Thursday, October 31, 2019
Evaluating Fictive-Narrative - Essay Example He effectively illustrated that the abstract understanding is enhanced when studying the physical object. John was greatly fascinated with nature and science from a very early age. His father was a scientist in the area of Surgery, thus he occasionally communicated with John on issues concerning general science. The literature explains that John used to observe the activities of small living organisms such as the insects that are commonly found on the tree barks. He developed curiosity on how the insects manage to hatch or come forth from the dung. During childhood, John developed keen interest in the bodies of dead animals like the pigs. He wanted to observe the pig more closely to satisfy his curiosity. They obtained the dead animals from the slaughterhouse, before they are taken by the butchers or meat suppliers. During analysis of the dead animals, he used several procedures and equipments. He used the knife to slice the carcass, and then remove the intriguing organs such as the liver, lungs and heart. He observed that the features and characteristics of the hearts varied, from one animal to another. His father taught him great lessons in natural science and surgery through practical procedures, more so the animal dissection techniques. The father explained that the surgical procedures conducted on animals, was very similar to procedures conducted on human beings. The father taught him the general functioning of the body organs. The esophagus is the channel that the food follows, so as to make blood. The food enters the stomach, then liver and also the heart. The heart pumps the blood to other body parts or organs through the phlebes. Aristotle was taught by his father that blood is the main source of nourishment to the body. Therefore, John illustrated adequate capabilities of being a natural scientist. John was effectively guided in his medical training by the medical school lecturers, instructors and
Tuesday, October 29, 2019
MHE512 Disaster Relief Module 3 Case - Essay Example Considerably, the importance of the mission of relief and recovery operations are practically given way through the application of common good and virtues culture in providing assistance. The value of common good directly implies a rather important sense of realization when it comes to providing help to those who need the assistance.2 The common good allows a better chance for the relief operations to be focused on matters that affect the majority of individuals who were victimized by the tragedies or natural calamities and be able to answer the call for the said need. Directly to, applying virtues in the process would provide the rescuers with the patience that they need to keep on pursuing the matters that the people they are helping really need and stop the deeper sense of discrimination among those who are being helped from the position of those assisting them. It is only through the application of common good and virtues culture of handling relief and recovery service to victims of calamities and disasters that the procedure of helping becomes directly effective and applicative in assisting those in need towards the instance of keeping a great chance of proving the victims with the attention that they need regardless of the differences that they may have against each other. Also, it should be noted that the application of... tivity makes it easier for the providers of service to keep their procedures in line with the law and the different guidelines that are carried on to assure that the victims' welfare are well attended to. Critically, these considerations assist every individual given the responsibility to provide relief the right position and motivation towards actually giving attention to the different approaches used to make it better for the victims to recover from the situations that they ought to grow out from later on to be able to move on in life. 2)In your opinion was the compensation to the victim's families fromthe 9-11 terrorist's attacks on America raised the expectations of a similar compensation to victims from other disasters. If you considered it ethical to provide compensation to the victims of 9-11 would you apply the same ethical approach to the victims of Hurricane Katrina If not, would you apply another ethical approach What about the victims of future major disasters The equalization of the procedures and budget when it comes to providing victims of calamities and tragedies around the different states in concern is a huge matter to be given attention to by the officials appointed for the directive considerations that need to be undergone to be able to help victims recover from the situations that they have been under. Why is this so Likely, the idea of keeping the victims supported for them to successfully recover from the situations that they have to ponder with comes with great ethical balancing of focused elements. This includes the balanced approach of relief and recovery service given to all the victims of such situations. For instance, those who have been under the 9/11 tragedy have been well compensated by the government due to the fact that the fatigue
Sunday, October 27, 2019
