Monitoring & Evaluating Marketing Comm

Monitoring and evaluating marketing communications is a difficult process with imprecise outcomes. Critically review this statement for both on-line and off-line campaigns, making reference to appropriate theory, the organisation and tools previously selected. Innocent: Campaign regarding â€Å"Veg Pots† Monitoring and evaluating are different but complementary functions, which mutually reinforce one another. Monitoring is an enduring function that uses the systematic collection of data on specified indicators to provide management and the main stakeholders of an on-going development intervention.Evaluation is the systematic and objective assessment of a continuing or completed project, programme or policy, (Third International Roundtable, 2007). Monitoring and evaluating marketing communications can be a difficult process as there are no real metrics for measuring advertisements within a campaign, advertising is not seen as a scientific or mathematical process and therefore e valuating the effectiveness of the campaign holistically can be made challenging.A wide range of criteria could be used by Innocent to monitor effectiveness of the Veg Pot campaign, ranging from awareness or advertising through absorption of product message and other intermediate factors to sales, the closer the sales figures are the better. Innocent Veg Pots offline/online campaign is filled with mixed-media tools, the differences in the way different mediums work can mean that they complement one another, in a mixed-media campaign each enriches what the other conveys.Magazine ads can communicate additional ideas, and also make the television advertising work harder; billboards can result in awareness and responses’ resulting on online hits, what this shows is that monitoring but also evaluating can be done not statistically but making consumers aware of the full product campaign through all mediums. Pelsmacker et al (2004) demonstrates with the use of figure 1. 1 different tests and research how monitoring and evaluating advertising campaigns can work. Figure 1. below illustrates the advertising planning process by stages, different advertising research methods can be adopted at certain points in the planning process. Innocent’s Veg Pot campaign can work in accordance with this model, at the different planning processes Innocent can carry out the research/tests as appropriate in order to efficiently improve decision making in each process and successfully move on to the next stage knowing that previous stages are fully completed and justifiable reasoning can be made as to why the next stage was then carried forward in the planning process.The pre- test is an evaluation method but can be seen as a monitoring method in assessing whether the campaign at that time matches to the expectations of the set objectives for the campaign, objectives should be measurable in order to quantify the effectiveness of the marketing communications (Ouwersloot and Duncan, 2007), the post-test could then help evaluate how well the advertising has been, through typical methods as recall or recognition analysis as suggested by Pickton and Broderick (2005) but have been criticised for association with several methodological problems by Singh et al,(1988 pp72-80).Figure 1. 1: Stages in the development of an advertising campaign and the role of advertising and advertising research Figure 1. 2 below shows the objectives of a pre-test, they could help to monitor if the set objectives are going to be met but also the pre-tests could be carried out to see whether the created adverts for the campaign are effective from the consumers perspective this may then allow Innocent to be efficient with time and money as they have already spent a lot previously promoting the Veg Pots which have been around since 2008, (Leahul, 2008).Figure 1. 2: Objectives of a Pre-Test Monitoring website behaviour has been made easier through advances in technology over the year s, web servers automatically collect data of visitors of whom visit websites Nielsen data are one firm who analyse these views with the help of cookies it allows experts to see consumers who revisit the website or where they go after leaving the advert they had just been exposed to on a certain website which helps evaluation of effectiveness of online adverts.Viewing of television commercials tends to be relatively passive, whereas exposure to magazines is more active. The process of scanning the pages means constantly taking decisions, with relatively high attention, and this active selection is maintained throughout the reading of the issue. Typically, all or almost all of the pages of a magazine are opened, (Consterdine, 2000).Reading a magazine requires more mental engagement than viewing television, magazines are purchased voluntarily and purchased based on interest so it is likely that the consumer is to actively seek out information from that magazine, television which is ano ther of Innocents chosen mediums can however engage with more of the senses than magazines, visual stories can be formed and viewed, jingles and catchy music can be a form of retrieval cues whilst the consumer is shopping.Monitoring television can be done by investigating how many people were watching during that advert break, monitoring magazines could be done by issues sold; evaluating the effectiveness of the ad can be seen through sales after exposure, however it cannot be stated that the increase in sales is because of the adverts it could be through desirability of product and the attractiveness of the offer it has along with it.Monitoring campaigns as Innocent’s mixed media one has proven to have its difficulties but shown to be reduced by Pelsmacker et al (2004) work of test marketing, evaluating the campaign is not any easier as there are many challenges in the way. Post-testing is one possible solution to evaluating the campaign communication effectiveness.Post-test ing is carried out after an advert has been exposed to the target market the post-test hopes to find if the advert exposed has generated demand and increase sales figures. Post-test areas include media evaluation, sales affect, message content & design of the marketing communication and lastly the effect of that marketing communication on awareness, attitude, purchase intention, claimed purchase behaviour and the like, (Pickton and Broderick, 2005 and Pavlou and Stewart, 2000).Pelsmacker et al (2004) found that recognition tests which consist of ‘evaluation of message content on the basis of an awareness of the marketing communication, (Pickton and Broderick, 2005) are better than recall tests which are an ‘evaluation of message content on the basis of aided or unaided recollection of the stimulus material’ (Pickton and Broderick, 2005), in measuring ad effectiveness if this is the case then Innocent could use recognition tests to evaluate the campaign of the Veg Pots however Singh et al (1988) suggested that recall and recognition tests have methodological problems in both broadcast media and print media Pelsmacker et al (2004) did also find that in recognition tests consumers can lie or guess creating erroneous results, single ads would be more difficult for a consumer to recognise or recall but similar ads that are part of a campaign will be more likely to recognised and recalled. Innocent is creating several different adverts all in line with each other to help consumers have the thought of Veg Pots in the top of their mind whilst they are shopping or just hungry. When monitoring and evaluating the effectiveness of mixed-media campaigns special care is necessary if attempting to isolate the contributions of each medium. Isolating the effect of an advertising campaign is not always obvious’ according to Pelsmacker et al (2004), if Innocent are to fulfil their objective of increasing family consumers and advertise that free Veg Pots are available to limited consumers, that may increase the demand of the Veg Pots but the question is, is the increase in demand attributable to the advertising efforts or the attractiveness of the offer, (Pelsmacker et al, 2004), because of this it makes it difficult to assess the effectiveness of the individual tools used within the campaign to see what contributions each tool has brought. In order to assess this issue Pickton and Broderick’s (2005) concept of assessing the whole campaign through integrated marketing seems a much more appropriate method to use than struggling to assess individual tools effectiveness used within a campaign. Campaign evaluation research focusses on the effectiveness of the whole campaign rather than just one ad in which a post-test does. Integrated marketing suggests it is irrelevant to assess the effects of a single ad the effects of the whole campaign should be carried out, (Pickton and Broderick, 2005) which is agreed upon by the workings of Pavlou and Stewart (2000). Almost half of all personal computers are in the same room as the television set, and simultaneous viewing of television and access to the Internet are common,’ (Cox 1998) what this means for Innocent is that their mixed-media tools for the Veg Pot campaign work in accordance with each other suggesting that one medium helps the other in generating more and more awareness, in a campaign like Innocents it is impossible to state that effectiveness of one medium is more useful or successful than the other as it may possibly be that one medium helps the other gain its credibility for example the television advert may direct the consumer to the website for more information which then offers information regarding vouchers in certain magazines therefore creating a triangular formation of connection between the campaign tools. Figure 1. 3: Continuum of integration . Figure 1. above illustrates that increasing levels of integration results in marketing com munications benefiting from synergy creating positive effects, this ties in with the work of Yeshin ( 2005) and Pelsmacker et al (2004) who stated integrated marketing is better than assessing the effects of one single medium which is irrelevant therefore the whole communications mix should be assessed, however Pickton and Broderick (2005) also state in their three levels of integration model (figure 1. 4) that not huge integration is needed like a military station just some integration is needed to keep a connection flowing through the hierarchy to avoid any communication failures. Figure 1. 4: Innocents new commercials that have been proposed to be created for the Veg Pot range is sure to not interest the entire audience the commercial is exposed to, Heath (2005, in Pickton and Boderick) said If the advert generates an interest for the person watching, that individual has more attention on the advert as it appeals to them compared to an individual watching the advert who does not have an interest in the product being advertised.The AIDA model could be an evaluation method that demonstrates how the appeal of the advert leads to purchasing of the Veg Pot as the awareness creates the interest then leading to desire ending in purchase, however the AIDA model has been discredited by Consterdine (2000) as to why consumers switch brands or select the brand because of an advert. There is now wide agreement that advertising works in different ways for different products in different situations, which doesn’t have to comply with the findings of the simplistic AIDA model. Unlike the findings of Pelsmacker et al (2004) and Pickton and Broderick (2005) who talk about evaluation of effectiveness being through tests, Ouwerloot and Duncan (2007) suggest that evaluation can be done through feedback in forms of interviews, meetings and general discussion not only internally but externally out of a company too, this then creates qualitative information for a company suc h as Innocent to use constructively.Speed, scope and scale of interactivity are what the mediums Innocent had for the Veg Pot campaign allowed. The degree of the success of the campaign can to an extent be evaluated through the mediums used. The internet can be used to fill out a questionnaire relating to the Veg Pots finding out whether consumers would purchase again, where and if they saw any of the campaign relating to the Veg Pots, television commercials can direct consumers to other more informative mediums, magazines can offer coupons when they are redeemed, billboards offer awareness, all these mediums combined can be evaluated not singularly though as found by Pelsmacker (2004), Pickton and Broderick, (2005) and Pavlou and Stewart (2000). Monitoring and evaluating marketing communications is a difficult process with imprecise outcomes’ this statements to an extent has been found to be true to an extent as many challenges are faced when monitoring and evaluating as the re are no real metrics to underpin the exact effectiveness of campaign communications it is hugely based upon perceived judgement and estimated predictions it is helped however through pre and post-tests yet through those tests it is still unclear the exact amount of people the campaign proved to be a success towards. Monitoring and evaluating marketing communications of Innocent can be difficult but hardship can be reduced through different methods, by examining the objectives of the campaign of the Veg Pots and seeing whether or not they had been reached can possibly answer the question ‘has the campaign been a success,’ but the actual monitoring of a campaign can be easier than evaluating a campaign, adverts that are singularly produced and not part of a campaign can be better evaluated and monitored as there will be no other influences or support with that particular advert.Saying that monitoring and evaluating can have imprecise outcomes is not generally true as st rategies and tactics are put in place throughout campaigns an outcome is always known as measureable objectives are put in place at the beginning therefore knowing in the mind where or what the end result should be. References Consterdine, G. (2000) ‘Magazine advertising effectiveness’. [Online] http://www. consterdine. com/report. asp? articleid=50 Cox, Beth (1998), â€Å"Report: TV, PC Get Equal Time,†Ã‚  Advertising Report Archives, InternetNews. com (November 17). De Pelsmacker, P. and Geuens, M. and Van den Bergh, J. (2004), Marketing Communications, Prentice Hall, Harlow Leahul, D. (2008) Innocent Tackles food with Veg Pot. Brand Republic [Online] [Accessed on 2nd April 2012] http://www. brandrepublic. com/news/844321/innocent-tackles-food-veg-pots/ Ouwersloot, H. nd Duncan, T. (2007) Integrated Marketing Communications, Mc-Graw Hill Pavlou, P. A. and Stewart, D. W. (2000) ‘Measuring the Effects and Effectiveness of Interactive Advertising. ’ J ournal of interactive advertising, 1(1) Pickton, D. and Broderick, A. (2005) Integrated Marketing Communications, Prentice Hall Singh, S. N et al (1988) ‘Recognition versus Recall as Measures of Television Commercial Third International Roundtable. (2007) Monitoring and Evaluation: Enhancing Development Results. Vietnam. [Online] [Accessed on 2nd April 2012] http://www. mfdr. org/rt3/Glance/Documents/E&M_final. pdf Yeshin, T. (2004) Advertising. Thompson London

