Letter to school Essay Example | Topics and Well Written Essays - 500 words

Letter to school - Essay Example A calm and serene environment promotes and stimulates the inquisitive mind of a student. The company of knowledgeable and learned colleagues is an invigorating factor which encourages a student to learn by discussion and sharing. Staying in the main campus also saves a lot of time spent in commuting to and fro, which can be devoted to studious pursuits. Access to the campus library is another factor, where one can find all the pertinent books, journals, newspapers and articles for quick reference. All relevant departments are also within a stone’s throw and one can seek help of the faculty as and when required. I have adequate experience as a student as I come from a family with educational background. My father obtained his Ph.D. from the United States. Although I am of Korean descent, I was born in America and am well versed with the American way of life. My experience after serving in the army has matured me beyond my years and I understand the sanctity of a healthy educational pursuit. Although I don’t have the necessary credit, I am sure I will fulfill any deficiencies within a short period if I am given the opportunity to shift to the main campus. I have already established my residence nearby and there is no problem in sustaining myself in a congenial manner at the

History of Sensory Theatre

History of Sensory Theatre What does sensory theatre mean to the modern audience? Asone of the oldest art forms and as one of the primeval kinds of humanexpression, the nature of theatre is as varied across the continents aspainting, pottery, sculpture or any of the classic art-forms. Each civilization, each society, each gathering of humankind has had its personalform of theatrical performance from street artists to court jesters to nomadicplayers. Many would say that this variety at the very core of theatrical achievement is what has permitted theatre to take such a respected and crucialpart of our modern societies. Too often it is claimed that our present daylifestyles leave little time for abstract thinking and artistic appreciation orachievement. This is lamentable but thankfully not usually true. One need only observe the continuation of events such as the Welsh National Eisteddfod forhundreds of years to realize that the human desire and need for theatre willnever diminish. However, this is not to say that modern society has not changed theatre. It is only natural that artistic output should be modeled by the lifestyle surrounding it. After all, warlike civilizations such as the Vikings delighted in the narrating of age-old sagas whereas more enlightened peoples like the Ancient Greeks would draw inspiration from mythical dramas which detailed the flaws at the heart of humanity and their relationships with their gods, representing a search for elements greater than themselves. However,we can take it as certain that the theatrical productions of the last fiftyyears have overwhelmingly been part of a resurgence of theatrical diversity. Asthe free market has made nations more accessible to each other, a rise ininterest for all sorts of artistic expression has been felt around the world.Herein, we shall focus on the analysis and comprehension of one of these.Sensory theatre, or at least the old meaning of the term, is not a new concept.At its very core, much of what constitutes theatre relies heavily on the senses,both those of the audience and that of the actors. Nevertheless, at a time whenour fast-paced lifestyle seems to reject anything out of the ordinary or whichcan be labeled as different, it is refreshing to feel that this resurgence hasregenerated one of the truly great aspects of theatre, oft labeled as post-modernistbut one which links so much of relatively recent artistic output across theboundaries of different art forms: Post-modernity,in attacking the perceived elitist approach of Modernism, sought greaterconnection with broader audiences. This is often labelled accessibility andis a central point of dispute in the question of the value of postmodern art.It has also embraced the mixing of words with art, collage and other movementsin modernity, in an attempt to create more multiplicity of medium and message.Much of this centers on a shift of basic subject matter: postmodern artistsregard the mass media as a fundamental subject for art, and use forms, tropes,and materials such as banks of video monitors, found art, and depictions ofmedia objects as focal points for their artPostmodernisms critical stance isinterlinked with presenting new appraisals of previous works. As implied abovethe works of the Dada movement received greater attention, as didcollagists such as Robert Rauschenberg, whose works were initiallyconsidered unimportant in the context of the modernism of the 1950s, but who, bythe 1980 s, beganto be seen as seminal. Post-modernism also elevated the importance of cinema in artisticdiscussions, placing it on a peer level with the other fine arts. This is bothbecause of the blurring of distinctions between high andlow forms, and because of the recognition that cinema representedthe creation of simulacra which was later duplicated in the other arts. (Wikipedia,2005) Inthis dissertation, we shall be analyzing aspects of sensory theatre as has beenexplored and toyed with by some great artisans of the craft. Despite anyproblems we have with wholesale rejection of this type of theatre, in the interestof fair-minded and complete research, we shall pay due attention to theAristotelian school of thought. That which claims that theatre is a particulartype of experience, one from which the audience member should feel cleansed andhave learnt a lesson. This is a valid point of view, one which we shallthoroughly explore in order to see if it is indeed more artisticallyjustifiable than sensory theatre. Afterexploring Aristotles opinions, we shall look in further depth at the nature ofsensory theatre. What does this term mean? How is each sense tapped? Can themelding of experiences of several senses which are simultaneously stimulatedprovide an elevating experience? For this exploration, we shall use the casestudy of Dwr (water in Welsh), a sensory piece of theatre put on in2003, using water, light and various materials to explore reactions amongst itsaudience. The reasons for using this play are that it was an audiovisualexperience as well as a mere theatrical one as projections and cameras were anintegral part of the performance. Furthermore, the sensory effect of theaudience can be better analyzed as members of the audience were also used inthe play, their reactions helping to define the type of sensory experience. However, Dwr also gives us a good example of Brechtian theatre for the number of levels the play takes on. The actors themselves act as facilitators for the audience to receive personal sensory experiences. With only a minority of audience members taking part in the play, we can gain two further levels of emotional depth and complexity. The general background of the audience will see their emotions and senses assailed by the movements, gestures and decisions of those taking part while this minority will be subjected to sensory input and emit feedback with no room for forethought or planning ahead. Thus, we shall provide a very definite and interesting example to back up any clear defining of sensory theatre we come to. We shall also look at how Dwr fits into the patterns of sensory theatre created by Brecht and Artaud and how its attitude towards its audience defines this multi-tiered theatre as one of the crucial points of sensory theatre. However,no analysis of sensory theatre without detailed research into the works ofpioneers of the genre. Here, we have chosen to look at Bertolt Brecht andAntonin Artaud, each for specific reasons. Brechts attitude, utterly inconflict with the age-old Aristotelian views of theatre, helped build hisreputation as an agitateur who decided to stamp his own distinctive markupon an art form he viewed as static. Thus, the habits of Brechtian theatre oftotal acknowledgement of the audience caused as much mirth as it did anger. Onthe other hand, Artaud provided his audience with a completely integralexperience. By using sensory theatre to deny audience members their usual rightto involve themselves in a performance to a degree of their choice, Artaud madesure his plays would deeply shock his audiences. We will be exploring Artaudstechniques as well as his reasons for providing this kind of theatre. It is the goal of this dissertation to highlight the differences that make sensory theatre an integral genre of its own, containing so many outlets for creativity, expression and emotional impact as to make it not only an interesting part of theatre but an essential one. Its recent resurgence will thus provide us with an ideal platform from which to assess its meaning to a modern audience. TheAristotelian view of theatrical norms Goodoratory can blow the walls off brick buildings. Not just in the real world ofpolitical speeches or rallies but in the arts as well. As one of the only formsof human expression where no point of view is unheard, no eventuality unconsidered,no leaf left unturned, theatre has throughout its history naturally overthrownand shrugged off any shackles or conventions attached to it. This idea couldgive rise to an impression of mayhem and anarchy in an art form that had runaway with its own importance. As one of the leading figures in the history ofliterature, Aristotles views on the nature and importance of theatre arewell-documented and naturally thought of as still relevant today. Aristotlehad the very human characteristic of harking back to the good old days, andthinking them much better than the days in which he lived. Taking scant accountof Aeschylus,he regarded Sophoclesand Euripidesas models in tragedy. His chief complaints were that the poets of his own timespoiled their work by rhetorical display; that the actor was often of moreimportance than the play; and that the poets tampered with the plot in order togive a favorite actor an opportunity of displaying his special talent. He saidthat the poets were deficient in the power of portraying character, and that itwas not even fair to compare them with the giants of the former era. (FletcherBellinger, pp.61, 1967) However,in the matter of sensory theatre, we run into an area of some problems. Beingof a conservative mind-set which appreciated theatre for the moral lessonscontained within the narrative, Aristotle worshipped Sophocles with hisstraight and narrow approach to theatrical drama whilst eschewing the work ofhis contemporaries as being too popular, too watered down to meet the needs ofa public desirous of less preaching and more fun within the theatre. Aristotlepossessed perhaps what could be interpreted as a rather narrow view in that hesaw tragedy as the greatest form of dramatic expression, almost utterly passingoff on comedy as mere fluff as compared to tragedy