Contemporary Indian Theatre And Habib Tanvirs Habib Tanvir and Naya Theatre are two inseparable names which will always be remembered in the modern theatrical scenario in India. Its been a year since the death of Habib Tanvir, one of the most popular Indian Hindi, Urdu playwrights, a poet, a theatre director, and an actor, but still the majority of theatergoers in India remember his famous artworks like Agra Bazar and Charandas Chor. The country will always recall this man as the founding father of contemporary theatre of India. But before we go into his life and work details we will have a quick understanding of the evolution of contemporary theatre in India. The traditional theatre, The classical or Sanskrit theatre and The Modern theatre. Contemporary Indian theatre, as we know it today, has been widely influenced by the change in the political scenario in India. During the 200 years of British rule Indian theatre came in direct contact with western theatre. With the union of power by the British Raj in Maharashtra, Tamil Nadu and Bengal, it was in the metropolises of Bombay, Madras and Calcutta that they first introduced their style of theatre, primarily based on London concept. This genre of theatre began to expand in the 1850s as more enthusiasts started to perform their own play on different languages based on western style. Due to the growth of this new form of the theatre the other conventional form of theatre felt the heat. Theatre started being ticketed from the 1870s. By the 20th century and First World War, it became a product for sale and was restricted into the auditorium. As the Indian freedom movement picked momentum, the creative side of the theatre took a setback. In 1922, the Indian Communist Party was founded and along with it came the Indian People`s Theatre Association (IPTA), which worked as its cultural wing. They took the initiative of portable theatre and these were based on various political agenda primarily against the British Rule. Indian theatre was turning out as a medium of social and political change that would be more concerned about reaching out to the common people. Post-Independence, Indian theatre got a fresh and broader outlook from appropriate mixing of various styles from medieval, Sanskrit, and western theatre. This newly found entity was further enhanced by the formation of Sangeet Natak Academy in Jan 1953 and the National School of Drama, New Delhi under Ebrahim Alkazi in 1959. This dramatic revival brought many pioneers in the theatrical front among which Habib Tanvir was one of the most popular theatre playwright-director in Hindi and Urdu. Along with B.V. Karanth (1928-2002), Ibrahim Alkazi (born 1923), Utpal Dutt (1929-1993) Satyadev Dubey (born 1936), Tanvir shaped the structure of modern theatre in India. The individuality in Tanvirs form of theatre was that it showed how Indian theatre could be simultaneously blended with traditional and contemporary aspects. His theater was not fixed to any one form as a whole. His works reaped the skills, energies of folk performance and made them relevant to the secular and democratic perspective. The effect was that his artwork was as challenging as it was entertaining. During the five decades of his stint in theatre, Tanvir gave such memorable productions as Agra Bazar, Mitti ki Gari, Gaon ka Naam Sasural Mor Naam Damaad, Charandas Chor, Jis Lahore Ni Dekhya, and Rajrakt, of which many are renowned as classics of the contemporary Indian stage. In popular culture, the name of Habib Tanvir is closely related to the concept of the folk theatre. However, Habib Tanvirs appeal with the folk was motivated by the folk performers who brought their own styles along with them. Habib Tanvir plays involved actors who can sing and dance. His project from the start had been to utilize elements of folk as an instrument to produce theater to appeal general masses. Habib Ahmed Khan was born in Raipur, Chhattisgarh to Hafiz Ahmed Khan, who belonged to Peshawar. Tanvir was a pen-name he took later when he started writing poetry. Raipur, during that time was a small town surrounded by villages. As a child, Tanvir too had many opportunities to visit villages, interact with the residents and listen to the songs of the locals. He was so attracted by those melodies that he even memorized some of them. Tanvir completed his schooling from Laurie Municipal High School in Raipur and his BA from Morris College Nagpur in 1944. After pursuing his Masters for 1 year at Aligarh Muslim University (AMU), Tanvir moved to Bombay in 1945 and joined All India Radio (AIR). He also joined the PWA (Progressive Writers Association) and became an essential part of IPTA (Indian Peoples Theatre Association) as an actor. When the Communist Party of India was banned many IPTA members were jailed or went underground. From 1948-50, Habib solely handled the responsibility of running the organization. In 1954, Tanvir moved to Delhi, and worked with Hindustani Theatre formed by Qudsia Zaidi and authored many plays. It was in this period he met Moneeka Mishra, also an actor-director, whom he later married. In the same year, he produced Agra Bazar, based on the times of the 18-th-century Urdu poet, Nazir Akbarabadi, an older poet in the generation of Mirza Ghalib. He used students of Jamia Millia Islamia and local residents and folk artists from Okhla village and created an ambience never seen before in Indian theatre. The play was not staged in a restricted space, but in a bazaar, a marketplace. Later, On a Govt of India scholarship, Tanvir went to England in 1956. He received training at the Royal Academy of Dramatic Art, and the British Drama League, and having exposure to Western drama and production styles. He traveled extensively throughout Europe, watching theatre. In 1956 he spent about 8 months in Berlin and saw numerous productions by Bertolt Brecht. Being Tanvirs first experience with the German playwright-directors work he was quickly influenced by it. Simplicity and directness were the benchmark of Berliner Ensemble productions, and Tanvir was reminded of Sanskrit drama, about its simplicity in technique and presentation. By the time he got back to India, he was