Globalization Cultures Society--美国Essay代写范文

美国留学生作业代写范文:“Globalization Cultures Society”，这篇论文主要描述的是随着全球化的进程不断的加快，全球化在社会上的影响也变得越来越广泛，而政治、经济、文化本身就是属于社会中的一部分，因此全球化的发展也对政治、经济、文化有着不同程度的影响，那么在全球化的过程中该如何面对不同文化观念之间的冲突，便成为了我们需要思考的问题。

As globalization continues to develop and expand throughout nearly every society on the globe, its effects have been increasingly obvious and widespread. Globalization has become a large factor of society and the way government, politics, economics, and society itself all function. The effects globalization has had and continues to have are continually being critiqued and debated by economists and politics, and the opinions on the topic are varied greatly. Tyler Cowen, an economist, has written several books on the topic of globalization and its effects on culture and society in an effort to express his views on the conflict of globalization.

Author of “Creative Destruction: How Globalization Is Changing the World's Culture” Tyler Cowen is a 1983 graduate of George Mason University graduating with a BS in Economics. After graduating from George Mason he went on to receive his Ph.D. at Harvard where 2005 Nobel Memorial Prize in Economics winner, game theorist, and Harvard professor Thomas Schelling mentored him. Cowen then worked until 1989 as an assistant and associate professor of economics at the University of California Irvine before returning to George Mason where in 1998 he was named general director of both the Mercatus Center and George Mason's James M. Buchanan Center for Political Economy. In 2000, Dr. Cowen was named the Holbert C. Harris Chair of Economics, and is currently the general director of the Mercatus Center and also serves on the Mercatus Center board of directors.

Cowen's ideology falls closely aligned with those of the libertarian ideology and aligns him with ideas such as small government, lower taxes, free markets, and pluralism. Cowen has been classified as a “libertarian bargainer”- someone of libertarian ideals who is not so radical that he cannot influence the “currently powerful” (Klein, December 22, 2003). In a 2007 article entitled "The Paradox of Libertarianism," Cowen argued that libertarians "should embrace a world with growing wealth, growing positive liberty, and yes, growing government. We don't have to favor the growth in government per se, but we do need to recognize that sometimes it is a package deal.” [1] Hand in hand with such economic and political ideals of libertarianism is the foundation of their beliefs towards globalization. The libertarian ideology supports free and fare trade and embraces globalization.

Cowen as an author has written numerous books based on political and economic issues of toady and more specifically oriented towards cultural economics. Cowen's background and ideology play a large role in the books that he has written which have all taken a stance on many of the more controversial issues surrounding politics and economics and a combination of the two. In the book Creative Destruction, such issues play a large role in Cowen's presentation of globalization and the effects it has on culture and creative markets.

Creative Destruction: How Globalization Is Changing the World's Cultures was written by Cowen in 2002 in an effort to confront the issue of globalization of cultures and more specifically the effects globalization has had and continues to have on the creative cultures throughout the globe. By creative culture, Cowen examines more specifically the effects globalization has on art, music, entertainment and other forms of creative markets or traditions. Cowen adopted the phrase “creative destruction” which is a term coined by Joseph Schumpeter in his work entitled "Capitalism, Socialism and Democracy" (1942) to denote a "process of industrial mutation that incessantly revolutionizes the economic structure from within, incessantly destroying the old one, incessantly creating a new one." [2] This definition given by Schumpeter lays out foundation for a wide range of economic and globalization issues that Cowen artistically dominates as he presents his views specifically on those issues of culture mentioned above.

Cowen continually goes right to the heart of the subject he is discussing, and gives a specific presentation of his points on such subjects. Even though Creative Destruction is brief (roughly 150 pages), it covers an extraordinarily wide range of material that can be fall under the broad definition of creative destruction as coined by Schumpeter. Cowen could easily have been overwhelmed by the wealth of such material; he proves himself to be an expert on a wide range of subjects, from French cuisine to Persian carpets, from reggae music to the Tuvan throat singers of Mongolia. But such is the efficiency of Cowen as a writer that he can keep his discussion focused on a number of central themes, even as he explores the most mysterious aspects of globalization.