Development Of Coronary Heart Disease Health And Social Care Essay

In this essay I will debate about the relationship between high blood pressure and type 2 mellitus diabetes ( T2DM ) . Hypertension has a taking factor to play in cardiovascular diseases ; high blood pressure and diabetes affect the vascular tree. Hypertension is a long lasting status which makes the blood force per unit area rise above the normal norm, 90 % of high blood pressure is indispensable they can be classed as two different types primary and secondary, when you get high blood force per unit area because of other factors such as the kidneys or tumours this is known as secondary high blood pressure. Type 1 Diabetes is when your organic structure fails to bring forth insulin and requires insulin to be injected. Type 2 diabetes is when the organic structure is n't utilizing insulin in a correct and most efficient manner. Atherosclerosis vascular disease is besides known as coronary artery disease ; this is the thickener of the arterias and builds up of fat stuffs like cholester in. Connery bosom disease is when there is a obstruction in your Connery arterias because of fatty acids and stops the blood being pumped around the organic structure. The major factor to shots and bosom onslaughts is due because of relentless high blood pressure. From the NHS web site I can find that Connery bosom disease is the biggest slayer in the UK, at least 300,000 people dice of Connery bosom disease every twelvemonth impacting 1 in every 4 work forces and 1 in every 6 adult females. From the national UK nose count they say that the most common cause for the past 90 old ages has been Connery bosom disease, see table 1.1 ( from the tabular array you can see that in merely England and Wales disk shape disease is the most common. As age increases the opportunity of acquiring Connery bosom disease increases every bit good this is because of your immune system non working every bit good and because of the unhealthy life style being lived with non adequate exercising.Table 1.1Connery bosom disease occurs when the Connery arteries subdivision of from the chief aorta this is merely above the aortal valve, when fatty acids build up in the blood vas walls and shorten the transition manner of the blood to flux through. From the NHS web site I can find that Connery bosom disease is the UK biggest slayer, around 300,000 people have a bosom onslaught each twelvemonth there is about 1 in 6 adult females deceasing from the disease and around 1 in 4 work forces. Connery bosom dis ease when there are big sums of cholesterin in your organic structure this can besides take to atherosclerosis. In the US these figures are a batch higher the hazard of holding |CHD over 40 is 49 % for work forces and 32 % for adult females there has been a lessening in the figure of deceases from CHD for people aged 65 and under. But for people over the age of 65 there is a lessening in the figure of people deceasing from CHD but it is well more that people aged 65 and under. This is due to the life manner people have changed over the old ages. CHD decease rate as a per centum of 1980 rate among work forces and adult females aged 55-64 old ages in England and Wales ‘s clip span of 1980-1995 Type 2 diabetes can be genetically inherited non all is bad, some of them are good heritage they help forestall type 2 diabetes. A major factors for diabetes is obesity, from my statistics I can see that the national Centre for the wellness shows us that there is around 60 million corpulent people, this is because there is a higher hazard of insulin opposition because it interferes with the organic structure to utilize the insulin. The figure of kids with type 2 mellitus diabetes has besides increased. 90 % of people that have been diagnosed with type diabetes were overweight. There is excessively much fat in the organic structure and there is non adequate fiber and simple saccharides these all aid to the diagnosing of diabetes. Eating good and right can change by reversal these reactions and they can forestall type 2 diabetes. Peoples who have household diagnosed with type 2 diabetes have a greater hazard in developing it themselves. African Americans have a familial temperament tow ards type 2 diabetes. Age besides has a large part. FIG 1.2 Diabetes is when there is an addition in glucose and it rises above the normal degree, type 2 diabetes can besides be inherited genetically non wholly inherited diabetes is bad because some aids to forestall diabetes. From the national wellness statistics I can see that there is around 60 million corpulent people, fleshiness has a immense contributing factor to diabetes, the larger a individual is the higher the opportunity of the insulin being wasted and insulin opposition, type 2 diabetes increases the opportunities of a cardio vascular bosom disease this is due to your bosom working harder to get the better of the little sums of glucose being turned into glucose. If there is high degree of glucose or even if there is non plenty in your organic structure for a long period of clip this can damage the blood vass and can take to bosom onslaughts, shots and hapless circulation. Atherlersiosis is a status that hardens the arterias ; the arterias are blood vessles which carry rich O blood around your organic structure. The arterias harden due to the physique up of plaque this causes them to contract over clip and because of the arterias being narrowed there is less blood being pumped around the organic structure and to your bosom. The Plaque inside the Connery arterias is made up of fat, Ca and cholesterin, this status is known as coronary artery disease. This status causes the arterias to lose they elasticity ; this restricts the blood flow and causes high blood pressure which is addition of the blood force per unit area. This makes the arterial force per unit area to increase and causes the bosom musculus to work twice every bit difficult to pump the sum of blood a normal bosom would pump, these lending factors could take up to hold shots or even bosom onslaughts. Atherelerosis development is foremost when the fatty run is followed by the formation of plaqu e and so characterised of the increasing sum of macrophage and froth cells. Looking at FIG 1.3 you can see that A is a healthy arteria that would pump blood around the organic structure without a job, but from B you can see that there is a build up of plaque and this arteria would hold problem pumping blood about. Many people that have this status are incognizant but merely happen out after they have had a shot or a bosom onslaught, the chief intervention that is used for atherlerosis is to alter your life style, there are medical interventions and medical specialties that you can take to assist populate a healthier life style. Type 11 mellitus diabetes ; high blood pressure is linked together and all lead up to impacting the bosom. Age has a major function to play as this is an uncountable factor by acquiring one of these status e.g. high blood pressure this may take to atherlerosocis. All 3 conditions play a major function in impacting the bosom and barricading the blood vass. First if type 11 mellitus diabetes is developed and non looked after and controlled the sum of glucose will lift, as the glucose rises this puts force per unit area on the kidneys to increase their working rate to interrupt down the glucose and halt it from developing into cholesterin. When there is a build up of glucose and the is excessively much strain on the kidneys they begin to neglect and can non maintain up and this leads to cholesterol being deposited into the blood vass, as above in FIG 1.3 as cholesterin is deposited into the blood vass this leads to the physique up of plaque and eventually leads to atherolerosis. This ca uses the blood vass to halt working decently as it has restricted the blood flow, this changes the manner the blood is flowed through the arterias and leads to high blood pressure. Atherlerosis is the major cause of Hypertension. Hypertension has a prima function to play to Connery bosom disease this is the blood vass are already strained by the physique up of plaque and high blood pressure increases the strain which causes the blood vass to rupture and rend. The force per unit area builds up in the blood vass and the blood is filled in the cryings which cause coagulums and this leads to Connery bosom disease. The best manner in commanding conary bosom disease and handling it is to keep a healthy life manner. By commanding emphasis degrees will assist forestall high blood pressure, seeking to avoid emphasis and nerve-racking state of affairss and maintaining a positive head. Exerting on a regular basis helps the variety meats to work decently the NHS say at least 4-5 per hebdomad for exercising is required. To drop cholesterin degrees eating a balanced diet with at least 5 parts of fruit and vegetable and cutting back on fatso nutrients and saccharides. Eating meats in moderate parts will besides assist. Cuting back on tea, java and intoxicant can assist cut down the physique up of plaque and atherlerosis. Stevens, RJ et Al 2005 says A glass of ruddy wine daily is good for the bosom. Drug intervention for conary bosom disease is different for each person as the physicians prescribe you medication on your life style and side effects. Low doses of acetylsalicylic acid could be given as this helps to forestall blood curdling and reduces the hazard of bosom onslaughts. ACE inhibitors could be taken these aid to handle high blood force per unit area besides known as high blood pressure, this causes the blood vass to loosen up and widen and assist to take down the blood force per unit area. The drugs nitrates may besides be used this helps to forestall thorax strivings and besides widens the vass. To assist command cholesterin degrees a statin drug is used these types of drugs are merely prescribed after the non-drug interventions described as above have all been extinguished this drug helps to forestall shots and bosom onslaughts. The chief types of drugs that are used to assist handle conary bosom disease are lipid-lowering medicines and ACE inhibitors. hypertext transfer protocol: //www.nhs.uk/conditions/Coronary-heart-disease/Pages/Introduction.aspx hypertext transfer protocol: //www.healthcentral.com/heart-disease/drugs.html