with the great lessonscontained within it. Furthermore, Aristotle also considered tragedy to bemagnificent when it also contained a clear and well constructed narrativeframework and mythological references to the deeds of greater men and gods in anobler past. Although Aristotles writings on these topics did make a lot ofsense, they are considered somewhat restrictive and far too imbued with theirown authority to be seen as of much use today. After all, in a society wherethe possibilities of theatre are slowly catching up with those of television orcinema as directors, playwrights and stage designers are always exploring newavenues of performance, Aristotles three unities of time, place and actionseem ready to be retired. Their far-too stringent requirements of both cast andcrew make them almost impossible to operate in the modern world of freetheatre. This is no longer a society where the writings of one man, whoever he may be, carry enough influence to truly make as significant an impact as in Ancient Greece. It is not to say that Aristotle should be disregarded but concerning sensory theatre, rules relating how plot should be more important than character and how all the action in a tragedy should be centered around a personage of importance to better capture the attention of a fickle audience seem slightly moot. Its relevance is in the fact that much of what is known of theatrical conventions among a lay audience is heavily based on Ancient Greek theatrical philosophy, particularly Aristotle. It is precisely this philosophy that sensory theatre will have to overcome in order to claim its place as a rightful and deserving genre of theatrical achievement across the globe. Visual,auditory, tactileDwr Choosingan example to illustrate the nature of sensory theatre is a tricky balancingact as one must therefore, in some way at least, pre-define ones understandingof the genre. How do we choose between the senses? After all, since the name ofsensory theatre does not make any kind of distinction, do we consider thesenses of sight and hearing more important than the other three since they areoverwhelmingly the most stimulated in matters of theatre? A distinction such asthis would make sense certainly but since sensory theatre is often seen asstanding alone from usual theatre, perhaps it would be unfair to appraise itthanks to assumptions based on more conventional modes of theatre. Instead,the best way to gain a true idea of sensory theatres range of potentialimpacts would be to base an example upon several criteria. Firstly, although itwould be somewhat over-expectant to try and find a play which could tap allfive of our senses, several attempts at sensory theatre have successfullyenga ged audiences on three senses, if not four. Herein has been chosen Dwr,a Welsh piece put on in 2003 in Aberystwyth and then broadcast on S4C on thearts programme, Croma. Theset-up of the piece was simple. The audience were seated on one side of thestage on a raised-up area, overlooking a long perpendicular dinner table. Theinside of the table, rather than being an ordinary flat surface, had beenhollowed in order to form a shallow pool about six inches deep along thetables entire length. The pool was filled with a level amount of clear waterat the bottom of which a table had been set ready for dinner, complete withplates, cutlery, glasses and napkins. Above the audience, shining down upon thetable was a strong projector which reflected the pool of water onto a backprojection screen in a way which magnified and increased the shadows cast byany ripples in the water. Six audience members were asked to be seated at thetable, as if for dinner before being submitted to a range of experiences by theactors whilst cameras recorded their reactions. These sensory experiments allinvolved stimulation of an audience member in matters of sight, sound, taste orfeelin g. We shall look at the manner in which each of these senses was tappedas well as Dwrs technical set-up. Firstof all, if one were to ask any theatre-goers, it would be certain that even themost intermittent of these would claim the two most stimulated senses in thetheatre are that of sight and hearing. Whilst conventional thinking would allowthis to be true, a cynical perspective would add that since our behinds orfeet, depending on posture, contribute much to the enjoyment of a theatricalperformance three senses, not two, must all be satisfied for a performance tobe considered praise-worthy. After all, although stage design is an oftforgotten art among those who are not privileged to the inner workings oftheatre, the choice of venue often signifies how an audience will feel duringthe performance. Stage design is often considered only in terms of sets, propsand technical apparatus whilst the idea of crowd comfort is often overlooked. In the case of Dwr, the crowd comfort was adequate but the truly interesting phenomenon for the audience of this play was that their peers were submitted to the action contained within it. The stage design was such that the light poured onto the water was bright enough to cause the right amount of shadow reflection whilst not blinding either the audience or the actors. This careful use of projection in order to achieve the desired effect was a technique made famous of Josef Svoboda who pioneered the use of audiovisual projection in theatre to enhance the general experience. The stimulation capabilities of a performance, when combined with camera and sound equipment, is vastly heightened thus cementing Svoboda as one of the great names of sensory theatre. Asfar as the audience members who became a part of the performance itself, thesenses stimulated were done so in a way which gave every sense the time tofully absorb the impact of its experience. First of all, each audience memberwas seated at the table in the guise of a dinner guest but asked not to talk toeach other or carry out any action except if indicated to do so by one of thesurrounding cast. First of all, each dinner guest was asked to remove theirshoes and socks before climbing onto the table into the water. The stage itselfwas kept at a warm temperature in contrast to the cold water, making the changein surroundings quite drastic. Then, the audience member was asked to burst aplastic bag full of water with a long hooked pole. The water would thus droponto the audience member along with a fake plaster egg. The audience member would then be lead back to their seat, given a towel to dry off before being given two chopsticks. After breaking the egg on the side of the table, the contents would then be spilt onto the plate just below the surface of the water. Each egg contained some food coloring, spreading across the table along with the ripples, along with a small piece of paper. Each piece of paper showed the face of a man, wearing different emotions, whilst a brief poem on the back seemed to explain the expression, a poem that would be read by one of the surrounding cast to the relevant audience member. The relationship between the pictures and the poems may not have been immediately obvious but the reactions of the audience members were still assured to be both personal, if not natural due to unusual surroundings and odd experiences. These reactions were filmed by the technical crew on video cameras, adding another level of complexity to the performance as the traditional boundaries between cast and crew become blurred. Furthermore, Dwrs entire performance was played out under a constantly shifting pattern of music which although always instrumental would speed up in tone or gently slow down in function of events happening in the play. Thepurpose of using Dwr as an illustration of the modern applications ofsensory theatre and its meaning to a present-day audience is threefold. Firstof all, the timing of the piece and its broadcasting on a national channelalong with subsequent interviews with the chosen audience members proves theinterest placed in it by a major broadcaster as the BBC has major impact uponS4C scheduling. Secondly, the sensual experience of the show provided afascinating outlet for the audience members, both for those who took an activepart or a passive part, to find out more about what constitutes modern sensorytheatre. Although the audience numbers for this show were relatively small and thus can only provide us with a minor cross-section of theatre-goers, the positive feedback gained at the end during the interviews can give a lot of hope as to the future of sensory theatre. Finally, to use an example such as Dwr gives us a view as to what kind of reaction this genre of theatre would meet with. Dwr covers a broad base of sensory theatre as its performance, not only stimulating several of the senses themselves, dealt with a range of theatrical theories and ideologies which we shall look at in further detail. By separating audience members from each other, creating many layers of reality between crew and cast, audience and cast and audience and crew, Dwr rejectedmany traditional aspects of theatrical performance. However, by engaging its audience/cast members with an individual experience through the messages contained within the eggshells and filming their response, Dwr could be said to have engaged with a more conservative Aristotelian version of theatre. Each audience member not involved with the show directly as a dinner guest will have experience the play as a visual and auditive experience but it is for the six members of the audience at each performance that Dwr transcended the limits of ordinary theatre and became a emotional and sensory journey felt by each in their own individual way. Below, we will be casting an eye at the ways in which theatrical pioneers such as Brecht and Artaud tackled the rigours and the conventions of an art form that they viewed as being a free form, lacking in any structural restrictions. Before doing so, we can still observe that even if Dwr did pander even the slightest bit towards an Aristotelian theatre, the main body of its performance was firmly in the territory of Artaud as we can see when applying this passage to precisely the type of theatre Dwr tries to avoid. If people are out of thehabit of going to the theater, if we have all finally come to think of theateras an inferior art, a means of popular distraction, and to use it as an outletfor our worst instincts, it is because we have learned too well what thetheater has been, namely, falsehood and illusion. It is because we have beenaccustomed for four hundred years, that is since the Renaissance, to a purelydescriptive and narrative theater storytelling psychology; it is becauseevery possible ingenuity has been exerted in bringing to life on the stageplausible but detached beings, with the spectacle on one side, the public onthe other and because the public is no longer shown anything but the mirrorof itself. Shakespeare himself is responsible for this aberration and decline,this disinterested idea of the theater which wishes a theatrical performance toleave the public intact, without