Conclusion

This is a survey of the intersecting problems of politics, aesthetics, and criticism. The identification of poetic personae, artistic play, and ironic reserve cannot be the ultimate target of criticism. An analysis of art executed in purely aesthetic terms elides the political dimension more generally. And this move specifically fails to grapple with the self-serving politics of “art for art’s sake.” The glorious plenitude of art needs to be considered next to its partner, the glorious plenitude of imperial power. These two ineffable marvels are in communication with one another. And the artist is the one who has crafted the dialog. When we move past the terms of the debate set by the artist we can find a psychic life of power that is complicated and disturbing. Talk of the mastery of the master-craftsman hides this from us. It hides both the political complicity and the painful paradoxes that must be lived in order to embrace the glory and shame of complicity. Such talk hides the way in which artistry captures, reflects, reproduces, intervenes in, and celebrates the socio-political milieu more generally. Or, to the extent one does discuss the above, an overly sentimental discourse of “resistance” is allowed to guide the discussion. We finish with an appraisal of the problematic politics of intertextuality and allusivity as critical obsessions. The narrowness of such a research agenda can itself become politically complicit by offering a bibliophilic hiding place for people who have something to hide.

The importance of women in the preservation of the companies dedicated to the production and sale of the Jipi-Japa hat in the Maya area of Calkiní

In the Yucatán península, the handicraft businesses tend to disappear when the master craftsman dies, losing these family type companies. According with researches applied by Santos y Barroso (2016), point out that the 66% of the companies are run by handicraft woman, who preserve their customs, traditions and handicraft heritage. This document aims to appreciate the importance of the women in the preservation of the companies dedicated to the production and commercialization of the Jipi-Japa hat in the mayan area from Calkiní, in order to know the strengths and weaknesses of these companies for the export to European Markets. The research proposal was mixed and it was carried out in the four mayan localities: Tankuche, Bécal, Santa Cruz ex-Hacienda y San Nicólas from the municipality of Calkiní, in the state of Campeche, in two phases: Phase 1.- Internal analysis of the handicraft’s companies. Phase 2.- External analysis of the handicraft´s companies through key informants. The results point out that even when the woman has an important leading role in this activity, there is a significant decrease in their number; which indicates, that the new generations do not see the handicraft production attractive perhaps because of the work it implies and the low remuneration, putting at risk the generation of jobs derived from this activity; For this reason, it is urgent to implement strategies in the production and commercialization of the hat that help to strengthen this activity and prevent its extinction.

The old garden

Smirnov’s essay is devoted to an episode from Gogol’s Dead Souls [Myortvye dushi]; rather a landscape than an episode. In Gogol’s opinion, a landscape is not a copy of nature but an artist’s creation. A landscape is meant to be created, not copied from nature: the role of a master craftsman is not to usher the viewer along the trimmed bosquets of a French formal garden, unsurprising and immediately recognisable, but to lure them into the thicket of his imagination. It is with such a fruit of imagination that we are faced in the case of the neglected, unruly and overgrown garden on the landowner Plyushkin’s estate. The author examines Gogol’s description of the garden in detail, almost word by word, uncovering the hidden symbolic meaning of contrasting the village, ugly in its state of neglect, with the landowner’s garden, equally neglected but beautiful nonetheless. What is piles of rubbish in the village streets becomes pretty fallen leaves on the garden paths; the author suggests that Gogol used this contrast to let nature ‘correct’ the gardener, i. e. to remove the incompetent human alterations and reveal itself in its full glory.

Transition from master craftsman to engineering degree

There is a great need for Master-Craftsmen who are highly valued in industry locally but are not afforded the same recognition as in Germany, so in order to encourage more applicants a bridging progression to a Bachelor’s degree should be devised. There are several paths to the education of engineers. Traditionally students of engineering attend secondary school from which they matriculate to a tertiary institution. In many countries candidates may opt to do an Associate degree articulating to a Bachelor’s degree. However, in some countries, it is possible to become an engineer without a traditional degree, usually in a more practically-oriented apprenticeship programme. In Britain for example, such candidates complete National Vocational Qualifications (NVQs) in engineering while working at a company. NVQs typically range from Level 1 to Level 8, Levels 6 and 7 being equivalent to Bachelor’s and taught Master’s degrees respectively. In Germany, there is also an alternative qualification to the Bachelor’s degree, the more practically-oriented Meister (Master-Craftsman in English), both of which are equally recognized and respected professionally and are both pegged at Level 6 in the 8-Level German National Qualifications Framework (NQF). The MIC Institute of Technology has adopted a Master-Craftsman programme which is accredited by the German Chamber of Crafts and Trades. Candidates have to first complete the (trimester) Journeyman programme comprising three years, about 50% of which comprise industrial attachments/internships. Successful Journeyman graduates can progress to the Master-Craftsman qualification by completing an extra (trimester) year of study. This paper deals with the progression of Master-Craftsman graduates, through advanced placement, in a Bachelor of Technology programme. The Master-Craftsman curricula have to be mapped against a typical Bachelor of Technology programme to determine the gaps in mathematical, theoretical and other areas and mechanisms to fill any gaps.