Bayeux Tapestry Experience Assignment Example | Topics and Well Written Essays - 750 words

Bayeux Tapestry Experience - Assignment Example I must admit that I was intimidated by the amount of bloodshed I witnessed but had to carry on with the battle in support of our leader, Duke William. Before the battle, Duke William learned that Harold had accidentally landed in Count Guy of Ponthieu’s territory and taken prisoner, he sent messages for his release. On a noble gesture, the Duke sent messages for Harold’s release to Count Guy. After the release, Count Guy brought Harold to William, who made him take an oath and join us in campaigning against the Bretons. Both our team and Harold’s staged a brave fight that led Duke William to honoring Harold with armor. William then released Harold, who returned to England and met King Edward. Harold was then crowned King following the death of King Edward. However, I know the comet that was sighted during Harold’s coronation was a bad omen, and it meant the throne did not belong to him (Foys, 2009). All of us under the leadership of Duke Williams believe t he throne rightfully belongs to him (William), so we planned to invade the Normans with the help of Bayeux’s Bishop Odo, who is also the Duke’s half brother. We loaded our ships with food, drinks and armor, and dressed in battle gear. The Duke led us across the channel, carrying wooden castles and horses on the ships. When we landed in England at Sussex near Hastings, we prepared a feast and Bishop Odo said grace. We burnt a house in the village after the feast to demonstrate our purpose on invasion, then put up a motte and bailey to secure our position at Hastings (Hicks, 2006). I delivered a message of war from the Duke to the Harold’s camp, and he took up the challenge. I was only a messenger then, so I was not taken hostage by Harold’s soldiers. Our Duke then gave us a speech preparing us for war against Harold. On the 14th October, we began the long Battle of Hastings. I and my fellow soldiers fought on horseback the whole day, while the English, mos t of whom were Saxons and fought on foot, shielded themselves behind a wall. I saw a lot of blood on the ground, but was encouraged by Bishop Odo who gave encouragement by continuously waving us on with a baton. As a cleric, he is not permitted to shed blood (Bernau & Bildhauer, 2007). He, therefore, could not carry a sword like the rest of us. I soon saw the bodies of two knights, Gyrth and Leofwine, who are also Harold’s brothers, lying lifeless on the ground. The number of dismembered bodies and horses littering the battlefield grew, and our Duke occasionally raised his helmet to reassure us of his safety by showing his face. I saw both English and Norman army uniforms on the ground, which meant that some of our soldiers were also injured and killed. Our troops finally managed to surround Harold. I saw him lying on the ground with an arrow through his right eye before he was hacked to death using swords. At the sight of their dead king, most of his army fled as we disarmed the ones we had captured. We eventually gained victory at the Battle of Hastings. As we celebrate our victory and explore the English land, I would like you to understand that Duke William deserves to be king because his father, Robert the Magnificent, was also a Duke of Normandy. William himself has been Duke since he was seven years old, and by the time he was 19 years old, he was already in charge of Normandy. Further, King Edward does not have any

The Fall of the Aztecs Essay Example | Topics and Well Written Essays - 1000 words

The Fall of the Aztecs - Essay Example It is also not true that the natives gave way to the newcomers because of the mistaken belief that a white man came back to them as a god prophesied by their high priests. This had been the main narrative in several history books but a closer examination of all extant documents did not show a belief among natives that Hernando Cortes was their god Quetzalcoatl. A credible explanation how a few intrepid men were able to conquer an empire was by duplicity and guile. Discussion The most common or popular explanation among historians as to why the Spaniards did successfully conquer a vast and advanced empire of the Aztecs was the main narrative the natives did not offer much resistance because of their supposedly mistaken belief that Hernando Cortes is a god who went to the east and vowed to come back as Quetzalcoatl. It was just a coincidence that he arrived on the same year the god was expected to come back. On the contrary, another white explorer named Juan de Grijalva was the one bel ieved to be a god a year earlier in 1518.1 This â€Å"white god† explanation seems overly simplistic but this was given preference by most historians who based their studies and conclusions from recovered documents before and after the conquest. Incidentally, most of the writings were written by the heirs of nobles and the priests whose duties at that time were to foresee the future and so this explanation gained some prominence because these writers tried to protect the reputation of their forebears who cannot be portrayed as not being able to tell the future, hence this explanation acquired credence. Moreover the god Quetzalcoatl is a relatively minor god in the pantheon of gods among the natives, and so ascribing Cortes as Quetzalcoatl does not make much sense. The â€Å"white god† belief is not a very viable explanation in this regard. Most of the writers were descendants of priests and seers who were being blamed for not knowing the existence of the Spaniards prio r to their arrival.2 The most logical and credible explanation of why a few Spaniards overcame an empire is simply their superior weaponry. What they possessed at that time in military technology was a vast superiority such that a few hundred men can fight off against several thousand ill-equipped native warriors. There was simply a huge discrepancy in the military capabilities between those two combatants, with the Spaniards equipped with swords, helmets, body armor and their horses. In particular, the use of war horses was particularly effective; just three horses can turn around a hopeless dire situation into a victorious rout if used correctly against the hordes of mass warriors. Additionally, harquebus and crossbows could inflict casualties at a great distance; the mounted lances and cannons further provide a long-range military advantage against the natives. Diseases like smallpox did the rest in decimating the Aztecs, described by them as a pestilence.

Business Issues and the Context of Human Resources Assignment

Business Issues and the Context of Human Resources - Assignment Example In the year 2007, Vodafone Group achieved the permission or license of mobile phone within the region of Qatar. It is recognized with the name, Vodafone Qatar, which is situated in Qatar Science and Technology Park (QSTP). However, within a very small time frame, it become successful in positioning itself as one of the reliable and admirable brand in the region of Qatar among other rival players. It is mainly due to its aim to offer distinctive services to its customers so as to create a different image in the market. This strategy proved effective for the organization that enhanced almost 32.3 percent of the total market share and brand value of Qatar among many other contenders such as Qtel. Furthermore, the range of customers also increased from 151,000 in the year 2009 to 814,000 in September, 2011 (Vodafone Qatar Q.S.C, 2011). In this age of competitiveness, sustainability is the prime requirement of any organization, operating in any segment. However, in order to attain sustainability, it’s extremely to analyze the capabilities and evaluate the resources in the best way so as to attain remarkable results. Only then, the productivity of the organization might get enhanced resulting in amplification of the brand image and equity in the market among other existing contenders. Thus, it might be stated that in order to attain competitive position, the business or human resource strategies or tactics need to be shaped in an effective way. Similarly, the organization of Vodafone Qatar, also comprises of varied types of forces that helps in shaping its human resource strategy for future growth and development. Some of these factors are presented below: Talent management: It is recognized as one of the most important factor or force that helps in shaping the human resource strategies or policies of the organization of Vodafone Qatar. This is because in this age, talent or experienced employee is the prime weapon that may help the organization in inventing

Water Resources Supply and Pollution Assignment Example | Topics and Well Written Essays - 500 words

Water Resources Supply and Pollution - Assignment Example Topology is the study of the earth’s shape of the surface and features or those of moons, planets, and asteroids, as well as the description of such surface features and shapes. Topology is concerned with local detail in general, including human-made features and vegetation, and even, besides relief, culture and local history. The topography of Hawaii islands does a vast job affecting the weather that synoptic level models are sometimes insignificant. Most of the examples in this paper are taken from the Island of Oahu. This island is the most inhabited of the eight most important islands that consist of Hawaii, and since it houses Honolulu there is extensive date available on it. The Mauka and windward showers hit sections of the islands. This is caused by the pacific High which is the main influence on the climate for 50-80 percent of the year. It fuels the trade winds which fade away moisture off of the ocean as they head towards Hawaii. Wailuku River is the main source of water in Hawaii. Chemical and biological data indicate relatively clean water compared to similar streams in the conterminous United States. Due to the channel gradient, the number and types of benthic organisms are low in Wailuku River. The stream-bed is formed of lava flows from Mauna Loa Volcano, and the stream channel is characterized by a series of waterfalls and plunge pools. Headwaters of the Wailuku River flow intermittently from about 11,000 feet on the east-southwest side. In Hawaii, most of the drinking water comes from rivers and lakes. Water in Hawaii is pumped up from subversive aquifers or harvested from mountain streams. Fresh water is abundant in Hawaii; this is because the convergence winds upon the Islands forested mountains (Case 45). In Hawaii, water refuse has been fundamentally relegated to agricultural irrigation and large industries. The continuing effort