setting off one image that will shake theorganism to its foundations and leave an ineffaceable scar. If, in Shakespeare,man is sometimes preoccupied with what transcends him, it is always in order todetermine the ultimate consequences of this preoccupation within him, i.e.,psychology. (Artaud,No More Masterpieces, 1976) Evensuch divides as between audience and actors, theatrical conventions that are sohabitual as to often be altogether forgotten, were not sacrosanct enough fordirectors, playwrights and actors such as Brecht, Artaud and Svoboda. TheBrechtian impact or the alienation of theatrical tradition Earlierin this dissertation, it was suggested that Aristotles views on theatre andsubsequent impact thereon had diminished somewhat with the dawn of a time wherethe philosophies of the Ancient Greeks mattered little. However, the centuriesthat his views transcended have signified that they could not dissipate soquickly. Many modern opinions on theatre, however avant-garde or post-modernistthey wish or claim to be, are still formed largely on the back of the opinionsof men such as Aristotle. However, this obstacle would be taken to piece by menand women like Brecht, who wished not to merely co-exist with existing viewsbut confront their defenders and destroy the ideological entrenchment that manytheatre critics had resorted to in the face of the changes sweeping throughtheir beloved art form. In his early plays, Brechtexperimented with dada and expressionism, but in his later work, he developed astyle more suited his own unique vision. He detested theAristotelian drama and its attempts to lure the spectator into akind of trance-like state, a total identification with the hero to the point ofcomplete self-oblivion, resulting in feelings of terror and pity and,ultimately, an emotional catharsis. He didnt want his audience to feelemotionshe wanted them to thinkand towards this end, he determined todestroy the theatrical illusion, and, thus, that dull trance-like state he sodespised. The result of Brechts research was a technique known asverfremdungseffekt or the alienation effect. It wasdesigned to encourage the audience to retain their critical detachment. (Imagi-nation,2003) Thisis not to say though that to achieve such an accomplishment was possible formerely any theatrical commentator. It took men of special gumption, gravitasand guts to dare attack such a powerful establishment as that of traditionaltheatre. Bertolt Brecht was one of these. Blessed with the ability to fightbattles on several fronts whilst still maintaining a clear head, Brecht beganto cause controversy early on in his career. Looking to fulfill a desire formore relevant and modern theatre amongst German theatre-going audiences,Brecht, through plays such as Drums in the Night and with therecognition of director Erich Engel, flirted with an expressionistic style thatbefitted his rising status but left Brecht himself feeling uncomfortable.Although his style was becoming fashionable and it would undoubtedly havebrought him his time in the spotlight, Brecht felt that he should discover aplaywriting identity which was his own and not borrowed from anybody else. Ifwe consider that at this ti me Brecht was writing in post World War I Germany,we can observe the bravery it must have taken for him to make this type ofdecision. Duringthe turbulent years of the socialist rise in Germany and the Weimar Republic,Brecht knew a modest amount of success in both theatre and literature thanks toplays such as In the Jungle of the Cities and his partnership with Engeland Hans Eisler but he was only just beginning to find his feet in a style allof his own. The final step in this direction would be his years with his owncollective of writers, the most famous fruit of which would be the Lehrstuckewhich would form the root of the theatrical changes and theories we thinkof as Brechtian today. Lehrstucke propounded that passive audiences werea thing of the past in matters of theatre and that it was necessary foraudiences to become more actively involved in a performance whilst keeping astrong level of emotional distance in order to remain capable of rational thoughtand criticism. This collection of thoughts would slowly pass into commonpractice in theatrical troupes and communities around the world, a practiceknown as epic theatre. Epictheatre today may seem as historical and passÃÆ'ÂÂ © as Aristotles views did forBrecht but the truth is that the numerous and varied adaptations of epictheatre have formed much of todays common theatrical practices. Before Brecht,the demarcation between the audience and the actors was sacrosanct. SinceAristotle, the status of the star actor had risen so much that now actors wouldmerely be cast in a role that was known to be in their repertoire, a fact whichcould lead to truly spectacular levels of diva treatment or ridiculouscastings. Take for example Sarah Bernhardt whose notoriety had reached suchproportions that she cast herself as Hamlet. This is not to say there isanything wrong with female actors playing traditionally male Shakespeareanparts but it is the manner in which Bernhardt carried out this casting that madethe situation ridiculous. Aristotle lamented this type of situation as beingone of the great plagues striking tragedy theatre whilst Brecht merely laughedat it and lambasted it in his own style. His patented Verfremdungseffekt (or estrangement effect) was a sweepingly original style which not only acknowledged the audience as a part of a theatrical production and encouraged them to change their own attitudes to theatre. Instead of allowing traditional suspension of disbelief and letting audiences feel as if they were watching a truthful event, Brecht went out of his way to remind them that what they saw was a representation, a mirror onto reality and never reality itself. This was carried out by having actors suddenly break character and address the audience to explain the plot, grossly over-exaggerated props or sets in the middle of an otherwise serious play or great placards on the stage asking the audience to behave in a certain way by ignoring a particular happening or to stare less romantically. These unusual situations for an audience confused them and alienated them from the play, hence the name alienation or estrangement effect. This separation from conventional thea trical theory became very fashionable after the war in both America where he lived until being pestered by HUAC and in communist East Germany where he resided until his death in 1953. The appeal of Brechts type of theatre across the globe speaks volumes about how the traditions of theatre were rejected by a large section of theatre going audiences. The sensory feel of the Verfremdungseffekt were indirect but by creating this new separation of audience and stage in an allegorical as well as in a physical sense, Brechtian theatre enabled its audiences and directors to experiment with new sensations. The greatest example of this is in some of Brechts later plays such as The Good Person of Szechwan and Galileo. For example, in Galileo, the portrait he paints of the astronomer is of a tortured soul wracked between his scientific duty to tell the truth to an unsuspecting world and the threat of vengeance from the dark figure of the Grand Inquisitor. This moral dilemma was planned by Brecht as a way to get his audience to think rationally about the situation and contemplate what they would do in such a situation rather than feeling sorry for Galileo. However, if Brecht had one failing, it was that despite his ability to meld together a myriad of sources into a convincing single narrative, he did not understand the human nature of his public. Persuaded that with the right play, he could force his audience into abandoning their emotional side, whether he realized it or not Brecht was asking people to set aside the precise reason most of them came to the theatre. His theories resulted in a number of epic dramas, among them Mother Courage and Her Children which tells the story of a travelling merchant who earns her living by following the Swedish and Imperial armies with her covered wagon and selling them supplies: clothing, food, brandy, etc As the war grows heated, Mother Courage finds that this profession has put her and her children in danger, but the old woman doggedly refuses to give up her wagon. Mother Courage and Her Children was both a triumph and a failure for Brecht. Although the play was a great success, he never managed to achieve in his audience the unemotional, analytical response he desired. Audiences never fail to be moved by the plight of the stubborn old woman. (Imagi-nation, 2003) Anemotional journey where characters could and should be empathized with orcondemned was much of what has always constituted theatres engagement. Eventhe averagely smart and aware audience member does not need the moral absolutesof right and wrong as claimed by Aristotle but the desire to identify with oneor more of the central characters instead of merely rationalizing about theirfates without feeling was too strong in the vast majority of theatre-goers. Brechtis claimed doubly to be both a modernist or one of the first post-modernists.Although some claims have been made that a taste for his kind of theatre quicklyinspires in the face of so much cynicism, his importance and the size of hisimpact upon world theatre cannot be underplayed. Today, many of his conventionsare so common as to be taken for granted whilst a collective of Brechtiansstill operates and remains as long-standing proof to the glory of his genius. Conventionalrelief in theatre and Artauds rejection of it Everygeneration is locked in a perpetual struggle with those that come both beforeand after to break free from the shackles of their ancestral traditions, carvetheir own identity and thus prepare the way for a similar fight with thegenerations that are to follow. Although social morays may seem to remain stilland constant, this is only an illusion, one that can only too easily be piercedby artistic expression. Artists have often been marginalized as second-ratemembers of society, ones that are not indispensable to the everyday running ofour lives. Seen as not producing useful since all their efforts did not feed,clothe or warm anybody, it became a painful reality that if actors or musicianswanted to survive, they were required to curtail any creativity and pander toprecisely what their audiences desired. While this unfortunate turn of events could be passed off as a mere passage in the history of theatre, it left behind some highly tell-tale signs. The simplest of these is that from the Renaissance onward through the Classical period, theatre had become significant with escapism. The majority of plays, and here one cannot deny Aristotles continuing influence, harked back to former days lamenting a fallen age of glory, honour and noble deeds. Whilst this fond reminiscing was unimpeachable in its desire to awaken a better side of humanity in audiences, it often met with boredom and