determined to unlearn much of what he had learnt at RADA. Thus following a path of development opposite to that followed by other Indian directors trained in Britain. Soon after returning from Europe, he worked with some folk artists of Chhattisgarh and tried to understand their forms and techniques. His first production, Mitti ki Gadi, included 6 folk actors from Chhattisgarh in the cast. Besides, to give a distinct Indian form and style, he used the conventions and techniques of folk stage. This play though is now performed entirely by village artists, but it is still considered as one of the best modern portrayal of the classic. Tanvir and his wife Moneeka Misra founded Naya Theatre in 1959. During this stage of career, Tanvirs interest in the folk traditions and performers continued to grow. But, it was not until the early 1970s that this association reached a new and more sustained phase. Tanvir wasnt entirely satisfied with the working of folk actors. He identified two faults in his approach to tackle them. Firstly, the problem with the rural artists was they not only could read or write but couldnt even remember what way they needed to move in the stage. So, it wasnt wise enough to pre-define their movements in advance. Secondly, making these people speak standard Hindi in Hindustani plays created a severe handicap for them and restricted their freedom of expression and creativity in performance. To improvise on these faults, the folk actors were allowed to speak in their native Chhattisgarhi dialect. He also worked intensively with rural performers in their language delivery and style of performance. Also, to make them feel stage worthy, he allowed them their own portion of delivery in their own traditional way. The second breakthrough came when Tanvir conducted a nacha workshop in Raipur in 1972 where more than a hundred folk participants were involved in a month-long exercise. During this workshop, three different traditional comedies were selected and combined to form a full length play. Further improvisations linked them up to a full story, leading to a stage play called Gaon ka Naam Sasural, Mor Naam Damaad. This play marked a turning point in Tanvirs career, not only because the play was a grand success in Delhi but that he finally found the form and style he was searching since his directorial debut. Since then, he continued his construction and casting of play through improvisations. Through this method, at that time he produced his best work Charandas Chor(1975). This play is still the evergreen favorite for most theatre goers. Tanvirs Naya Theatre worked almost entirely with folk actors. But, his occasional productions with other theatre groups were also marked by the style he developed through his work with folk artists. But, this newly developed style was not folk theatre by any sense. He was still an urban artist with sensibility, modern outlook and strong sense of history and politics. His unique style and content in theatre always reflected his commitment to common people and their causes, primarily due to his involvement with the leftist cultural movement in early years. Tanvirs fascination with the folk was motivated by the fact that he believed there is a huge artistic and creative energy inherent in these traditions. He always borrowed techniques, music and themes from these traditions as and when required. His theatre never belonged to any one form or tradition wholly. His plays, from the beginning, have been utilizing elements of folk traditions as a tool and make them give new, contemporary meanings, and to create an art form which has that touch of soil in it. The performance styles of the actors were always in their conventional nacha background, but the plays were not original nacha productions. While the number of actors in a nacha play is usually 2 or 3, the rest being background dancers and singers, Tanvirs plays used to involve a whole casting of actors, some of whom could sing and dance. His productions always had a structure which one doesnt associate with the original form of the nacha. Another significant difference is that while the nacha songs are mostly used as intermediate musical delays, in Tanvirs plays they were closely embedded as an important part of the theme of the play. This is best displayed in some his adaptations like The Good Woman of Szechwan (Shaajapur ki Shantibai) and A Midsummers Night Dream (Kamdeo Ka Apna, Basant Ritu Ka Sapna). Tanvir not only gave his poetic compositions the freshness of the original but has also used his words to fit native tunes with ease and skill. However, Tanvir was always conscious not to create a difference between his own educated minds over the uneducated creative mind of his actors. An example of this approach is the way Tanvir mixed his poetry to the traditional tribal and folk music, retaining its own imaginative power without in any way less valuing the latter. Another example is the way he allowed his actors and their skills to be projected by less complicating the lighting stage design. Therefore in contrast to the stylish genre of drama on one side and the traditional theatre on the other, Habib Tanvir, with his own blend of tradition, folk creativity and critical consciousness, offered a fresh and innovative model of field of dramatics. It is this rich blend which made his art so memorable. Even after Tanvirs death, his innovative art form and style is still being carried forward through newer productions of Naya Theatre. Seeing recent performance of Naya Theatre actors in movie Peepli Live we can probably comment that Tanvirs art form is gradually crossing the barriers of contemporary theatre and exploring newer towards mainstream cinema.