What Effect do Siblings have on Development Research Paper

What Effect do Siblings have on Development - Research Paper Example The younger one may not get the opportunity to express his feelings better than the older sibling and his thoughts may remain unexpressed. This paper tends to present a literature review regarding the role of siblings on development. Research Section Berger and Nuzzo studied in their research how older siblings influence the motor development of younger siblings. They interviewed parents of 51 sibling pairs to determine the onset of their children’s motor development. They found that in almost all the cases, it was evident that older siblings affected younger siblings’ motor development as the latter crawled and walked much sooner than their elder siblings had. In cases where older ones moved sooner, it was found that the parental resources were inadequate when the younger child was born which affected his motor development. I agree with Berger and Nuzzo because I have observed many children who come at number 2 or 3 in their sibling order and have learnt to move much s ooner than their older siblings. Reid, Stahl and Striano (2010) present a similar research in which they focus on motor development of children in or without the presence of older siblings. In their longitudinal research, infants of age 5-12 months were observed playing. The researchers used Mental Bayley Scale, coded the play in terms of the production of infant goal-directed actions, and concluded that â€Å"infants with siblings produced fewer goal-directed actions at 5 months than infants without older siblings, but at 12 months they produced relatively more goal-directed actions than infants without older siblings† (p.325). I agree with the idea that as the children grow older, they start imitating their elder siblings more and more. Downey (2001) presents a different research in which he talks about family size and its effect on children’s development. He suggests that as the family size increases, the parental resources and their time and energy all get distribu ted so much so that each child gets a little share and not enough. So, older siblings tend to lessen down the cognitive development due to which â€Å"children with few siblings score higher on tests of cognitive skills than children with many siblings† (Downey, 2001). However, I do not totally agree because I believe that parental attention is that kind of abstract source that cannot be lessened with each coming child in the family. Parents have the ability to increase their scope of energy and attention as they deal with more kids. Azmitia and Hesser (2008) studied how older siblings and older peers affect the cognitive development of younger siblings. They conducted a pottest in which younger children got instructions from their older siblings and peers. The researchers found that â€Å"siblings are unique agents of cognitive development† (p.430) and that the children who imitated and followed their elder siblings showed higher pottest scores that those who followed their peers. They also found the older siblings more happily offered their guidance than did the peers. I agree with this because it is natural for a sibling to help another sibling more than any outsider can do. There is a very important research by Begum and Blacher (2010) who studied the influence of gender, age and family

Construction management Assignment Example | Topics and Well Written Essays - 750 words

Construction management - Assignment Example To correct this and improve productivity I proposed that the targets and goal be realistic that the workforce is able to achieve. If this was not possible then an increase in the workforce was necessary to ensure that the delays are over. Lean system has the clients in mind and by so doing; the system is able to create the customer and not what is available and easy for production need whatever. Value streaming is also a special characteristic that makes lean system sufficient Ahmed (2010 p.g 34). The system is able to identify where recourses are less and come up with situations where the recourses are wasted and there is need for the recourses to be minimised for maximising their use. With lean production system, we get to know the flow of the recourses and the cash. To keep with customer demands, lean production system is able to come up with pull, which is effective in identifying and combining the total efforts that the customer and the worker use. No one is perfect but we can always strive for perfection. We make this possible by the lean system, which provides an environment for the managers to try to work perfectly. We can as well use Lean construction services to improve our production. Lean construction provides clear goals on developing basic practices and goals regarding the project, which we are working on. The operating system is able to create awareness as well as understanding the project goals. We are also able to interact with various companies who are experiencing the same problems and know how they have dealt with their own problems Ahmed (2010 p.g 34). To reduce any risk o overrun and liquidated damages, we have to use the cost plus the fixed percentage contract. In this type of contract, we are able to receive the actual fee of the construction job and a fixed fee that will act as the profit. This will in return give us a reduced risk of any liquidated risk. If we are

How To Recruit And Train New Employees Research Paper

How To Recruit And Train New Employees - Research Paper Example Certain methods of recruiting new employees are likely to be preferred HR managers as they have been extensively tested and their effectiveness has been verified in practice. Challenges that employers have to face when having to recruit new employees A series of issues need to be taken into consideration by employers when they have to recruit new employees. Training of new employees Why training is necessary in modern organizations The necessity of training within modern organizations can be justified by referring especially to the following fact: new employees cannot respond to their duties unless they are given clear explanations on the vision and values of the organization but also on the demands of their position. Training methods used in firms worldwide in regard to new employees HR managers are able to choose among a series of training methods appropriate for new employees; the training methods chosen for new employees depend on the organizational environment, the demands of each role but also on the capabilities of the participants/ new employees. Challenges related to the training of new employees Training is not equally effective among new employees, even when referring to new employees hired in the same department. A series of factors can influence the performance of new employees in regard to a particular training method. Conclusions and Recommendations The recruitment and training of new employees are affected by various conditions in the internal and external organizational environment. HR managers have the responsibility to ensure that the recruitment and training of new employees are carefully planned so that risks are minimized and the needs of the organization involved are covered. 1. Introduction The achievement of organizational goals is highly depended on the ability of leaders to support employees within all organizational departments. However, during the development of organizational activities the need for increasing the staff of the organization is expected to appear. In this context, recruiting new employees becomes unavoidable for HR managers in all organizations. Today, the recruitment of new employees is considered as a key organizational sector, helping to address emergent organizational needs or to develop complex organizational tasks. In order for new employees to respond to the needs of their role they have to be adequately supported; appropriately customized training programs are available to new employees in organizations worldwide. The methods used by HR managers in regard to the recruitment and training of new employees are analysed in this paper. Reference is also made to the challenges that HR managers are likely to face when developing such projects. The value of these initiatives is also explaining aiming to justify the reasons for which these projects are highly promoted within organizations in all industries. The review of the literature published in the specific field reveals that leaders in modern organization are aware of the value of new employees for securing orga nizational performance; however, often, the methods chosen for incorporating new employees within the organization are not appropriate, either because of the strong resistance within the

Business Idea Diary Essay Example | Topics and Well Written Essays - 750 words

Business Idea Diary - Essay Example It is well known that many persons have issues when it comes to waking up. People set alarms, but fail to wake up even after hearing one. Instead, they just press the snooze button and go on sleeping. The smart pillow comes in here. Connected to power, it shall analyze the persons sleeping pattern through brain activity and then through computer output, the software shall be connected to an alarm that predetermines the number of hours that person needs depending on their sleeping activity and give a choice of three specific time settings that the person can choose from to set the alarm. I will make money to make this product sustainable by placing a business proposal on popular funding websites for people with brilliant business ideas to get donations, funds and investments from. 2. This idea actually came up in mind as I was facing problems in my sleep. I had problems in rising up in the morning and also in getting to bed. I would set the alarm but would either not hear it or actually ignore it. Hence, I thought, â€Å"A smart pillow,† why not? 3. Rating my business idea on a scale of 1 to 10, I think my idea lies at level 8. The reason for this is because it is radical. It brings about a radical change to how pillows are normally used. On its feasibility, the idea is very much feasible. With many other smart devices out there for different purposes, scientists have come up with various ways to monitor brain activity which can be incorporated into pillows. What this product does is that it complements the existing products, in this case pillows that are already in use. This product creates an opportunity for more products of analysis to be brought nearer and create more interaction with their users without negative side effects in the near future. The hurdles that this product faces in the market are one, convincing the likely users that it does not harm them at all because it shall be used in contact with the persons and

Real world Essay Example for Free

Real world Essay Catherine is a bubbly young girl who wants to experience the real world. She is open and always ready to love or be loved. She doesnt really have much experience of this until she meets Rodolfo. Until now her only real male relationship has been with Eddie. This has been fine until eddies feelings change, when the sexual part of his marriage breaks down and his feelings for Catherine become confused. We hear Beatrice saying we havent made love for 2 weeks this is how we know that the sexual part of his relationship is breaking down. Eddie has the ability to influence her. This is why she cannot fully see Rodolfos real reasons for marrying her. However later on in the play, Rodolfo and Catherine talk and she begins to see that Rodolfo really does love her. do you think I would carry on my back for the rest of my life, a woman I did not love just to be an American. Is it so wonderful? . Eddie has already insulted Rodolfo many times. He calls Rodolfo a paper doll, a weird and a canary. This is because Rodolfo can sing, dance, cook and he can sew. Eddie sees Rodolfo as a bit feminine because Eddie has very narrow views about manliness. He could think that Rodolfo might be homosexual and this could explain why Eddie chooses to kiss Rodolfo in an attempt to draw him away from Catherine. In the final scenes of the play, Eddie completely throws away all of his moral values to simply stop an engagement between his niece and Beatrices cousin. Deep down I think that Eddie knows this is wrong and is even going against Eddies own code of conduct. When the immigration officers arrive, we see a scared and regretful look on his face. This is obviously one of the moments when you do something when you are very desperate and you do something that you are going to regret later. This is probably to do with the fact that he has in-appropriate feelings for her. We realise this continually throughout the play but we are convinced when Eddie is at the end of his tether and he kisses Catherine. This could also be seen as a direct challenge to Rodolfo. He also thinks that Rodolfo is only marrying Catherine to get a passport, Katie hes only bowin to his passport. He is actually marrying her because he loves her and wants to be with her. The reason that Eddie is yelling at Marco in the last scene is because Marco disrespected Eddie in front of the whole neighbourhood and said things that are considered very wrong, such as, That one! He killed my children! That one stole the food from my children. Personal and family honour, as mentioned before, is very important to the Italians and the Italian culture. Even at the end and a violent confrontation is likely, there is still a chance for Eddie to regain honour if only Marco will apologise. He says to Marco, in front of people around them maybe he come to apologise to me. Heh, Marco? For what you said about me in front of the neighbourhood. There is no apology and the violent end plays out. With the final scene, I get the impression that Miller likes Eddie, I think that he slightly favours Eddie over Rodolfo or Marco. I get this impression from the way that Miller writes that he is a very passionate man and that he is not a man who cannot compromise easily and that he has such strong emotional feelings. This is also shown by the fact that Miller does not allow Marco to have any regret or feel any sorrow. In Alfieris final speech he says   we settle for half and I like it better. He also says The truth is holy. This means that where the truth is concerned, you cannot, and should not settle for only half. He talks about Eddie never settling for half. something perversely pure calls to me from his memory not purely good but himself purely he adds though, that he thinks that it is better to settle for half yet, it is better to settle for half, it must be! he admits, even against his own will that he misses him I mourn him I admit it with a certain alarm.