A Comparison of Pride in King Lear and The Duchess of Malfi Essay

The Sin of Pride Exposed in King Lear, and The Duchess of Malfi  Ã‚   In this brief monograph, we shall be hunting down and examining various creatures from the bestiary of Medieval/Renaissance thought. Among these are the fierce lion of imperious, egotistical power, a pair of fantastic peacocks, one of vanity, one of preening social status, and the docile lamb of humility. The lion and the peacocks are of the species known as pride, while the lamb is of an entirely different, in fact antithetical race, that of humility and forgiveness. The textual regions we shall be exploring include the diverse expanses, from palace to heath, of William Shakespeare, the dark, sinister Italy of John Webster, and the perfumed lady's chambers of Ben Jonson and Robert Herrick. The tragic hero of Shakespeare's King Lear is brought down, like all tragic heroes, by one fatal flaw, in this case pride, as well as pride's sister, folly. It is the King's egotistical demand for total love and, what's more, protestations of such from the daughter who loves him most, that set the stage for his downfall, as well as calling to the minds of the Elizabethan audience of Shakespeare's day the above-cited biblical edict. This daughter, Cordelia, can be seen as the humble lamb mentioned earlier, and her love and filial devotion go not only beyond that of her sisters (which is nil) but beyond words, thus enraging the proud king whose subsequent petulant rebukes extend to a bit of ironic Freudian projection: "Let pride, which she calls plainness, marry her" (I.i.125). Here, Shakespeare is emphasizing Lear's pride by having him indulge in the common tendency of despising in others (and in this case wrongly) what one is most guilty of oneself. Lear's rash pride ... ...in which it is supposed to have been written for a certain Lady Haughty, a name indicative of not a little touch of pride, pardon my litotes. So, to sum up, we have captured, examined, and tagged our various creatures of pride, and it is now time to set them free once more, to run wild over the four corners of the earth. The lions will devour all in their path with arrogant derision; the peacocks will peck and claw at one another as they jockey for position in their petty social circles, all the while pouting and preening, painting feathers on their feathers; and the lambs will go on being slaughtered in their docility, uttering never a scornful word, so that we may have lamb chops with mint jelly at Ruth's Chris with our beautiful, precisely made-up girl friends. "Pride goeth before destruction, and an haughty spirit before a fall." Proverbs 16:18   

Child Abuse and Major Long Term Essay

Description of the possible signs, symptoms, indicators and behaviours that may concern in the context of safeguarding Children are usually abused by someone in their immediate family cycle. This can include parents, brothers, sisters, babysitters and other familiar adult. Children can be abused by age of up to 18 years and they likely to be at risk of physical injuries, sexual abuse, neglect, emotional abuse or verbal abuse. Child abuse can have major long term effects on all aspects of a child’s health, development and well being. The main forms of maltreatment are: Neglect sign; A child come to school usually with dirty skin, hair and clothes or without jacket in winter. Children in the school may feel hungry and tiredness or being left alone unsupervised. Even then they are sick not taken to GP for medical treatment. A child frequently absent from school and beg steal food or money. Possible symptom: A child appear to be indifferent and a child seems apathetic depressed. A lso the a child behave irrationally or in a bizarre manner. ————————————————- Impact of neglect: Impact of neglecting a child can cause brain damage and also have psychological implications such as cognitive delays or emotional difficulties. Psychological problem often manifest as high risk behaviour problem, depression and anxiety in children Emotion abuse: When a child feel furious, sad and crying and behaving inappropriately in the class that mean he is being emotional abused. Sign: When a child is being emotional abused he may chose dark colour to paint on the paper. Feeling low self esteem, seeking attention from others, behaviour difficulties, continual rocking, hair twisting, delayed development Possible symptom: CYP will delayed in languages development and play skills and have impaired ability to enjoyment in play. Not trusting other and feeling nervous all the time. CYP will feel guilty, ashamed and withdrawal of social interaction. Their mode will change and they frequently blaming others people. ——————†”—————————- Effects: emotional abuse is the most difficult form of a child maltreatment identify and to prevent. Babies who are emotionally abused may slow or fail to develop. Physical abuse Signs: Physical abuse is when children are being physical abused by someone. This can be involved hitting, biting, punching,  kicking, burning, scalding, shaking, throwing or beating with object such as stick and belt. It also includes poisoning, giving a child alcohol, drug Symptoms: Practitioner need to have acknowledgement of physical abuse and there signs to protect children from harm. Any injuries which parent doesn’t inform practitioner or children may not received medical treatment, can raise concern of abuse. Sometime children may refused to change clothe on PE day because they want to hide their injuries signs ————————————————- Effects: Physical abuse can lead child physical injuries, disability and in extreme cases can cause death. Physical abuse has been link to emotional & aggressive behaviour in children as well as can cause learning difficulties. Sexual abuse sign: Recurrent urinary infection, genital and rectal itching, blood in under paint and soreness, inappropriate behaviour and regarding age and ability, children may feel lack of trust, regression and become isolated and withdrawn Symptom: CYP will behave aggressive and disruptive behaviour and feeling afraid when they left alone. Difficulties in walking and setting and wearing so many layer of clothe. Change in behaviour around specific person and try to avoid familiar adult. Sexual acting and inappropriate sexual play. Also lack of interest playing with friend, sport and any other activities in the school. ————————————————- Effect; The severe effect of sexual abuse can be on children they may suffer mental health problem, depression, identity confusion, behaviour difficulties and also emotional problem. References Describe That Possible Signs, Symptoms, Indicators and Behaviours That May Cause Concern in the Context of Safeguarding. http://www.studymode.com/essays/Describe-That-Possible-Signs-Symptoms-Indicators-878910.html(5/11/2012) Describe That Possible Signs, Symptoms, Indicators and Behaviours That May Cause Concern in the Context of Safeguarding http://www.silkysteps.com/forum/showthread.php?t=13536 (5/11/2012) Recognizing Child Abuse and Neglect: Signs and Symptomhttp://www.childwelfare.gov/pubs/factsheets/signs.cfm(6/11/2012) Meggitt C (2011) Cache Level 3 Diploma Children and Young People