Friday, October 25, 2019
In many academic and scientific investigations there are three stages of development. The first involves the identification of the subject or phenomenon under investigation. The second involves establishing a theory or hypothesis to explain the nature and characteristics of whatever is to be investigated. In the third phase the investigator seeks to apply theory to some procedure of analysis, perhaps in the form of a practical application of knowledge to a range of tasks. What is the "subject" of the present study? It is not some clearly defined topic such as the behaviour of a certain kind of animal or the molecular structure of certain chemicals. The subject is a verbal phenomenon, or - to be very cautious - a possible verbal phenomenon. Do the titles of poems by Goethe and the German Romantics in which the word "Wandrer" occurs and do occurrences of the verb "to wander" in English poetry reflect the same phenomenon? By way of an analogy with a court case, I will call a number of witnesses and first among them, translators who rendered the German "Wand(e)rer" in the titles of German poetic works as "Wanderer" in English. In fact William of Norwich's translation of Goethe's "Der Wandrer" actually exerted a demonstrable influence on William Wordsworth, affecting his use of the word "Wanderer" in his own poetry. "Wanderer's Night-Songs" demonstrates that for Longfellow the English word "Wanderer" Henry Wadsworth Longfellow's rendition of the title "Wandrers Nachtlied" as captured better than any other the sum total effect of the word "Wand(e)rer" in Goethe's poem. To the second class of witness belong critics who apply the word "Wanderer" or a form of verb "to wander" to their critical evaluations, evidently locating the same nexus of themes and problems whether they are writing about German or English poetry. Two critics have in my view already identified the phenomenon with which I am concerned - Professor L. A.Willoughby in his discussions of Goethe's poetry and Geoffrey H. Hartman in his discussions of English romanticism. Their conclusions overlap when they refer to the main protagonist in Goethe's Faust drama as a "Wanderer". I see my task in integrating and correlating their arguments and insights, and to do this with any degree of objectivity I discuss at some length J. Tynjanov's theories concerning "the Word" in poetry. I also attempt to avoid any monocausal explanation of the phenomenon identified by myself and others (though my perception of the scope of this phenomenon is wider than in the c ase of the two scholars I have mentioned).