In this book, a large part of the focus is given to what Cowen calls ethos. The explanation of ethos as it is given in the book is:

“the special feel or flavor of a culture. Ethos can be considered the background network of worldview, styles, and inspirations found in a society, or a framework for cultural interpretation. Ethos therefore is part of an implicit language for creating or viewing art. More specifically, ethos may consist of societal self-confidence, the worldview generated by collective adherence to a religion, or cultural presuppositions about the nature and importance of beauty. Thos often involves tacit or background knowledge that informs what we do but resists written or verbal formulation. French historian and philosopher of art Hippolyte Taine Referred to “the general state of mind and surrounding circumstances.” The German words Weltanschauung (way of looking at the world) and Zeitgeist (spirit of the times) express the notion more precisely than any English language equivalent.”[3]

Cowen takes time to represent both sides of the spectrum by giving examples of the positive and negative effects globalization has on different cultures and their ethos.

The paradox of the situation Cowen presents focuses on situation similar to many U.S tourists and that on one hand we want to be able to visit or trade with a foreign, exotic place, and on the other, it would be inhumane to prevent the people of that same place from living the same lifestyle as us, if they so chose, which would probably result in the loss of ethos of that culture. In Creative Destruction, Cowen analyzes this contradiction in the way people think about globalization. He presents a pattern that reverses the familiar “not in my backyard” syndrome--the common attitude that leads people to want real estate development to take place anywhere but in their own neighborhood.

The opposite often happens when it comes to globalization; people want to take advantage in their own lives of all the benefits it can bring, especially in terms of the wider availability of goods, but they take a “not in your backyard” attitude toward foreigners. They want other nations to remain unchanged and above all unaffected by any contact with the United States--only that way will these tourists find when they travel to foreign lands that they remain exotic, rather than having turned into a mirror image of the United States.

In short, Cowen identifies the self-interested character of much of the seemingly high-minded criticism of globalization. When people complain that the expansion of international trade is homogenizing the world, they pretend to be speaking on behalf of indigenous people everywhere and fighting to preserve their distinct way of life. But in reality they are fighting to preserve their own right to view that way of life unaltered. Their self-centeredness is revealed by the fact that these critics of globalization seldom ask: do these foreigners want to preserve their way of life unchanged? Might they perhaps want to enjoy some of the benefits of other ways of life, aspects of American culture, for example, which we have learned to take for granted and have in some cases even come to despise, but which look rather desirable to people elsewhere who are currently denied them

Importance of Technology-Steel instruments in the Jamaica 26-27

Cuba (more cultural advancement during open years (28)

Haiti paints came from early Americans, voodoo dolls were used American dolls from dump, and voodoo flags resemble french military banners (30)

The Navajo (43)

“not in my backyard” syndrome--the common attitude that leads people to want real estate development to take place anywhere but in their own neighborhood “diversity within society” and "diversity across societies" (pp. 14-15).the collectivist mentality of those who inveigh against the homogenization of the world that globalization is supposedly bringing about.

In sorting out this issue, Cowen makes his most valuable contribution in Creative Destruction--articulating the difference between two kinds of diversity, what he calls “diversity within society” and "diversity across societies" (pp. 14-15). As he points out, these two developments are frequently at odds: "When one society trades a new artwork to another society, diversity within society goes up (consumers have greater choice), but diversity across the two societies goes down (the two societies become more alike)". The question is not about more or less diversity per se, but rather what kind of diversity globalization will bring (15). When I objected to Australians watching Seinfeld in the outback, I was focusing on the diversity between the United States and Australia, but when I wanted to have Queensland mud crab served at the Outback Steakhouse in my hometown of Charlottesville, Virginia, I was focusing on the diversity within the United States. In the first case, I was speaking as a tourist; in the second as a consumer. And typically, as a tourist I wanted to decrease the diversity available within Australia in order to preserve my image of its difference, while as a consumer I wanted to increase the diversity available within the United States to broaden my own range of options at home.

A term coined by Joseph Schumpeter in his work entitled "Capitalism, Socialism and Democracy" (1942) to denote a "process of industrial mutation that incessantly revolutionizes the economic structure from within, incessantly destroying the old one, incessantly creating a new one."

Investopedia Says: Creative destruction occurs when something new kills something older. A great example of this is personal computers. The industry, led by Microsoft and Intel, destroyed many mainframe computer companies, but in doing so, entrepreneurs created one of the most important inventions of this century. Schumpeter goes so far as to say that the "process of creative destruction is the essential fact about capitalism." Unfortunately, while a great concept, this became one of the most overused buzzwords of the dotcom boom (and bust), with nearly every technology CEO talking about how creative destruction would replace the old economy with the new.

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