Compare and contrast Act One and Act Two Essay

Throughout act one and act two, there is a huge amount of drama, comedy and sarcasm. Combining to form a carefully formed section of this immensely funny play. In these two acts there are examples of; love, arguments, deceit, ‘death’ and engagement; all this within the space of two days in the lives of young aristocrats. In act one; the scene is set in the â€Å"morning-room in Algernon’s flat in Half-moon Street. The room is luxuriously and artistically furnished†, immediately displaying Algernon’s extravagant nature. In Act two, the scene is set in the â€Å"garden at the Manor House. A flight of grey stone steps leads up to the house. The garden, an old-fashioned one, is full of roses. Basket chairs, and a table covered with books, are set under a large yew-tree†. The obvious differences in the scene settings is due to the fact hat act one is set in the town and act two is set in the country. Compared to Algernon’s â€Å"artistically furnished† flat, the country house appears to be much more contemporary, with a much calmer atmosphere. In act one, there are many introductions of the characters. Algernon, Jack, Lady Bracknell, Gwendolen and Lane are all revealed to the audience. The events throughout the scene result in, for almost everyone a smile, or even a giggle due to the blunt and sarcastic nature of the characters. The first conversation in act one is between Algernon and Lane; his butler. The relationship between these two characters goes against the audience’s expectations; they appear to be of equal status, not as a relationship should be between an upper class aristocrat and his butler in that time. In this conversation, Algernon is immediately portrayed as arrogant and cynical; and Lane is seen as sly and subversive. Lane then exits and Jack comes into the room. Jack is portrayed as much more withdrawn then Algernon; he is also not as arrogant and cynical. The conversations between Jack and Algernon are always humorous, because they are always so childish and they talk about such pointless things, never about everyday conversational topics such as money and work. Their conversations are always decorated with epigrams and repartees, making them enjoyable to read and watch. This argumentative relationship between Jack and Algernon is maintained throughout act one and act two. It will be humorous to the audience that Jack and Algernon argue so much, but yet they are still friends (or brothers as revealed in act three). There is a certain amount if irony and humour in this dialogue. The irony is that in act one, especially in this conversation, Algernon is very cynical about love and marriage, but by the end if act two, he is in love with Cicily and engaged to be married, therefore contradicting all his previous beliefs. The humour in this conversation is, for example [JACK puts out his hand to take a sandwich. ALGERNON at once interferes] then Algernon says, â€Å"please don’t touch the cucumber sandwiches. They are ordered specially for Aunt Augusta†, he then [takes one and eats it]. This is comical because Algernon has just gone against what he has just said, but he doesn’t seem embarrassed by it at all. Lady Bracknell and Gwendolen interrupt in the middle to Algernon’s argument over Jack’s cigarette case and his imaginary brother ‘Ernest’. Throughout acpt one and act two, Lady Bracknell is portrayed as a very superficial woman whose only joy in life is to have dinner parties and a high social status; she is very cynical about her society. Gwendolen, her daughter and Algernon’s cousin is very much her mother’s daughter, although she refuses to believe it and Jack is blind to it. Gwendolen is a very manipulative woman and always seems to want to find new things to annoy her mother, [to Jack] â€Å"And I often wish that in public, at any rate, you had been more demonstrative† she said this because she knew that it would annoy her mother immensely. She also hates to be wrong and tries hard to prevent this from happening, making her seem sometimes overbearingly arrogant. Lady Bracknell and Algernon go into the music room, leaving Jack and Gwendolen alone together. Jack breaks the silence by commenting on the weather; which is quickly dismissed by Gwendolen as an obvious excuse to talk about something else. There is an immediate example of humour at the beginning of this conversation because Jack addresses Gwendolen as Miss Fairfax, and she calls him Mr Worthing when Jack is planning to propose to her. Gwendolen is immediately a completely different person around Jack then she was around Lady Bracknell. She becomes very dominant, and also arrogant, † I thought so, in fact I am never wrong†. Jack seems very nervous around Gwendolen and uses more naturalistic language then the other characters, for example pauses and hesitation. Jack’s speech is mostly not as fluent as the other characters; his nervous behaviour is very similar to Algernon’s attitude around Cecily in Act Two. After much hesitation, Jack confesses his true feelings to Gwendolen; she then says unexpectedly, † Yes, I am quite aware of the fact†, creating a comic effect. Jack then stares at her in amazement while Gwendolen informs him â€Å"even before I met you I was far from indifferent to you†; this in itself will completely go against the audience’s expectations and produces a comic effect because, obviously, you cannot actually love someone before you have met them. She then produces a sense of dramatic irony by telling Jack that really the only reason that she loves him is because of his name-Ernest (which, at the time wasn’t really his name at all). The mode of address changes at this point, Jack and Gwendolen start to call each other by their first names. Jack also asks Gwendolen if she would still love him if his name was Jack; in response to this, she states, very confidently â€Å"I have known several Jacks, and they all, without exception, were more than usually plain. Besides, Jack is a notorious domesticity for John! And I pity any women who is married to a man called John†. This again is dramatic irony, because the audience know that Jack is actually his real name at this point in the play. Jack then proposes to Gwendolen†¦although Gwendolen actually accepts before he has even asked. Almost immediately after Gwendolen had accepted Jack’s proposal, Lady Bracknell interrupts them, presenting a comic effect because Gwendolen had said before that her mother always comes into the room at the most awkward of moments. Gwendolen informs her mother that she is engaged to Jack. In response to this, Lady Bracknell decides that it is her duty to interview Jack to discover whether or not he is suitable for her â€Å"simple, unspoiled† daughter. The interrogation between Lady Bracknell and Jack produces a huge comic effect on the audience; especially at the beginning when she has a [pencil and notebook in hand ]. Throughout the interview, Lady Bracknell questions Jack about aspects of his personal life, for example; his income, his properties (one of which she was not happy about, but was willing to change), his hobbies, and amusingly whether he knows everything or nothing, she seemed content with Jack’s answer that he knew nothing; stating that, â€Å"Ignorance is like a delicate exotic fruit, touch it and the bloom is gone† – an epigram. Lady Bracknell is very dominating over Jack, much like Gwendolen was in the previous scene. Jack appears very nervous and unsure around her, as if he doesn’t want to say the wrong thing to jeopardise his chances of marrying Gwendolen, this nervousness is shown by his constant hesitation and continuing to tell Lady Bracknell pointless facts in order to prevent an awkward silence. Jacks attitude changes around Lady Bracknell towards the end of Act Three, when he has control over the situation of Cecily’s engagement to Algernon. Jack is more relaxed around Lady Bracknell then because he has something that she wants; therefore he has the upper hand. The interview appeared to be going quite well until Lady Bracknell enquires after Jack’s parents. Jack then confesses to Lady Bracknell that he isn’t actually sure where his parents are because â€Å"the late Mr Thomas Cardew† had found him as a baby in the cloakroom at Victoria Station. Lady Bracknell’s response to Jack’s past is very amusing for the audience, she looks straight at Jack and says, † You can hardly imagine that I and Lord Bracknell would dream of allowing our only daughter – a girl brought up with the utmost care – to marry into a cloakroom, and form an alliance with a parcel. Good morning, Mr Worthing!† She then [sweeps out in majestic indignation ]. Lady Bracknell’s attitude also produces dramatic irony because she finds out later in the play that in fact Jack is her nephew. Algernon comes into the room and immediately comments on Jack’s attempted proposal to Gwendolen, Jack rejects this obvious sarcasm and begins to insult Lady Bracknell by calling her a Gorgon, regardless of the fact that he does not even know what a gorgon is, but he is sure that Lady Bracknell is one. This is humorous because the audience know that there is no such thing as a gorgon, and the fact that Algernon is happy about Jack insulting his aunt also goes against the audience’s expectations. This scene is also comical because Jack cannot see that Gwendolen is a lot like her mother. This dialogue shows Jack’s naive personality in that Algernon is calling Jack a fool, only Algernon and the audience can see it, Jack is completely unaware that Algernon is insulting him. Gwendolen enters and she talks to Jack alone; she asks him the address of his country house where he is going to stay until Monday, and Algernon who is standing in the corner notes down the address on his shirt cuff. There is one particular event that occurs in this scene that is not fully addressed in the play; Algernon’s debts. When Jack and Gwendolen have gone outside, [LANE presents several letters on a salver to ALGERNON. It is to be surmised that they are bills, as ALGERNON, after looking at the envelopes, tears them up. ] Algernon then calls in Lane and informs him that he is going Bunburying. At the end of Act One there is a slight cliff hanger and an example of dramatic irony, [ALGERNON lights a cigarette, reads his shirt cuff and smiles ] the audience knows that Algernon is planning to visit Jack’s country house and see Cecily posing as ‘Ernest’, Jack’s ‘brother’. But Jack does not know this. The Second Act takes place in Jack’s country house. The first scene opens with Miss Prism and Cecily in the garden. Miss Prism is Cecily’s teacher, she believes herself to be very knowledgeable, but she is not very good with her words, and often speaks nonsense, producing a comic effect for the audience. Cecily is shown to be very much like Gwendolen, she appears to be very innocent but she can also be quite arrogant â€Å"but I felt instinctively that you had a headache†. Cecily is obviously educated because she uses more advanced language. Miss Prism is trying to get Cecily to do her German, but Cecily argues that German â€Å"isn’t at all a becoming language. I know perfectly well that I look quite plain after my German lesson†. This shows Cecily to be very influenced by the trends of the time. Dr Chasuble interrupts Cecily’s lesson, and Cecily informs him that Miss Prism has a headache so it will do her good to go for a walk, that way she will be able to get out of her lesson. The relationship between Chasuble and Miss Prism is often used for comedy throughout Act Two and Act Three because it is obvious to the audience that Miss Prism and Chasuble have feelings for each other, but because of the social expectations of the time, they could not display their affection for each other (apart from the fact that neither know that the other has feelings for them). The three of them talk about Jack, and immediately he is seen as a completely different person in the country then he is in the town. In Act one, Jack is seen to be living entirely for pleasure, although he is more serious then Algernon, he does not appear to have any real responsibilities. However, in the country he is shown to be much more serious, and Miss Prism and Cecily do not believe that he has any pleasure or fun in his life. Miss Prism and Chasuble go for a walk together to the schools, leaving Cecily alone to do her work, which she doesn’t even start. At this point, Algernon is introduced to Cecily as Mr Ernest Worthing by the merriman. Cecily was nervous to meet ‘Ernest’ because she had â€Å"never met any really wicked person before. I feel rather frightened. I am ever so afraid he will look just like every one else.† This assumption produces a comic effect because ‘wicked’ people rarely look any different to normal people. When Cecily first meets ‘Ernest’ she is unusually confident and surprises Algernon by her forward manner, and Cecily tells him that Jack is planning to send him off the Australia, Algernon responds to this by saying, † The accounts I have received of Australia and the next world are not particularly encouraging. This world is good enough for me, Cousin Cecily.