Thursday, October 24, 2019
The movie Ã¢â¬ËOceanÃ¢â¬â¢s ThirteenÃ¢â¬â¢ is a good resource for the organizational behaviors analysis. And I will focus on the Ã¢â¬ËTeamsÃ¢â¬â¢, Ã¢â¬ËLeadershipÃ¢â¬â¢ and Ã¢â¬ËPersonalityÃ¢â¬â¢ to analysis some facts in this movie. First I will focus on the teams of OceanÃ¢â¬â¢s thirteen. The team is a highly organized and efficient team. I think they perform all 3 kinds of typical tasks which include production tasks, decision-making tasks and creativity tasks. And the team is comprehensive interdependence as all its membersÃ¢â¬â¢ work will affect each other and also affects the outcome of their whole job.And although the members of OceanÃ¢â¬â¢s thirteen include people with different race, ethnicity, age, personality, interests, knowledge, skills and abilities, but they have similar core value. And although they have a great chance to have relational conflict which may cause a very bad result, they surprisingly get along with each other and easily cooperate with each other. Here are some examples about Ocean thirteenÃ¢â¬â¢s teamwork. The team of OceanÃ¢â¬â¢s thirteen has 2 plans.The first plan was to prevent the BankÃ¢â¬â¢s hotel from winning the prestigious Ã¢â¬ËFive Diamond Rating PrizeÃ¢â¬â¢ and the second plan was to rig the casinoÃ¢â¬â¢s slot machines and other gamesÃ¢â¬â¢ machines in the casino to let the players win more than $500 million in total across the casino in order to force Willy Bank to give up the control of that casino to the board. For their first plan, Saul acted as the fake reviewer for Ã¢â¬ËFive Diamond Rating PrizeÃ¢â¬â¢ and they bribed an ambitious concierge called Debbie to treat the real reviewer badly and led the real reviewer into a room that other 2 members of OceanÃ¢â¬â¢s thirteen had already sabotaged.And they also gave money to a waiter to let that waiter tell the real reviewer that he could not enjoy a meal at an Italian restaurant which was actually empty at that time because he d id not reserve for a seat. And that waiter also advised the real reviewer to go to a Chinese-Sichuan restaurant called Ã¢â¬ËLing SuÃ¢â¬â¢. And then the real reviewer got the food which was changed by a member of OceanÃ¢â¬â¢s thirteen and that food made him vomit in his hotel room later.And he found that there were a lot of small insects on his roomÃ¢â¬â¢s bed sheets, so he was very angry of it and gave a very bad evaluation to that hotel for the Ã¢â¬ËFive Diamond Rating PrizeÃ¢â¬â¢. For their second plan, the members of OceanÃ¢â¬â¢s thirteen work in the positions that they are good at. Denny Ocean commanded the overall situation and coordinated with different parties. Rusty played as a fake seismologist in order to convince Willy to put a Ã¢â¬Ëstandard torsion seismographÃ¢â¬â¢ equipment, which was actually a surveillance machine for the OceanÃ¢â¬â¢s thirteen, on his officeÃ¢â¬â¢s desk to register for the foreshock of an earthquake.Turk went to Mexico to deal w ith the strike of the factories that provided the dices and other casino appliances the OceanÃ¢â¬â¢s thirteen used to cheat that casino later. Basher worked as a person to create Ã¢â¬ËearthquakeÃ¢â¬â¢ in the casino. Yen first acted as a Chinese super-high roller to get access to the central room of the hotel and then walked into the shafts from that room. Frank and Saul worked together to let Willy use the Ã¢â¬ËNuff SaidÃ¢â¬â¢ at center of that casino. And Linus seduced Sponder in order to get into the room where Willy hided diamonds.And Virgil voluntarily asked to handle the task of hacking the casinoÃ¢â¬â¢s computer after the original hacker Livingston was caught by a federal agent. And there are also many other facts that I am not going to list in detail show the highly cooperation in the team of OceanÃ¢â¬â¢s thirteen. Secondly, I will talk about the leadership in OceanÃ¢â¬â¢s thirteen. As the main leader of OceanÃ¢â¬â¢s thirteen is Danny Ocean, I will focus on the leadership and personality of Danny Ocean. Danny Ocean is a great leader.He has a personality of conscientiousness and extraversion. He is knowledgeable, dependable, organized, reliable, hardworking, persevering, sociable and passionate. And he has great ability of summarizing other peopleÃ¢â¬â¢s ideas and drawing a final decision that combines the advantages from other peopleÃ¢â¬â¢s ideas. He also has great emotional intelligence. He has the ability to recognize and understand the emotions other people are feeling and the ability to control his feelings and quickly recover from some serious emotional experience.As a result, he can harness those emotions and use those emotions to improve his chances in leading the OceanÃ¢â¬â¢s thirteen to successfully complete several tough tasks. In addition, he processes the consultative type of leadership. And he has transformational leadership. He mostly uses initiating structure leadership behaviors to make sure that every member of O ceanÃ¢â¬â¢s thirteen to try their best to do the job as well as using consideration leadership behaviors by creating relationships with mutual trust, respect and consideration of feelings of other OceanÃ¢â¬â¢s thirteen members.So he is able to make every member of OceanÃ¢â¬â¢s thirteen to have a good mood at work and let the work efficiencies of OceanÃ¢â¬â¢s thirteen remain high all the time. In brief, combining with the plots of other 2 movies Ã¢â¬ËOceanÃ¢â¬â¢s ElevenÃ¢â¬â¢ and Ã¢â¬Å"OceanÃ¢â¬â¢s