between two states, which emphasizes its mystical aspect. Fig. 6- Rotting, Detail of The painting is also remarkable on an emotional level, the scarred head mirroring Bassists torment and struggle as an African-Armenian. In drawing upon Africa and its Diaspora, Basque rendered himself as a celebration and embodiment of rower, as a participant and rebel against an oppressive colonial and post-colonial world, and as a victim of subjugation (Frowner 439). Few critics have actually labeled Untitled (Head) as self- portrait; but in the course of research, it appears to me that the painting is in fact a self- representation. 0 disillusion has Bassists Untitled (Head) become his most celebrated painting? From my analysis, all of the aspects discussed are key elements in creating such an iconic painting. With this work, Basque introduces perhaps the most important motif of his entire oeuvre, the head. While weaving together various ICC influences, Basque managed to metabolize elements from his daily life, and assimilate them wholly into his work. I n this way, untitled (Head) becomes Bassists ultimate painting. In my opinion, Basque has used these elements to reveal his identity. I have reached the conclusion that untitled (Head) is most likely a sellportrait, displaying the inner workings of his mind. However, the fragmented images and hybrid aesthetic also produce an ambiguous and cryptic dimension that make his work rebellious and impenetrable. Art historians will continue to classify Basque in an attempt to define his art, but as Tate erectly states: Min the end, his work evades the grasp of every camp because his originality cant be reduced to the sum of his inspirations, his associations, or his generation (Tate 34). Indeed, tailing somewhere between Neo-Expressionism, postmodernism, and Tribal Art, Basque is not easily categorized, In trying to define Basque, art critics not only restrict him and contain his work, but they also take away the magical otherworldliness and mystical depth of his paintings. It seems that the artist himself knew this: l dont listen to what art critics say. I onto know anybody who needs a critic to find out what art is (CTD_ in Emerging 75).

War from Myceneans to Rome Essay Example For Students

War from Myceneans to Rome Essay 7 July 2002WAR FROM MYCENEANS TO ROMEThe modern day soldier did not arrive at the current level of training methods overnight. Throughout history warfare techniques and strategies have evolved from the earliest primitive battles to the latest technologies. The only way to learn about war is to study the past engagements and lessons learned. There are nine principles of war as follows: Objective, Offensive, Mass, Economy of force, Maneuver, Unity of command, Security, Surprise, and Simplicity. These are the areas of study in order to gain a better understanding of what to do and what to avoid during any engagement. The battles from yesterday differ from those in recent years and today, because the more primitive cultures fought under their leader for food, territory, or the domination of another group. Todays motives are based more on economic, political, or social reasons regarded as appropriate by a group of individuals instead of the thoughts or intentions of one man. We will write a custom essay on War from Myceneans to Rome specifically for you for only $16.38 $13.9/page Order now Mainland Greece is the first study of warfare in the selected readings and by 1600 B.C. a civilization emerged from the Hellas culture and the Minoan culture. This group, known as the Myceneans, fought using chariots and armor made of bronze. By the eighth century B.C., the Myceneans art of war consisted of the phalanx. The phalanx was a solid rectangle of infantrymen carrying armor and spears eight deep. When an army approached another army the phalanxes of both sides would come head to head. The soldiers, who were normally citizens not professional soldiers, would find themselves in the midst of blood and sweat pouring out of the bodies surrounding them from the hand to hand combat. The only way of victory was to hold the lines strong and fight until the other side fled. The problems with this type of formation was that there was no overall leadership within the phalanx, no reserve was established to outflank the opposing army, and there was no way to pursue the fleeing enemy, left them capable to heal and fight another day. The technique of phalanx had not changed for some time and the Greek warfare stayed the same due to no major opposition force that used different techniques against Greek system. The phalanx was also used because it was a proven technique that had been tested and used successfully. Other factors governing the Greek warfare from the eight to fourth century B.C. were terrain consideration, food shortages, and the unwritten warrior code, which would not allow the Greek infantryman to aggressively attack a community itself. The Persian Imperial soldier used a different weapon, the bow, and preferred to engage the enemy from a distance. Although the average soldier also wielded a spear and a knife for close combat, the standard scheme was to launch a barrage of arrows from a safe distance from the Mycenean phalanx. A Persian foot soldier as well as a cavalry soldier usually wore little armor as opposed to the Mycenean infantry soldier. The Persians launched an offensive effort against Greece to stop the eventual takeover of their soil. The most noteworthy fact of the Persian Wars is that the Greek armies never launched an offensive attack on the Persians, but instead kept to defensive positions that protected them from wide open areas and the Persian assaults. The Persian Wars did expose a weakness; the Greek states were unprepared to cooperate together as a coalition against an outsiders attack. The problem of the city-states not cooperating was resolved by forming a new alliance, the Delian League, which was converted into the Athenian Empire. At the heart of the union was a new form of tactic, a navy to control the Aegean and eastern Mediterranean