Shock Probation in the US Correctional System

Shock Probation in the US Correctional System Abstract In an effort to reduce prison overcrowding and recidivism rates state legislators devised a new and innovative plan called shock probation. Fearing that a lengthy sentence given to a first time, non-violent offender may drive him/her to a life of crime; the program would give an inmate the ability appeal their case to a judge. Once the inmates case is heard and if the appeal is accepted, the sentence could be reduced from years to months. In late 1965 Ohio became the first state to enact this new program, other states such as Alabama, Texas, and Kentucky would soon follow. Believing that the first few months of ones prison sentence is the worst, law makers wanted to use this mentality in order to rehabilitate an individual to societal norms and lower the rates associated with re-offending. Recently shock probation has been used in conjunction with prison boot camp programs, where an inmate has a reduced sentence upon completion of a military-style boot camp. The controversy surroundi ng shock probation lies in the manner in which it is handed down. During the programs infancy it was common for judges to refuse 10 cases for every 1 case they accepted; now even the most violent offenders are being released under this statue. The Role of Shock Probation in the United States Correctional System A Review The overcrowding of the United States Department of Corrections prison system, in both adult and juvenile facilities is one of the biggest problems facing corrections today. The problem exists on multiple levels including the courts, prisons, and community corrections alike. When questioned judges agree that the numbers are high but are forced to use programs as a means to alleviate overcrowding in jails and prisons; in many cases the state mandates these conditions leaving judges little ability to enforce harsher punishments. Often prosecutors have used shock probation as a bargaining chip in order to get defendants to plead guilty. Shock probation enjoyed early success; Ohio saw a 9% recidivism rate compared to the national average of 65 to 80 % (Time , 1973). However, more recently in a 2007 study done by the Courier Journal of Jefferson County, Kentucky found that of 260 shock probationers 120 have arrested or charged again. Of those charged more than 60% were for felonies such a s rape, armed robbery, drug possession, and murder. This review examines the effectiveness of shock probation and examines the following issues. 1. Recidivism rates. 2. Economic impact, prison versus probation. 3. The impact of shock probation when paired with prison boot camps. Recidivism Rates One of the problems facing shock probation today is the way it is handed down. In fact nearly two thirds of felony offenders who received shock probation last year have been rearrested or returned to prison for violating the conditions of their release (Mark Motivans, 2010). These statistics would indicate the program doesnt work or it is being handed down to the wrong people. In most cases a subjects criminal history is reviewed by a judge before determining whether they would be deemed a good candidate under the shock probation program, preferring they dont have a long prison term to serve. John Faine, a Western Kentucky University professor who studied shock probation in the 1970s said the statistics concerning recidivism are horrifying and out of control, especially given the amount of offenders committing felonies (Riley, 2007). In a similar study done by the U.S Department of Corrections found that when shock probation is handed down to non-violent offenders under the correct conditions there is just a 9% re-offender rate; this is in support of the 1973 Time Magazine study. However, in a case involving a probationer of the Kentucky penal system was released in 1998 under the conditions of shock probation only to have it revoked five days later. He would serve another two years (all on drug charges) before returning to prison again in 2001 and in 2003 and yet once more last year only to have shock probation handed down a second time in his release(www.e-archives.ky.gov). It is clearly evident that if programs like this are going to have any success treatment programs and drug counseling are needed in follow up to the release of these cases. Sentence types for offenders sentenced in criminal cases terminated, by offense, October 1, 2007-September 30, 2008 Total offenders Most serious offense of conviction sentenced Incarceration Probation All offenses 82,823 77.9 % 11.7 % 3.4 % Felonies 75,832 83.9 % 8.9 % 0.4 % Shock Probation 5 Violent offenses 2,442 93.4 % 4.5 % 0.1 % Drug offenses 26,323 91.7 % 3.9 % 0.3 % Trafficking 26,198 91.8 % 3.8 % 0.3% Other drug offenses 125,492 62.4 % 28.0 % 4.0 % Note. The statistics on criminal cases show the overwhelming number of incarcerated drug offences as opposed to other crimes. The statistics are from Mark Motivans, Ph.D. (2010). Federal Justice Statistics, 2008- Statistical Tables. Office of Justice Programs. Bureau of Justice Statistics. Retrieved from http://bjs.ojp.usdoj.gov/index.cfm?ty=pbdetailiid=1745 . Economic impact, Prison versus probation Only Medicaid has a greater budget spending plan then the United States Correctional System which outspends both transportation and education. Even with a decreasing crime rate the number of people incarcerated, on probation, or paroled has risen over the past decade commanding a budget of more than 47 billion to accommodate the numbers (Solomon Moore, 2009). Each State spends on average of $29,000 on prison inmates as opposed to $1,473 on probationers and $3150 on those on parole (Mark Motivans, 2010).The average daily cost to the tax payers is about $3.00 a day to monitor a parolee; however, state legislators still push for more prisons despite the significant difference in cost; in their view the only way to address the public demand in combating crime is to build more prisons. Recidivism rates remain high despite the budget of the correctional system. The decision to sentence an offender to long term incarceration has to be thought carefully, too often it is the drug crimes that clog jail and prison cells. The amount of case loads that are being handled by parole officers can sometimes exceed 70 (Cook, 2008 ) at one time, and despite recent cutbacks, state and localities are not allocating the proper funds or staffing needed to provide adequate supervision. Offenders who do not receive proper supervision are more likely to commit new crimes with new victims or will be found in violation of the conditions of supervision, in turn will fill court dockets and ultimately prisons (Cook, 2008 ). With community corrections lacking sufficient increases in funding, keeping pace with the demands for services such as drug treatment and employment will be extremely difficult. The impact of shock probation when paired with prison boot camps. The first boot camps got their start in the states of Georgia and Oklahoma in 1983 (Harold A. Valentine, 1993). A great deal of attention was paid to these states programs and many other states and prison systems followed suit. The federal Bureau of prisons also invested in a separate boot camp designed especially for women, and by the year 1999 fifty boot camps operated in thirty states with nearly 4500 juveniles; however, by the end of 2000 many states had ended or radically cut back the size of their programs (Parent, 1997). During the height of boot camps success strict requirements were placed on the selection process and the eligibility of those selected and was carefully evaluated prior to being sent there. Positions in the program were often offered to offenders convicted of non-violent crimes such as drug offences or burglary and to those with non extensive criminal past. Using the shock probation format a camp generally lasted between 90 and 180 days (Parent, 1997), those d ropped or expelled from the program were either sent back to court for resentencing or finished the prison sentence. Upon successful completion of the program inmates are treated to a graduation ceremony in which military drills and discipline are displayed, and in most cases the families are encouraged to attend. Shock probation in the form of boot camp may all share a common name, corps values, and the basics of military discipline; however, the programs can differ dramatically. Some camps focus on hard labor and discipline while others place values on rehabilitation and treatment; still others place the center of priority on education. Different still are the ways offenders receive probation after the completion of the program, some provide drug treatment, vocational counseling, others provide short term housing (Parent, 1997). Whether the offender experiences an extensive probation or a traditional case, critics of boot camps worry about the offenders ability to transition from a highly structured environment to normal life in the community. When beginning this project I was not a supporter of either shock probation or correctional boot camps; however, in reading the testimonies of people that study and work in them I couldnt help but feel some sense of what was trying to be accomplished. Reading the stories of those who dedicate their lives in an effort to give a youth a better chance or an adult to correct the wrong in their life put these programs in a different light. The aspect of these programs that is so disappointing revolve around the recidivism rates, and the disappointing figures by the U.S Department of Justice 60 to 80% when compared to regular prison terms that are almost the same at 63 to 71%. Shock probation and correctional boot camps will remain a controversial issue in the prison system; however, the fact remains, overcrowding and improper rehabilitation continue to plague the system.