TwelveÃ¢â¬â¢, I think Danny Ocean is the main reason that OceanÃ¢â¬â¢s members had a great performance in every major task they take. At last, IÃ¢â¬â¢d like to talk the personality of some roles in this movie. I have already talked about the personality of Danny OceanÃ¢â¬â¢s personality in the previous paragraph.And I will focus on 2 people with entirely different personality Ã¢â¬â Reuben and Willy. Reuben has a personality of agreeableness. He is kind, cooperat ive, warm and loyal to his friends. So when he was destroyed by Willy, his loyal band of friends quickly got together and began to get revenge for Reuben, even to work with their enemy Ã¢â¬â Terry Benedict. In the other hand, Willy has a personality of Neuroticism and Extraversion. He is moody, insecure, jealous, unstable, assertive, dominant, greedy and sinister.He is a typical villain with no mercy and extremely low moral awareness. His employees were afraid of him and his partners hated him. So even though he had done a really good job in operating his previous hotels, many members of the broad of his new hotel still did not like him and many employees of him easily betrayed him by cooperating with OceanÃ¢â¬â¢s thirteen. To sum up, the Ã¢â¬ËOceanÃ¢â¬â¢s ThirteenÃ¢â¬â¢ is really a great movie. And I also have a better understanding of the things IÃ¢â¬â¢ve learnt from Organizational Behavior course by watching this movie.
Wednesday, October 23, 2019
The world had occupied through the latest twenty century until that day by globalization theory, its concept and future impacts . the scientists opinions had varied about globalization repercussions at rising countries including the Arab and Islamic countries . cultural globalization is one of globalization fields which correlated by cultural side , all life fields impacted by globalization , the sport field is one of fields which impact by social phenomenon what appear on societies , but globalization appearance and its effect on any field will connected by cultural and ideological debates what itÃ¢â¬â¢s to hard to predict its results. Cultural globalization is most important globalization fields , Arab makers decision are commit error if they believe that challenges of globalization period is only economic challenges but the most critical challenges in that field is cultural challenges . culture was found and persist as component in expeditions of ideological spreading . the culture object is increasing importance to globalization theory , that cultural exposure isnÃ¢â¬â¢t the mean to justifies but it become an aim. Media is essential transporter for globalization cultural , mass media is consider to millions of people the main medium to getting the cultural and by fast development to mass media the world become small village and the cultural globalization was appeared . the modern mass media played the greater mission in publishing cultural globalization that this mass media distinct by fast diffusion and crossing the countries with out censorship. The satellite , computer , internet is consider the most using recreational and mass media, it is one of the important mediums to publishing culture . if the local culture will be changed as a result of publishing cultural globalization that the recreational culture isnÃ¢â¬â¢t far about this changing , cultural globalization inseparable part of the public culture , so we must know the impact of cultural globalization as social phenomenon at recreational culture for university youth , the youth is the main element in society and the mover energy for development plans , this group is affected most by contemporary world , regional and local changes for them . The societies interested by physical and recreational culture and try to fix knowledge and recreation aspects which help to develop the social and national positive aspects . thus itÃ¢â¬â¢s important to analyze the common recreational cultural to the most important group of people groups and also know the impact of the new social phenomenon on this culture to Evaluate according to nationality values and habits . No doubt that the cultural globalization is most important and critical world phenomenon impact on culture of youth generally and in their recreation culture especially the study is contribute in analyzing the recreational culture for university youth , the available data contribute in understanding this recreational culture and how to evaluate it also selection of elements which effect on recreational culture help us in utilization from its positivism and resistant its negativism. The research aims knowledge the effect of cultural globalization on : 1. philosophy and concept of recreation for university youth 2. tendency of university youth which relate to recreation activities 3. knowledges of university youth which relate to recreation activities. 4. the recreational activities practicing for university youth 5. sociality values which relate to recreation activities the research hypotheses 1. cultural globalization effect on increasing perception of recreation philosophy and concept 2. cultural globalization effect on increasing university youth tendency toward recreation activities 3. cultural globalization effect on increasing university youth knowledges toward recreation activities 4. cultural globalization effect on decreasing in the recreational activities practicing for university youth. 