† This is amusing for the audience because Algernon does not seem very worried that Jack wants to send him to Australia. Algernon then asks Cecily if she will help reform him at the same time as flirting with her; she responds by saying, â€Å"I’m afraid I’ve no time this afternoon†. This has a comic effect because to completely change someone is obviously going to take more than one afternoon. The final comical aspect of this dialogue is when Cecily says; † Oh, I don’t think I would care to catch a sensible man. I shouldn’t know what to talk to him about†. Dr Chasuble and Miss Prism return from their walk just as ‘Ernest’ and Cecily pass into the house. They are talking about Dr Chasuble’s love life, Miss Prism believes that â€Å"men should be more careful; this very celibacy leads weaker vessels astray†, she thinks that Chasuble should get married because that way he would not be a temptation for women. Just as they were wondering where Cecily is, Jack comes into the garden, [dressed in the deepest mourning, with crà ¯Ã‚ ¿Ã‚ ½pe hatband and black gloves ]. He tells Miss Prism and Chasuble of the death of his brother Ernest; this produces dramatic irony because Jack does not know that Algernon has come to the house posing as his brother. The comedy effect for the first part of the scene is Jack’s exaggerated mourning for his ‘dead’ brother. The conversation then leads on to christenings, and Jack displays his wish to be christened, his attitude to christenings is very casual; † Oh, I thought I might trot round at about 5 if that would suit you†. This has a comic effect on the audience because christenings are not supposed to be casual affairs, and do not usually take place for a grown man. Cecily then enters, very excited announcing to Jack, Chasuble, and Miss Prism that Jack’s brother was here; Jack immediately says â€Å"what nonsense! I haven’t got a brother† because according to him ‘Ernest’ had died in Paris of a severe chill. Cecily then returns hand in hand with Algernon; this entrance has a very comical effect on the audience because of the look of sheer horror on Jack’s face when he sees that Algernon is pretending to be Ernest, and he had just made a fool out of himself by saying that his brother had died. But he cannot say anything to Algernon when they were around Cecily, Miss Prism and Chasuble because they would all find out that he had been lying the whole time about his brother and they would not have as much respect for him as they had before. Miss Prism and Chasuble decide then that it would be best that the two ‘brothers’ (a sense of irony there because in act three the audience find out that Algernon and Jack are in fact brothers) were left alone together, and Cecily follows them back into the house. Jack, who cannot believe that Algernon has done such a thing is astounded when the merriman informs him that Algernon’s luggage has been unpacked in the room next to his. Jack immediately orders a dogcart for Algernon, who seems completely oblivious to the fact that Jack has just insulted him. As usual, Jack and Algernon begin to argue, Jack tells Algernon that he does not want him to call Cecily a darling, and Algernon comes up with a childish reply and tells Jack that he does not like his clothes and, that being in mourning for a man who is actually staying at his house is â€Å"grotesque†. Jack tells Algernon that he does not want him staying in his house for a whole week and to this, Algernon replies; â€Å"I certainly won’t leave you so long as you are in mourning. It would be most unfriendly†, completely contradicting what he had said before and producing a comic effect on the audience. Algernon sees Cecily and tells her that he has to leave, she replies, â€Å"It is always painful to part from people who one has known for a very brief space of time. The absence of old friends one can endure with equanimity. But even a momentary separation from anyone to whom one has just been introduced to is almost unbearable†. This goes against the audience’s expectations and produces a comic effect, because usually it would be more difficult to part with someone that you had known for a long time then to part with someone that you had just met. In this scene, Algernon proposes to Cecily, but she informs him that they had actually been engaged for the last three months (only in her head though, producing a comic effect). This is a parallel of events because Cecily claims, like Gwendolen, to have loved Algernon before she had even met him; which is obviously impossible. Another similarity in this scene is when Algernon says to Cecily; â€Å"I have dared to love you wildly, passionately, devotedly, hopelessly†. This utterance does not make any sense because you cannot love someone devotedly and hopelessly at the same time, he is talking nonsense because he is so nervous around Cecily; much the same way that Jack was around Gwendolen in Act One. The final parallel of speech is when Cecily tells ‘Ernest’ that she loves him for his name, like Gwendolen did in Act One, ‘Ernest’ asks Cecily whether she would love him if he was called Algernon, she immediately tells him, like Gwendolen, that she does not like that name, only the name ‘Ernest’ â€Å"inspires absolute confidence†. Algernon almost immediately tells her that he has to â€Å"see him [chasuble] at once on a most important christening – I mean on most important business† Algernon was thinking out loud, like Jack did in Act One. There is a great deal of comedy in this scene, especially from Cecily. The main example is when Cecily tells Algernon of their ‘engagement’. Throughout the three months that Cecily had decided that she was engaged to Jack’s ‘brother’; he had bought her gifts and written her letters. Also, according to Cecily, she had even broken off their engagement once saying that â€Å"It would hardly have been a really serious engagement if it hadn’t been broken off at least once.†. She had even written it in her diary; â€Å"Today I broke off my engagement with Ernest. I feel it is better to do so. The weather still continues charming† this is comical within itself because if someone had broken off their engagement, the last thing they would be thinking about was the weather. Algernon leaves the room to go and see Chasuble, and the merriman announces to Cecily that Miss Fairfax has come to visit, and wishes to see Jack, but because he is busy Cecily invites her in for tea. Almost immediately, Gwendolen tells Cecily; â€Å"I like you already more than I can say. My first impressions of people are never wrong.† This produces a comic effect because you cannot like someone so much when you have just heard his or her name. There is also a slight parallel of speech because in Act One, Gwendolen says â€Å"I am never wrong†, this is similar to what she said to Cecily, this again displays her arrogant nature. Cecily and Gwendolen immediately start to call each other by their first names, however, the atmosphere seems a bit tense. Gwendolen and Cecily talk about Lord Bracknell, and Gwendolen enquires after Cecily’s parents, Cecily tells her that she has â€Å"no mother, nor, in fact, any relations†. Gwendolen seems surprised at this; producing echoes of her mother’s reaction to Jack’s past in Act One. Gwendolen tells Cecily; â€Å"I have liked you ever since I met you†, this produces a comic effect because she hasn’t known Cecily long at all, it also shows how superficial she can be. She also tells Cecily that she â€Å"can’t help expressing a wish you were – well, just a little older than you seem to be – and not quite so alluring in appearance† when informed that she was Mr Worthing’s ward. She then asks Cecily if she may speak truthfully, Cecily knows that Gwendolen is just about to insult her, but she doesn’t seem to care, and she tells her that she wishes that Cecily was 42 and more than usually plain for her age. There is an example of dramatic irony when Gwendolen says; â€Å"disloyalty would be as impossible to him as deception†, this also has a comical effect because the audience know that this is not true, but Gwendolen believes it so much. At this point, the plot begins to unwind; Gwendolen reveals that she was talking about Ernest (Jack) and Cecily tells her that she is not Ernest’s ward, but his older brother’s. Gwendolen asks why Ernest (Jack) had never told her that he had a brother, and Cecily explained that it was because they had not really been on speaking terms. Cecily then tells Gwendolen that she is engaged to be married to Ernest (Algernon). To this Gwendolen [quite politely rising ] says; â€Å"My darling Cecily, I think there must be some slight error. Mr Ernest Worthing (Jack) is engaged to me.† Cecily responds to this by; [very politely rising ] and saying; â€Å"I am afraid you must be under some misconception. Ernest (Algernon) proposed to me exactly ten minutes ago†. She then shows Gwendolen the entry in her diary to prove it, and Gwendolen shows the entry in her diary to prove that Ernest (Jack) had proposed to her the previous day. Gwendolen then states that because Ernest had proposed to her first, she had the prior claim, and Cecily said that this as not true because he had clearly changed his mind. This argument produces a comic effect and a sense of dramatic irony; it is comical because although the two women are very angry with each other, they cannot show their true feelings because it was not seen as lady-like behaviour. The dramatic irony in this dialogue is that the Audience knows that there are actually two people pretending to be Ernest, but Gwendolen and Cecily do not know this. The conversation continues between Cecily and Gwendolen, but they are being sarcastic and spiteful to each other whilst pretending to be polite. An example of this is when Cecily asks Gwendolen if she wants sugar in her tea; Gwendolen says no because â€Å"sugar is not fashionable any more† then [CECILY looks angrily at her, takes the tongs and puts four lumps of sugar into the cup ]. Cecily then asks Gwendolen if she wants cake, or bread and butter, Gwendolen says that she wants bread and butter because â€Å"cake is rarely seen at the best houses nowadays† then Cecily [cuts a very large slice of cake and puts it on the tray ]. Gwendolen becomes very angry at this deliberate attempt to annoy her and tells Cecily; â€Å"From the moment I saw you I distrusted you. I felt that you were false and deceitful. I am never deceived in such matters. My first impressions of people are invariably right†. This produces a comical effect because Gwendolen has just contradicted herself from what she said to Cecily when she first met her, but she still tries to make out that she has been right about her all along. The climax of the play occurs when Jack comes into the room and interrupts Gwendolen and Cecily. Gwendolen embraces him and asks Jack whether he is engaged to Cecily; Jack obviously denies this and Cecily reveals that the â€Å"gentleman whose arm is at present round your waist is my guardian, Mr John Worthing†. Gwendolen says â€Å"Jack! Oh!† and pulls away from him. Algernon then walks into the room, and Cecily asks him if he is engaged to be married to Gwendolen, and he says no. Gwendolen then reveals to Cecily that â€Å"the gentleman who is now embracing you is my cousin, Mr Algernon Moncrieff† Cecily says â€Å"Algernon Moncrieff! Oh!† and pulls away from him. There are two examples of symmetric speech in this section of the scene; the first is when both Jack and Algernon say to Gwendolen and Cecily â€Å"What could have put such an idea into your pretty little head†. The second example is the identical way in which Gwendolen and Cecily reacted to the news that both their fiancà ¯Ã‚ ¿Ã‚ ½s had different names then they had thought. This produces a comic effect because this is the climax of the play, and all of the deceit is being revealed to Gwendolen and Cecily. The relationship between Gwendolen and Cecily drastically changes as [the two girls move towards each other and out their arms round each other’s waists as if for protection. ]. They ask Jack and Algernon if what they have heard is true, they both say that it is, even though â€Å"it is very painful for me [Jack] to be forced to speak the truth†. This confession goes against the audience’s expectations producing a comic effect because normally people may find it painful to tell a lie then to tell the truth. Gwendolen and Cecily decide that they are going to resign to the house because they have just found out that they are both not engaged to anyone, and â€Å"it is not a very pleasant position for a young girl suddenly to find herself in.† Jack and Algernon are left alone in the garden and the girls retire to the house. The last section of Act Two is the conversation between Algernon and Jack. They talk about Gwendolen and Cecily and how they feel about them. However, Jack makes it very clear that he is not sure that Algernon and Cecily will actually marry, and Algernon states that he thinks it very unlikely that Jack and Gwendolen will marry. The conversation soon sways onto the christenings and Algernon advises Jack that; â€Å"If you are not quite sure about your ever being Christened, I must say I think it rather dangerous your venturing on it now. It might make you very unwell†. This produces a comic effect because it is completely impossible that being christened will make you unwell. The Act closes on Jack and Algernon arguing over the muffins that are being served on the table, showing their almost childish relationship. In conclusion, there are many similarities between Act One and Act Two, this could be part of what makes it so comical. The characters have developed the plot up to the climax, there is only the end to be revealed. In Act Three all of the deceit and the mysteries will be solved.