Jerome Robbins and Agnes de Mille

Jerome Robbins and Agnes de Mille An analysis of the life and works of the choreographers Jerome Robbins and Agnes de Mille and therole of dance in musical theatre Agnes de Mille and Jerome Robbins worked in musical theatre in what is widely regarded to be the industrys Golden Era. Many would say that it was their innovative approach to choreography in musical theatre that brought an energy and a dynamism to the musical, accounting for its surge in popularity. It is certainly true that they did much to elevate the role of dance in musical theatre, which was previously largely merely as an accessory to the main dramatic event; pretty women with bare flesh parading around the stage. Robbins and De Mille regarded dance as a serious art form and strove to portray it as such on the stage. Musical theatre, as we know it today, did not come into being until the twentieth century, but song and dance have been a part of theatre for thousands ofyears. From as early as the 5th century BC the Ancient Greeks employed music and dance in many of their comedies and tragedies to entertain the public. The Romans carried on this tradition from the 3rdcentury BC, with many plays by Plautus including song and dance. They invented the first tap shoes by attaching metal plates to their shoes so that the entire audience, who would sit in a colossal open-air theatre, could hear the dancesteps (1). In the Middle Ages travelling minstrels and troupes of actors, dancers and singers performed popular songs and slapstick comedy. The religious dramas of the 12th and 13th centuries also included liturgical songs, although no dancing. In the French court of the Renaissance Louis XIV insisted that song and dance be incorporated into his entertainments. In America, some of the first dramatic roles to be performed by dancers were in melodrama, which is unsurprising considering the highly stylised movement of melodramatic actors lends itself more to dance than to anything else. Mlle Celeste, who was later to become one of the most famous dancers of the nineteenth century, was first billed in America as the celebrated melodramatic actress (2). Across the nineteenth century, circuses, showboats and pantomimes all included dance in some form. Stars such as Mlle Celeste and Fanny Essler helped create a popular demand for dance and companies began to include more elaborate dances in their evenings bill. Melodrama and pantomimes would often incorporate complex ballets into their entertainments. In England the most popular form of entertainment for the working- and middle-classes was the music hall, which staged vaudeville entertainment in the way of singers, dancers and speciality acts. Vaudeville was also extremely popular in America in th e nineteenth century, and by the 1890s dance acts were ever more in demand. Dances were still, however, largely performed in between the acts of the main production or before the end-piece to fill the gaps. The role of dance in the theatre at that time was limited mainly to entractes. They existed purely to appease the audience, to show piece a star, or to titillate predominantly male audiences with allowing spectacle of female limbs in tights(3). Jack Cole referred to the dances and the dancers in theatre at this timeas wallpaper (4). It wasnt really until the 1930s that dance began to be an important part of the musical. George Balanchine, who trained at the Russian Imperial Ballet School before working with Serge Diaghilevs Ballets Russes, regarded dance as a legitimate and important component in musical theatre. He believed dance to be the greatest expressive medium and first introduced ballet onto the popular musical stage with Ziegfeld Follies. Dancers in the theatre began to be taken seriously, rather than regarded merely as pretty girls baring a lot of leg; Into a choreographic world that was a mÃÆ'Â ©lange of decorative movement, legs and taps,Balanchine opened the door and ballet leapt on to the popular musical stage,directed by a supreme artist (5). Whereas previously only routines had been performed on the theatrical stage, Balanchine choreographed dances.He refused for his dances to be merely bite-size slices of entertainment sandwiched between the main attraction and insisted that they be part of th e plot, integrated seamlessly into the action. For the first time in a musical the dances in Balanchines On Your Toes actually helped to advance the plot. When, in 1982, On Your Toes returned to Broadway, Carol Lawson of the New York Times wrote; On YourToes was a turning point in the history of musical comedy, for Mr.Balanchines dances were more than mere interludes. Instead they served as essential aspects of the plot, and were thoroughly integrated parts of the production.(6) Balanchine paved the way for AgnesDe Mille and Jerome Robbins to totally change the dynamics of dance in musical theatre, and thereby in musicals has a whole. De Mille introduced the concept of using dance as a vehicle for story-telling and Robbins transformed the role of choreographer in a musical to being director of the entire show, making dance the driving force. Agnes De Mille Asa child, although she came from a theatrical family, De Mille was not permitted formal dance training, but would improvise pieces to perform to guests and nightly improvised to the accompaniment of her mother on the Orchestrelle (7).She would practice her melodramatic acting skills every night before performing flexibility exercises to limber up her body in readiness for the stage. When in Hollywood with her family her true dancers instinct became evident as she fell in love with the wide open spaces of the country surrounding the town;this would be a recurring theme in her later choreography. In her autobiography, Dance to the Piper, she exclaimed; The descendinggrassy slopes filled me with a passion to run, to roll in delirium, to wreck mybody on the earth. Space means this to a dancer or to a child! The descentthrough theair, the finding of earth-footage, the embracing and struggle with thefundamental ground.These are to a dancer what strong scents are to an animal. (8) Theday De Mille first watched Anna Pavlova perform only increased her desire tobecome a dancer. She was enthralled, awed, and dumbstruck, and describes thatmoment with passion and gusto (9). It was this that encouraged de Mille toorganise her first dance show with a group of other girls but she was still notallowed dance lessons and became frustrated with the limited dancing she coulddo. It wasnt until her sister was advised by an orthopaedist to start balletdancing that she too was permitted to attend the Theodore Kosloff School ofImperial Russian Ballet. Whilst there she learnt technique and poise andtrained her body into that of a dancers. She worked feverishly hard, perhapseven more so because her parents would not allow her to have lessons more thantwice a week, leaving her lagging behind the rest of the class. She resortedto practicing in her mothers bathroom, where she had installed a barre for her. Bythe time De Mille had finished high school however, she had grown to loath therigours of daily practice and decided to abandon her classes and her solitarypractices and go to college. During her time at UCLA De Mille occasionallystaged dances for student rallies and towards the end of her college life shestarted exercising with the mind to getting back up on her points. She decidedto dance professionally after meeting Douglass Montgomery, who convinced herthat she could. Things were never going to be easy for her though. She movedto New York at a time when dancers [were] hired on the sheen of the stockingand the wink of their agent, and when the few dance companies that existed onBroadway were small and dedicated to the personal exploitation of some star(10). I have mentioned earlier the limited opportunities a dancer had in thistime, where no pure ballet was being performed in either music shows ormoving picture shows and there was no such word as choreography. Whenrehearsing for a concert of her own choreography Montgomery taught De Mille howto act through her dancing; he taught me that every gesture must have someexplicit meaning (11). She decided to perform character studies whereby thedancing revealed personality and was natural in the course of the story. Rightfrom the start she wanted to employ dance as more than light entertainment, asa vital story-telling vehicle. These first attempts, being only charactersketches, were quite light by nature, and the style was folk rather thanballet, but it was different to what anybody else had done on the stage before.When she performed some of these at a concert she was received well but whenshe auditioned for Charles Cochran and Noel Coward they told her that she wasmore suited to the concert hall, and that she would never make it in thetheatre. Aftertouring with Adolph Bolm, she was commissioned as a dancer-choreographer on ChristopherMorleys revival of The Black Crook but the drunken, noisy audience madeher hand her notice in. It was in the thirties that the dance scene in NewYork began to stir. Every Sunday a couple of dance concerts were given, withsoloists experimenting with every dance form imaginable. De Mille remembers,we were out remodel our entire craft there were no rules we struck sparksfrom one another (12). For five years De Mille taught herself to choreograph,but she was trying to learn to compose dances, not pantomimes, nor dramaticstories, nor character studies, but planned sequences of sustained movementwhich would be original and compelling (13). She viewed dance as a seriousart form and wanted to choreograph dances that would present it as such, butwith barely any formal training behind her she found this very difficult.After disastrously choreographing Flying Colours De Mille and her mothermoved to Londo n where, as in New York, she choreographed and danced in her ownrecitals to critical acclaim but with no financial gain. At one recital though,Marie Rambert and Arnold Haskell were amongst the audience and were impressedenough to ask her to stay in London to continue her recitals and be taught atThe Ballet Club. Itwas at The Ballet Club that De Mille met Anthony Tudor and Fredrick Ashton,both of whom would go on to become important choreographers and who, with her,would revolutionise the dance world. In 1933 she choreographed the dances forCharles B. Cochrans Nymph Errant in London but during the thirties DeMille returned to America several times, dancing in her uncles production of Cleopatrain 1934 and choreographing Irving Thalburgs film-version of Romeo andJuliet. On the latter project she had to endure her dances being cut topieces as the camera cut out most of the group work and showed only snippets ofthe rest. The custom at the time was not to show a whole dance but to providelight entertainment with cuttings of dances. OnHooray for What De Mille came up against the type of men that insisteddancers were hired for their sex appeal and that dances were performed to sellsex. These were the sort of men that were keeping dance from becoming aserious, important art form and that issued it with only a decorative functionin theatre and films. The management wanted the girls exposed as much aspossible, face front always, bosom bared, legs just visible to the waist, DeMille recalls (14). As she refused to conform exactly, wanting her owncreative input, she was fired with one word, before her choreography was rippedto shreds. Without the security of Equity many of the dancers and actors werefired without warning as the Business Manager exacted his vision of abosoms-and-legs chorus-line extravaganza. At this time on Broadway dances, attheir best, were slick and well-formed, but with no great moments of dramaticrevelation (15). When De Mille returned to Broadway some years later she wasto dramatically change thi s notion. In1940 Ballet Theatre was formed and De Mille was invited to become one of thechoreographers, on the understanding that she was not to dance herself. It wasa highly creative time for De Mille and she was able to work with some of thefinest dancers and choreographers of the time. It was at Ballet Theatre thatDe Mille created her first ballet, Black Ritual, a controversial piecewith black dancers; the first time this had ever been attempted by a seriousballet company. Having had only brief and frenzied flurries with commercialtroupes of mixed prostitutes and chorus dancers she had not had the experienceof setting a schedule of choreographing and rehearsing and was extremelynervous. Her dancers did not help matters by being consistently late and byarriving unprepared. The ballet was not received well but shortly after shewas hired by a successful booking manager for a national tour. De Mille andher dancers prepared for the tour through blood, sweat and tears but it was atotal success, a nd De Mille discovered something vital: although the managersmay not, the public liked and appreciated her work. Notlong after returning to New York, De Mille was asked by Ballet Theatre tocreate Three Virgins and a Devil, which was a huge hit and dÃÆ'Â ©buted theyoung Jerome Robbins. In 1942 she was commissioned to create a ballet for theBallet Russe de Monte Carlo. She extended a piece she had partly choreographedyears earlier, and Rodeo was the result. The ballet formed the basisfor a uniquely American dance style, using folk themes, tap dance andenergetic, fast-paced movements, capturing the essence of a cowboys manner.Teaching male dancers who were used to the precision and elegance of balletproved to be difficult so De Mille resorted to acting lessons to help herdancers find their characters. She wanted them to be cowboys; shewanted them to communicate dramatic meaning. Come opening night they wereprepared and the audience adored them. De Mille had created an entirely newand exciting dance style; it was the first of its kind, and the moment wasquick with birth (16). De Mille successfull y turned ballet into musicalcomedy, and gave the form real energy and gusto, with movements never beforeseen in this very precise of dance forms. Wehad breached the bulwarks De Mille exclaims in Dance to the Piper (17).She, with a few choreographers before her, had created a new tradition, onewith a different root impulse to traditional ballet. She asserts that tocreate a style that truly differs from ballet one must base that style onanother technique. De Mille integrated folk dances into her work, withoutlowering the performances to comedy caricatures. Her work, like that of fellowchoreographer Anthony Tudor, conveyed theatrical meaning through dance steps;the line between actor and dancer was blurred. Rather than dancers usingtraditional technique and performing well-known steps, where the human bodiesare used merely as units of design, grouped, lumped, and directed intopredetermined masses, De Mille strove for originality and dramaticcommunication in her choreography. She writes of Tudors work; Tudordeveloped the story-telling quality of his choreography to such a degree thateach gesture, formed out of the emotional components of the moment, is almostas explicit as though the dancers spoke. The new choreography does not arrangeold steps into new patterns; the emotion evolves steps, gestures, and rhythms. (18) Reading De Millesexplanation of her method for creating dance in Dance to the Piper, oneis reminded of a director beginning to stage a play. She spends much time oncharacterisation; finding the right gestures and stance for each character actsas a stimulus for the choreographic process (19). De Mille did not createimpersonal dancers but characters acting out, through dance, a story. Fromthe success of Rodeo, as well as for its all-American