Recognition and Improvement of the Master Craftsman Cosmetology System

With diverse changes in cosmetology industry, there has been a rising demand for more professional knowledge and cosmetologist license level among cosmetologists. Among cosmetologist licenses, the highest license is ‘master craftsman cosmetology’ which is earned by skilled cosmetologists. Even though ‘master craftsman cosmetology’ requires a decent amount of money and efforts, it’s been little used in practice. As a result, the license holders haven’t been properly treated. This study reviewed qualification systems in cosmetology by changes in industrial structure and cosmetology environments and examined the concept & construction, problems and improvement direction of the master craftsman cosmetology system. It’s anticipated that the study results would help cosmetologists understand ‘master craftsman cosmetology’ and its current status, envision their future and prepare a master craftsman cosmetology test.

TRANSITION FROM MASTER CRAFTSMAN TO ENGINEERING DEGREE

There is a great need for Master-Craftsmen who are highly valued in industry locally but are not afforded the same recognition as in Germany, so in order to encourage more applicants a bridging progression to a Bachelor’s degree should be devised. There are several paths to the education of engineers. Traditionally students of engineering attend secondary school from which they matriculate to a tertiary institution. In many countries candidates may opt to do an Associate degree articulating to a Bachelor’s degree. However, in some countries, it is possible to become an engineer without a traditional degree, usually in a more practically-oriented apprenticeship programme. In Britain for example, such candidates complete National Vocational Qualifications(NVQs) in engineering while working at a company. NVQs typically range from Level 1 to Level 8, Levels 6 and 7 being equivalent to Bachelor’s and taught Master’s degrees respectively. In Germany, there is also an alternative qualification to the Bachelor’s degree, the more practically-oriented Meister (Master-Craftsman in English), both of which are equally recognized and respected professionally and are both pegged at Level 6 in the 8-Level German National Qualifications Framework (NQF). The MIC Institute of Technology has adopted a Master-Craftsman programme which is accredited by the German Chamber of Crafts and Trades. Candidates have to first complete the (trimester) Journeyman programme comprising three years, about 50% of which comprise industrial attachments/internships. Successful Journeyman graduates can progress to the Master-Craftsman qualification by completing an extra (trimester) year of study. This paper deals with the progression of Master-Craftsman graduates, through advanced placement, in a Bachelor of Technology programme. The Master-Craftsman curricula have to be mapped against a typical Bachelor of Technology programme to determine the gaps in mathematical, theoretical and other areas and mechanisms to fill any gaps.

Student Perceptions of Higher Education and Apprenticeship Alignment

Since its inception in medieval Europe, apprenticeships have played a vital role in knowledge transfer from one generation to the next. In a mutually beneficial relationship, the master craftsman passes along years of skill and wisdom to the younger apprentice while gaining the youthful, energetic infusion of labor from the burgeoning new learner. In the 21st century, the concept remains largely unchanged, but after years of falling by the wayside, the United States is experiencing a renaissance in the apprenticeship movement. For generations, apprenticeships were marginalized in favor of a more traditional form of classroom-based education now termed Career and Technical Education. However, with economic changes activated by a national ‘skills gap’ and a retiring Baby Boomer generation, the country faces a potential crisis if a skilled workforce is not trained quickly. With just over 500,000 participants nationally, apprenticeship pales in comparison to the 17 million students currently enrolled in higher education. Some of the fastest growing sectors of the American economy such as Science, Technology, Engineering and Math (STEM), and healthcare, have only a few thousand apprentices each. The solution to this challenge lies with the alignment of both methodologies. This article explores the subject of integrating apprenticeship growth and the higher education sector.

Remapping the Visual Contours: An Enquiry into the Film Narratives of Adoor Gopalakrishnan

Adoor Gopalakrishan has been the greatest film director who had elevated Malayalam film to the level of World Cinema. Truly, he is the master craftsman of Indian cinema second only to Satyajit Ray. He had discovered the identity of Malayalam through his visual narratives. He had metamorphosed each film as an experience and eked out a new visual repertoire for Malayalam films. Hitherto, no serious study has been conducted to absorb the visual magnificence of Adoor films. Concerted efforts have been initiated in other Indian languages and world languages to trace the visual dynamics employed in Adoor films. When foreign film critics approach his films seriously, even today we often falter to imbibe the film sensitivity and culture kickstarted by Mr Adoor Gopalakrishnan. Still, he is the ‘unravished fragrance’ of Malayalam film industry. Adoor has been truly one of the masters of world cinema and had carved a special niche for him in the global film map. My paper tries to portray the new visual fervor inculcated by Adoor films in the Malayalam psyche and will unravel the subtle nuances which deeply touch the labyrinthine milieu of Malayalam film world.