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buy custom Multinational and Global Strategy essay Global forces are identified as of three types namely market, government, cost and competitive. These are considered as the factors which can push a firm to go global. Going global has many advantages as well as disadvantages. An organization is likely to benefit from wide market and as a result may expand its production since it will be serving a wider market. At the present times, depending on nation in question, the government does give incentives for local firms to go global. Going global is likely to benefit the through the revenues which will be accrued from the firms which would have globalized. Costs of going global are relatively low as compared to the benefits accrued. Other from the firm being globalized, there are third parties who are also likely to gain some benefits. This comes about from the point of competition which is created at the market level. This competition in most cases leads to better goods being manufactured at competitive prices. This leads to better goods being brought from the market at the competitive prices. It is totally true that the global cost pressures cannot be ignored when strategizing on the multinational issues. It is not possible either to completely ignore and neglect the local and become purely global in todays world. Multinational strategies have got the effect of trickling down benefits to the level of the local communities. To start with, many multinational investors borrow money locally at favorable interest rates and thus finance their projects. This constitutes unfair competition with local firms and crowds the domestic private sector out of the credit markets, displacing its investment in the process. Many multinational organizations are net consumers of savings, draining the local pool and leaving other entrepreneurs at economical positions which are unfavorable. Foreign banks tend to collude in this reallocation of financial wherewithal by exclusively catering to the needs of the less risky segments of the business scene. Another issue is that foreign owned projects are capital intensive and labor-efficient. They invest in machinery and not wages. Skilled workers get paid well above all the local norm, all others languish. The natives rarely benefit and when they acquire employment it is short lived and unfairly paid. In Transnational firms, key activities and resources are neither centralized at headquarters nor decentralized so that each subsidiary can act independently for local needs (Tickoo, 2008). Buy custom Multinational and Global Strategy essay