style and theme,De Mille was asked by Richard Rodgers and Oscar Hammerstein to choreographdances for their new production, Oklahoma! De Mille knew the projectwas going to be difficult as, unlike ballet where the choreographer is themaster and ruler of the show, many elements other than dance contribute to formmusical theatre. The performers must take direction from the director, thecomposer, the author of the book, and the producer. The dance director gotlittle say in the arrangement. Singing and acting were the main components inmusical theatre at the time; dance was merely for decoration. When casting thedancers, De Mille insisted on talent and personality, Rodgers wanted faces,although his idea of a face had frequently to do with the character in it,but Mamoulian, the director, wanted slim legs above all (20). It was assumedthat the public, also, were far more interested in the singing and the dramathan the dancing. The num bers of dances were therefore limited. De Milleinsisted, however, that every dancer was hired for just one reason that heor she was the best available performer for the role (21). She did not cavein to the whim of the director; she wanted her dancers to be seriousprofessionals, and Rodgers agreed. Once, during rehearsals, a note was playedout of tune and one of the chorus faces winced with pain, but it was notannoyance or amusement, it was agonised concern. When Rodgers saw herexpression one he had never seen cross a chorus girls face he realisedthat responsible artists had entered the ranks (22). The chorus dancers wereno longer pretty faces, good legs but nothing between the ears; everyperformer, including the dancers, knew their craft. Another difficulty DeMille would have was that the dances would have to be created from the impetusof the book, they would have to build the authors line and develop his action(23), rather than being created from scratch from characters develope d by her.De Mille was also faced with the problem of swiftly travelling from dialogue,to song, to dance, and back to dialogue again without it looking farcical. Asthe choreographer she was going to have to learn surgery, to graft and splice(23). DeMille achieved all this and more. She succeeded in elevating her role aschoreographer to that of equal importance with the playwright, the composer andthe lyricist, and she did what no choreographer had successfully done before -she integrated the ballets into the story. Her dancers were not merelydecoration but characters, and she worked with them to achieve depth ofcharacter, motivation and emotion. Dancers could no longer project theirpersonal response to a piece of music. They needed to move as the charactersthey were portraying. Their reactions, their facial expressions, all needed tofurther the audiences understanding of their character. This requiredin-depth script readings and analysis of character motivations, just as adirector would insist on for his or her actors. De Mille realised that this canreally help the dancer. Whereas in ballet the dancer has to rely on what theyfeel to give the dance energy and dynamism, they now had the singing and actingto give them background and motivation to help give their dancing, as thesecharacters, expressive movement (24). If the role of dance in Oklahoma!was to communicate dramatic meaning to the audience, and to further the plot,the dancer had to become the character, and know it inside-out. AsDe Mille herself notes, it was Anthony Tudor who first shocked audiences intoviewing a ballet dancer as an individual capable of dramatic communicationthrough her body, by clothing them in long Edwardian dresses (25). No longerwas the ballet dancer the stylised, typical image that made it acceptable forwomen to bare their legs and arms and wrap their limbs around a man. She wasnow familiar; like their mothers and aunties. They could now communicate humantruths and take part in the telling of a story. Dressed as the characters of aSouth-western town, rather than tights and a tutu, the audience was able to seethe dancers as humans with a story to tell. Thecrowning glory of De Milles choreography on Oklahoma! was without doubtthe dream-ballet which occurs at the end of Act 1. With this De Milleexperimented with something entirely new in musical theatre, and for many yearsto come barely a musical was made without it containing a dream ballet. Inthis extended ballet Laurie acts out her quandary through dance; a highlyimaginative method of moving the story forward. Dance was inextricably boundto the plot of the musical. Whereas in previous musicals dance was merely aside entertainment and could be cut without the story losing any of itsmeaning, one could not take the dream ballet out of Oklahoma! withoutruining the plot. By using dance the thoughts and feelings in the mind and theheart of Laurie could be conveyed and explored far more effectively thanthrough straight dialogue. The dances were intended to strengthen theaudiences understanding of the characters and further the plot, as well ascomplement the lyrics and the dialogue, and i t worked. Now, as well as singingand acting, dancing added to the dramatic impact of the musical on theaudience. AsKislan notes, dance also adds to the important theme of open space in Oklahoma.It is the guiding metaphor for the promise of the American Dream and thelimitless opportunities for the brand new state the lovers are destined tolive in (26). The audience is always aware of the physical space on stage asthe dancers never seem crowded, no matter how many occupy the space. In thedream ballet Curly lifts Laurie up in the air, reaching for the sky, and theballetic style danced in constantly opens the body up, extending arms and legsto give the impression of limitless space. In Dance to the Piper DeMille writes of the sense of space ballet dancers work with; Every joint andsinew is pulled long, the arms are wide and free the stretching up and out,the liberating jump, the racing over and away from the earth (27). Thefeeling of space conveyed on stage through dance complements the songs, withlyrics such as plenty of room to swing a rope/plenty of heart and plenty ofhope (28). Atlast dance as more than an accessory, but as a serious art form, had arrivedonto the popular stage, and the audience were roaring. They were howling.People hadnt seen girls and boys dance like this in so long. Of course, theyhad been dancing like this, but not just where this audience could see them(29). Perhaps the most important accomplishment for dance in Oklahoma!was that De Mille was a choreographer on the show, not a dance director. Thedifference being that dance directors worked for audience approval;choreographers work for audience enlightenment (30). Her dances were integralto the story they added and enlightened rather than decorated. This was anew role for dance in musical theatre. DeMille went on to choreograph the dances for many more Broadway musicals in the1940s and 1950s, including One Touch of Venus in 1943, Carousel in 1945, Brigadoon in1947, Gentlemen Prefer Blondes in 1949, and Paint Your Wagon in1951. Tally-Ho(1944) and FallRiver Legend (1948) provided her with the opportunity to further herrevolutionary style. She continued to cast dancers that were skilled at projectingcharacter as well as performing the correct steps. Kislan records that dancersthat worked with De Mille have testified to her fantastic ability to sense eventhe smallest dramatic quality in their dancing, and, together, manage to set itfree and integrate it into the choreography so that the dance is alwaysexpressive of the drama (31). De Mille was still responsible to the director, the lyricist andthe author of the book though. Her choreography had to fit the other elementsof the musical, and dance was often of secondary importance to those elements.Choreographers such as Jerome Robbins were to change the role of thechoreographer, and thus the role of dance in musical theatre, forever. Banishedwas the mindless aesthetics that enslaved dance to the colossal, opulent, andlavish needs of the producer, the star, or the specialty act (32). Dance wasto be given the highest status of the production. The choreographer was torule the show. Indeed, the choreographer would no longer be merely the dancecreator, but the director-choreographer; the dance-director follows, thechoreographer adapts, but the director-choreographer leads (32). JeromeRobbins was a pioneer of this change in status for the role of dance in musicaltheatre. Jerome Robbins Robbinswas born into a devoutly Jewish family in 1918, but resented being Jewish, withits conservatism and old ways. His large family, however, provided him withmany theatrical contacts and influences. His uncle, Jack Silverman, startedout as a ballroom dancer with the two men he was living with, Bing Crosby andGeorge Raft. Edward G. Robinson was also related, and another of Robbinsuncles, Daniel Davenport, owned a chain of vaudeville and burlesque theatres.Davenports father and his brother performed on the vaudeville circuit underthe name of the Davenport Brothers, staging acrobatic acts. It is to this partof the family that Robbins owes his zest for vaudeville-comedy. Robbinsparents ensured that both their children were educated in the arts, and this iswhere Jerome shone. He saw it as an escape route, a way by which he could haveaccess to the possibilities which lay beyond his community; When I was a childart seemed like a tunnel to me. At the end of that tunnel, I could see lightwhere the world opened up, waiting for me (33). Both he and his sister,Sonia, were strongly encouraged by their mother to aspire to the stage. Soniatook dance lessons and Jerome music lessons, and by the time he was three and ahalf he was composing pieces and giving recitals on the piano. Indeed, heexcelled in anything creative that he tried, but admitted that this wasbecause, the only world that was really exciting for me was the world in whichI could make believe that things were not the way they were (33). The worldof musical theatre was therefore the perfect world for him, later, to live in. Robbinshad to keep his love of dance a secret from his parents, especially his father,and his school friends, who were all into sports. As his sister danced her wayinto the spotlight Jerome was left practicing in private, often with the helpof Sonia. At the Weehawken schools he attended Robbins performed in manyschool plays, but it was at his summer camps that he fell in love with Gilbertand Sullivan musicals, and played the comic leads in HMS Pinafore, TheMikado, and Pirates of Penzance. Jeromes knack for comedy was madeevident through his performances in these roles. A fellow camper latercommented, Jerry had a tremendous sense of humour in everything he did (34).He still kept his dancing a secret though. At one parents day at the camphowever, Robbins performed a dance on the table-tennis table and, as anothercamper remembers, had the adults in tears. Furthermore, This was a bigaudience and he was completely uninhibited (34). Robbinseventually took dance lessons with Sonias dance teacher in modern dance, theform that was the emerging trend in the Depression years of the 1930s, whenpeople wanted a dance form that could more readily express the social realismsof the time than could ballet. Jerome witnessed many pioneering greats of thedance stage, such as Martha Graham, Charles Weidman, and Doris Humphrey, but in1932 he was to meet the man he would later call his guru, Gluck Sandor (35).Sandor directed, choreographed and danced in many of the productions staged atthe Dance Centre, at which Sonia danced. He worked in vaudeville and onBroadway in the 1920s and was a tremendously expressive dancer, manipulatingevery gesture for dramatic effect, which was to a have profound influence onRobbins future work. As Robbins himself has cited, We dancers were taught toperform with the concentration of an actor (36). Anzia Kubicek, a dancer,remembers that Sandor, preferred to do things with a story line hisimagination w ould just go a mile a minute, and he worked with the bodies he hadto work with, which were sometimes very limited (37). Robbins would work withboth principles in his choreography, starting with a story from which hisdancers could develop their characters, and therefore their movements. Aftergraduating from Woodrow Wilson High School in 1935 Robbins entered New YorkUniversity to study Chemistry, but in his second year his fathers corsetbusiness was in danger of going bankrupt and he could no longer fullyfinancially support Jeromes education. Jerome was by this point desperate todrop out and follow his dream of becoming a professional dancer and, throughhis sister, he managed to successfully audition for an apprenticeship withSandors company. With the help of Sandor, Jerome convinced his parents tolet him try to make it as dancer, and he left the university. Sandor persuadedan unconvinced Robbins to concentrate on ballet rather than modern dance but itwasnt until he saw Alexandra Danilova perform with the Ballet Russes that Robbinsagreed that ballet held many opportunities for him. Jerome progressed quicklyand Sandor recognised him as a natural dancer, recalling years later; Oncehe saw something, he could do it backward. Before I would do a thing he had it.He could anticipate what was to come. He was sensitive and he was musical. (38) In1937 Robbins secured his first part in The Brothers Ashkenazi, whichintensified his passion for the theatre. Throughout its run he would practiceon the barre, much to the bewilderment of the Yiddish cast of the play. Hisfellow performers recall him constantly dancing (39). After two years trainingat the Dance Centre, and having procured roles in various plays, Robbins leftthe company in search of more commercial work. He found work in the chorus ofa number of musicals which, in the thirties, were largely comic. AlthoughRobbins went on to choreograph and dance in such musicals, he also wanted totake the medium further, and use musical theatre as a vehicle for explorationinto the human psyche. He would later say, Musicals tend to be facetious. Noone has ever used them as a medium to depict deep personal struggle, and Ithink this can be done (40). He would go on to do just that. Aswell as his brief encounters with Broadway, in the summer of 1937 Robbins startedworking as part of the entertainment staff at Camp Tamiment, a summer job hewould have for five years. The resort played host to many up-and-comingtalents, such as Danny Kaye, Imogene Coca, and Carol Channing. It was avirtual breeding ground for musicians, comedians, singers and dancers. Robbinschoreographed and danced in many of the performances held in the social hall.It was a very creative atmosphere, with new productions performed every week.Max Lieberman, director of the entertainment program at Tamiment, strove forBroadway-quality pieces, and with only a week to create and rehearse each one,ideas had to flow. Robbins work was of two extremes; burlesque sketches onthe one hand and socially serious dramatic dances such as Strange Fruit andDeath of a Loyalist on the other. Some of his pieces were performed atthe 92nd Street YMHA, under the auspices of the Theatre ArtsCommittee, as well as in the Str aw Hat Revue, which Tamiment opened onBroadway in 1939. The revue was an amalgamation of many of the sketchesperformed at that summers camp but, due to the sensitive atmosphere followingthe outbreak of war in Europe, they were only allowed to include the comedysketches. Robbins suffered a huge blow to his ego when Jerome Andrews, who hadbeen brought in by the backers to supervise the dances, was given sole crediton the billing for the choreography. It did however give him a determinationto be wholly in charge of