5. cultural globalization effect on weakening the sociality values of university youth which relate to recreation activities the research procedures the research fields geographic field : Zagazig and 6 October university temporal field : scholastic year 2005 / 2006 human field : students of governmental university as zagazig university and one of private university as 6 october university the research sample 1619 student was selected by percentage 10% from total society, the sample was drawn randomly the method the researcher use the descriptive method that is suitable for study tools of data collection. 1. questionnaire for exploration of experts opinion about the mediums of spreading the cultural globalization 2. questionnaire for exploration of experts opinion about the questionnaire centers of cultural globalization and its effect on recreational culture for university youth 3. questionnaire for exploration of experts opinion about questionnaire of cultural globalization and its effect on recreational culture for university youth 4. Questionnaire of cultural globalization and its effect on recreational culture for university youth and applying it to study sample the survey study the researcher applied the questionnaire and repeated the application at 100 student out field of research sample , to know how could the research sample understood the elements of questionnaire and checking the reliability coefficient also checking questionnaire validity by reviewing it in final form by experts . The main study the questionnaire applied on research sample in the scholastic year 2005 / 2006 , the researcher emptying and classification the students answers on questionnaire elements in order to use it in statistical tests the statistical treatments Microsoft excel was used to calculate the percentage and SPSS program was used to make the following statistical treatments : |1. Average |2. Standard Deviation | | 3. Analysis of Variance ( ANOVA ) |4. Chi- Square test | |5- Lest Significant Deference ( L S D ) |6- T- test | CONCLUSIONS 1. modern mass media is the most important mass to spend spare time , its dangerous increased if it used with out the orientation and supervision . 2. the use of this mass as increase as the economic level of youth increased. 3. if the economic level of youth increased , the use of this mass will increased 4. university youth tendency increased toward activities of sportive , culturally , artistical , and sociality as a result of using internet , also the knowledge increased toward activities of sportive , culturally , artistical , and sociality also practice increased toward culturally and sociality activities , internet was supporting friendship , the ability on achievement , freedom , flexibility values 5. university youth tendency increased toward activities of sportive and artistical as a result of using internet , also the knowledge increased toward activities of sportive and artistical , also practice increased toward artistical activities , satellite was supporting flexibility values 6. university youth tendency increased toward activities of sportive , culturally and artistical as a result of using computer , also the knowledge increased toward activities of sportive , culturally and artistical , also practice increased toward culturally and artistical activities , computer was supporting honesty , time respect , honoring , freedom , flexibility, the ability on achievement ,subjection , leadership and humility values. 7. cultural globalization effected in increasing perception of recreation philosophy and concept for university youth. 8. in spite of increasing the tendency towards some recreational activities that wasnÃ¢â¬â¢t effected in tendency toward recreation activities in general 9. in spite of increasing knowledge towards some recreational activities as a result of using modern mass media that knowledge was weakened in general according to that cultural globalization effected in decreasing knowledges toward recreation activities. 10. cultural globalization contributed in weakness the recreational activities practicing 11. cultural globalization contributed in weakness sociality values which relate to recreation activities. Recommendation 1. cooperation of society establishments as home , school and mass media in youth enlightenment about damages of negative programs which published by modern mass media 2. participation of parents with sons in seeing and using the modern mass media to avoid isolation of youth and choosing unpurposeful programs. 3. organizing the using of the modern mass media during the spare time 4. university is consider one of the most sociality establishments which making the cultural fortification against foreign cultural trends so it must be interested with recreational activities in university out the competition field under professional supervision to fix the positive sociality value 5. opening active center in university for students after lectures not limited by work official times. 6. set up symposiums increasing the consciousness for university youth toward what publishing by the modern mass media and hint about its dangerous 7. interest by presenting purposeful media programs which contribute in publishing and supporting positive value 8. supporting inventor computer program to invent computer games which spread the real sociality facts , habits and values written by :Sameh Hassan.