Seas. With a navy to control the waters, the trade market grew and guaranteed the Athenian control of all commercial wealth. The Athenian control of the surrounding areas caused the remainder of the states in Greece to turn to Sparta. The Spartans were a true martial culture that was left to concentrate solely on military training. The Spartans conquered the Messenians in the eight century and the dominated citizens were used to cultivate the land. The Spartan family consisted of warriors, male and female, that began training at the age of seven to the age of sixty. The sole purpose of every Spartan citizen was military service. Infants that were born less than perfect were rejected and marriages of fit male and female were encou raged. The problem with this type of culture is that there is little evidence of development in arts after the Messenian defeat. .uff5c9fa144d259950a37731002eca498 , .uff5c9fa144d259950a37731002eca498 .postImageUrl , .uff5c9fa144d259950a37731002eca498 .centered-text-area { min-height: 80px; position: relative; } .uff5c9fa144d259950a37731002eca498 , .uff5c9fa144d259950a37731002eca498:hover , .uff5c9fa144d259950a37731002eca498:visited , .uff5c9fa144d259950a37731002eca498:active { border:0!important; } .uff5c9fa144d259950a37731002eca498 .clearfix:after { content: ""; display: table; clear: both; } .uff5c9fa144d259950a37731002eca498 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uff5c9fa144d259950a37731002eca498:active , .uff5c9fa144d259950a37731002eca498:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uff5c9fa144d259950a37731002eca498 .centered-text-area { width: 100%; position: relative ; } .uff5c9fa144d259950a37731002eca498 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uff5c9fa144d259950a37731002eca498 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uff5c9fa144d259950a37731002eca498 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uff5c9fa144d259950a37731002eca498:hover .ctaButton { background-color: #34495E!important; } .uff5c9fa144d259950a37731002eca498 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uff5c9fa144d259950a37731002eca498 .uff5c9fa144d259950a37731002eca498-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uff5c9fa144d259950a37731002eca498:after { content: ""; display: block; clear: both; } READ: Child development EssayThe Athenian and Spartan armies were the greatest powers on the peninsula (one on land and the other at sea), and the two met together only fifty years after the defeat of the Persians. When the Athenian navy placed a boycott on Megara, the Spartans were forced to try and stop the eventual total takeover of Greece. The problem of not being able to fight on the oppositions ground, either sea or land, caused the two nations to make changes to the previous Greek art of war. The lighter-armored infantry soldiers were added to the ground order of battle, which was observed from the Persian Wars to be just as effective as heavily armored infantrymen in a p halanx. The Spartan army eventually prevailed. Sparta was left as the greatest power in Greece and with that came responsibility to control the rest of the empire, but the Spartans were unprepared to hold Greece together due to the fact that the only training the citizens had received was in military not political matters. Thebes took over handling Greece from the Spartans after the victory at the battle of Leuctra (371 B.C.). By the time that Theban power had control of the empire, there was too much lost over the past Peloponnesian War and they ran out of manpower to control Greece, and were thus conquered by the Macedonian army at the battle of Chaeronaea (338 B.C.). Phillip II was the creator of the greatest military power of the time, the Macedonia army. This army used a stronger phalanx that had sixteen ranks, and its arsenal consisted of towers, rams, and catapults. After the assassination of Phillip II, his son Alexander took control as the master of Greece. Alexander the Great was the greatest military leader of his time, and he took his fathers goal of obtaining Persia seriously. Alexanders campaign took him further out of Greece and towards the end of the third century B.C., his Empire controlled lands in Syria, Egypt, Babylonia, and of course Persia. Also during this time a new army was formed in Italy at Rome. The Romans discovered that the phalanx was not an effective formation and developed the maniple. Each maniple consisted of about 120 men arranged in a checkered board pattern of 30 maniples and was proven to be effective in Italy. They key to the Romans success was that each new state was not treated as a servant, but as an ally of Rome. With Italy under its control, Rome was forced to move to surrounding areas due to troubles with the merchants at sea. Sicily became the first offshore ally of Rome during the first Punic War, but navy superiority was not established. Carthage was working on reestablishing itself under the leadership of Hannibal. Controlling the surrounding water of the western Mediterranean, Hannibal moved to engage the Romans and almost conquered them at Cannae (216 B.C.), where the largest Roman army was surrounded, enveloped, and destroyed. The Romans needed military leadership to outwit Hannibal and found it in Scipio. Scipio made the maniples stronger than ever and increased the amount of horsemen in the cavalry to solve the problem that the Romans had against Hannibal. By using adapting techniques to envelop and control sea power, Scipio was able to defeat Carthage at the battle of Zama (202 B.C.), and thus the Romans were ready to expand their empire from Spain to Asia Minor and from Britain to Northern Africa. SOURCES USEDPreston, Richard A., Alex Roland, and Sydney F. Wise. MenIn Arms: A History of Warfare and its interrelationshipsWith Western Society. (Belmont, California:Wadsworth/Thomson Learning, 2001). Chap 1-3Warry, John. Warfare in the Classical World: An IllustratedEncyclopedia of Weapons, Warriors, and Warfare in the Ancient Civilisations of Greece and Rome. (Norman, Oklahoma:University of Oklahoma Press, 1995). Chap 1-13