Prejudice in Steinbecks Of Mice and Men Essay examples -- essays rese

â€Å"Prejudice is a great time saver. You can form opinions without having to get the facts.† This quote, once said by E. B. White, excellently states what the novel, Of Mice and Men, is trying to clearly state. Of Mice and Men is a profound novel that has many things to teach society. This novel, written by John Steinbeck, reflects many flaws in the world today. It mirrors many of the characteristics that every human possesses. Prejudice is still a common way of thinking in today’s society, and to the people who feel victimized, it can be hard to overcome. Curley’s wife, Lennie, and Crooks all deal with prejudice against themselves different ways. Curley’s wife is what we in modern day might call a â€Å"tease†, but there is more to her than just looks. The ranch workers do say thinks like, â€Å"well, I think Curley’s married†¦ a tart,† (28). Curley’s wife, who never is given a name, is criticized before she has spoken one word. She is considered â€Å"promiscuous† right off the bat. Although, she is not, the workers on the ranch tend to think that she is attempting to flirt with them. They claim that â€Å"She got the eye†¦ I seen her give Slim the eye.† Curley’s wife only acts this way because she trying to fix the void between her and Curley with someone else. Part of the distance between Curley’s wife and Curley is that his wife does not care for him the way he cares for her. She claims that she â€Å"wasn’t gonna stay no place where [she] couldn’t get nowhere or make something of [her]self, so [she] married Curley,† (88). When she says this, she implies that she settled for Curley when she could have been a huge star. She walks around the ranch telling people â€Å"’I’m to find Curley, Slim.’ ‘Well you ain’t tryin’ very hard. I seen him goin’ in your house’... ...omin’ in, you might just as well, (74). While earlier on in Crook’s life he wasn’t always secluded from the white folks’. He says â€Å"The white kids play at our place, sometimes I went to play with them†¦ My ol’ man didn’t like that. I never understood why, until now,† (70). By saying this, Crooks expresses that he has so much pent up anger from people ridiculing his race. Crooks has almost accepted prejudice as a way of life. Prejudice is a common factor in society today. It is an excuse for people not to get to know someone because they do not feel it is necessary. Of Mice and Men portrays many flaws in society then and now. All three of these characters experience different forms of prejudice and deal with it different ways. In the end, they are secluded from gatherings of ranch workers. This book also brings the timeless phrase â€Å"don’t judge a book by its cover.†

Compare and contrast Mr. Birling and Sheila Birling Essay -- English L

Compare and contrast the characters of Mr. Birling and Sheila Birling in their attitudes to social issues. In the play â€Å"An Inspector Calls† by J.B. Priestly, Mr. Birling and Sheila Birling have contrasting attitudes to social issues. The author uses this difference to highlight the diversity between generations and their reactions to situations faced. Arthur Birling is the father to Sheila Birling and so is presented as the older, â€Å"old-fashioned† generation whereas Shelia is the younger generation, who is more aware of the responsibilities they have towards other people. (?) The play begins with Mr. Birling and his family celebrating the engagement of Sheila to Gerald. The atmosphere is happy and light-hearted. Before the Inspector arrives, Birling is happy with life and himself. He says, â€Å"It’s one of the happiest nights of my life†. This shows that he is quite selfish because he only thinks that it is one of the happiest nights of his life, not of Sheila and Gerald’s. He also shows that he can accept economic change in business but not social and personal change, as we see later in the play. He says, â€Å"There’ll be peace and prosperity and rapid progress everywhere – except of course in Russia, which will always be behindhand naturally.† Mr. Birling’s tone of voice at the beginning of this quotation is boastful which changes to scorn when he talks about Russia. His scornful attitude towards Russia emphasises Mr. Birling’s lack of attitude towards others. Sheila, too, is in a happy and playful mood at the beginning of the play. The stage directions say â€Å"half playful, half serious† which emphasises her good mood. Sheila doesn’t say much at the beginning as it is Mr. Birling doing most of the talking. Bot... ... still affected by what has happened even though it may not be true. She doesn’t understand how her father can go back to normal. Mr. Birling emphasises the differences between the older and younger generations and refuses to accept social change. Sheila gets stronger throughout the play and she symbolises the new generation and society. Sheila accepts change and knows what they did was wrong. She understands that if it had happened, there would have been consequences. The message that J.B Priestly is putting across is that people have a responsibility towards others. The Inspector says, â€Å"We don’t live alone. We are members of one body. We are responsible for each other†¦if men will not learn that lesson, then they will be taught it in fire and blood and anguish.† The party at the beginning represents society but underneath the happiness, society is rotten.

Love :: essays research papers

Love Upon examination of the vast amounts of theories on love I can only find myself in a more convoluted state. Love is in fact a great mystery to me, and I have only achieved frustration in trying to explicate it. In Scott Peck's book The Roadless Traveled there are a conglomerate of avenues that are explored within the topic of love. It is here that some insight is expressed to me about this perplexing subject. Although I do feel that actual life experiences that I have been involved in recently have attributed to a better understanding of this love phenomena, some of the ideas that are expressed in this book were of tremendous merit. I find it almost prophetic that this assignment happens to fall into the same time frame as when I am at a point of heightened curiosity on this subject of Love. Why at this very moment I find myself questioning my current status with a newfound relationship. I can't help but to assume that I have found "Genuine Love" because of an overwhelming feeling of vivacious content upon finding a seemingly perfect union. Peck's views on love in this respect differ from what my thoughts have conjured up as such. And I can only infer that the words of a reputable author and doctor are more legitimate than mine. It is here that I must stop to apologize to you, Louis, for making this part of the paper far too personal than necessary. "Falling in Love" is a common myth in this society. The actual act of falling in love, according to Peck, is a misconception. There is a differentiation to be made between what is termed "falling in love" and the act of real loving. Peck describes exactly what it is that we experience when We think we have fallen in love. Much of what Peck describes as falling in love has to do with what he calls "ego boundaries". These ego boundaries are established during infancy and continue to develop throughout the person's life. These boundaries represent an individual's limits with their mental and physical power, as they are perceived by the individual. With these ego boundaries many people feel confined into their own personal identity which generally creates a feeling of loneliness. A need to form a cathexis is then developed. Peck describes it thus, "The essence of the phenomenon of falling in love is a sudden collapse of a section of an individual's ego boundaries, permitting one to merge his or her identity with that of another person. The Sudden release of oneself from oneself, the explosive pouring out of oneself into the beloved, and the