Why Use Endnotes, Endnotes vs. Footnotes

Why Use Endnotes, Endnotes vs. Footnotes Even though parenthetical style citations have become popular in modern academia, there are plenty of times when they are not quite appropriate. You might find that you are dealing with an old-school editor who requires the use of endnotes. In fact, for many manuscript publications, endnotes are the preferred method of citation. Why Use Endnotes? Endnotes are a wonderful solution to the break in flow that citations can sometimes create. When you use them, you can be sure that your text will not be interrupted by more than a single superscript number. The reader can then turn to the back of the book or paper to read the entire citation, if they so choose. Much of the reason that we use any type of citationwhether an APA style citation or Chicago Style citationis to provide healthy proof for our claims. We want to make sure that we can write with authority, and provide backing for the theoretical points we make. We also want to be sure that we can properly utilize the works of those who have gone before us. Endnotes vs. Footnotes Because of this, few readers are interested in reading footnotes at the end of each page. In fact, many readers find it distracting, and will only desire footnotes for further investigation on the topic at hand. Because of this, endnotes have remained a quite popular reference solution in the publication realms.

Free sample - Types of Evaluation. translation missing

Types of Evaluation. Types of EvaluationProcess evaluation Rossi, Lipsey, Freeman (2004), define the process evaluation as the type of evaluation that focuses on the way in which a program was implemented and how the program is operating. It keys out the procedures that are used as well as the decisions that are made in developing the program. Process evaluation describes the way in which a program operates, the type of services it offers, and the functions it fulfills. Process evaluation used the experimental data to assess the delivery of the implemented program. It verifies on what the program is meant to do and whether the program is implemented as required. Process evaluation is very important in a number of ways as listed below: It is useful in determining the degree to which a given program will be implemented according to the available plan. Very useful in assessing and documenting the degree of variability and fidelity in the implementation of a program irrespective of whether it is expected or unexpected, planned or unplanned. It is used in comparing multiple sites in relation to fidelity. Process evaluation is used to give validity regarding the relationship between intervention used and its outcomes.   Used to give out the information concerning the type of components of the given interventions, which can bring about the outcomes. It is helpful in allowing one to understand how the program context and program processes relate to each other. The program context can be the setting characteristics while the program process can be the levels of implementation. Useful in providing managers with the feedback regarding the quality of the implementation. Used to improve the components used in delivery. Used to provide the program accountability to the public, sponsors, funders, and clients.    Used to ameliorate the quality of the implemented program since the act of assessing is an intervention. It is very important that, when the program components have been identified, a logical model is created that in graphical terms depicts the relationship between the components of a program and the expected outcome of the components. The logic model can be defined as a set of statements that provide a link for the problems a program is trying to address, the manner in which it will address them, and the immediate and intermediate results (Rossi, et al., 2004). The Logic Model is important in a number of ways. It is useful in developing clarity concerning a program or project that is to be implemented.  Ã‚   Useful in developing consensus among the involved people. Used in pointing out the redundancies and the gaps in a given plan. Used in the identification of the main hypothesis of the program to be implemented. Used to compactly convey what the program or project is all about.  Ã‚   The Logic Model can be used during any given work for the purposes of clarifying the task being done, the reason to why it is done, and the intended outcomes of that work; during program or project planning to ensure that the particular program or project is complete and logical; during evaluation planning in order to focus the evaluation; and during the project or program implementation to act as a template for making comparisons with the real program and as a filter to find out if the proposed changes are appropriate or not (Rossi, et al., 2004).   Process evaluation is characterized by two formats of data collection. The two formats are; Quantitative, archival, or recorded data which can be controlled by a management system or computerized tracking; and the qualitative data which can be acquired by a variety of formats, for example surveys or focus groups. Outcome evaluation Schalock (2001) defines outcome evaluation as the type of evaluation that deals with determining whether, and to which extent, program services or activities have accomplished their designated outcomes among the population of target. Outcome evaluation is usually described by first looking at the basic components of the program. It looks at programs as systems which have activities or processes, inputs, outcomes and outputs. The inputs are the resources and materials that the program uses to carry out its processes, or activities to serve clients, for instance, staff, equipment, volunteers, money, and facilities. They are usually easy to identify and many of the inputs are common to most programs and organizations. Outcome evaluation is very important as measures the changes in the outcomes of the implemented programs and also it establishes that the intervention on the way the program operates causes the observed changes. The most essential decisions in a given evaluation to demonst rate causation, takes into consideration its design, that is, those decisions concerning what will be measured and the time when the evaluations will take place.  Ã‚   The outcome evaluations can either be experimental or quasi-experimental. The experimental evaluations are usually random assignment studies which are used to evaluate the total impacts of a program or the activities of the program, and this allows for the appropriate conclusions to be made concerning the cause and effect.   The quasi-experimental evaluations are used to monitor the outcomes for a single group over time or it can compare the outcomes among the individuals getting the services to a comparison group, national data, or a similar population (Schalock, 2001).  Ã‚  Ã‚   Activities are the processes which a given implemented program does to the customer in order to satisfy his or her needs, for instance, counseling, teaching, feeding, clothing, and sheltering. It is of great significance to note that during the time of keying out the activities in a project or program, the focus is still important on the program or organization, and still not very much on real changes in the customer. Outputs are the units of service concerning the program to be implemented, for instance, the number of individuals, sheltered, clothed, counseled, and fed. The number of customers served only indicates the numerical number of customers who underwent the program. Outcomes are the real impacts for participants after or during the program, for instance, in the case of a smoking cessation program, participants quitting smoking can be the outcome. The outcomes are often expressed in terms of behaviors, skills and knowledge, status, conditions, and values (Schalock, 2001). Outcome evaluation uses a quantitative approach. It usually makes use of randomized controlled trial, comparison group and pre-post comparison. Randomized control trial design uses groups of customers who are assigned randomly to a plausible option or to the treatment in question. The members in all the groups are given similar pre-treatment and post-treatment evaluations. The comparison group design is almost the same as the randomized design but the difference is that in comparison group the groups of customers are deliberately and not randomly chosen. The pre-post design is a more realistic design for treatment systems or services having insufficient resources or experience. The pre-post design is less rigorous scientifically but it can give useful results for the uses in program improvement and program accountability.  Ã‚  Ã‚  Ã‚   Outcome evaluations can be done at various points during the development of a given program. It is advisable that the outcome evaluations are not conducted for start-up programs that have not yet attained a fully incorporated service-delivery models.   It is also not advisable to conduct an outcome evaluation without first conducting the process evaluation that accompanies it. It has been seen that, the findings obtained from the outcome evaluations are used to depict whether or not the involved individuals are receiving the predicted returns of the program (Schalock, 2001).  Ã‚      References Rossi, P., Lipsey, M., Freeman, H. (2004). Evaluation. Thousand Oaks: Sage Publications. Schalock, R., (2001). Outcome-Based Evaluation. New York: Kluwer Academic/Plenum Publishers.

Stewart v Secretary of State for Scotland 1998 Appellant's Argument Essay

Stewart v Secretary of State for Scotland 1998 Appellant's Argument - Essay Example Appellant contends that the narrower interpretation of the word â€Å"inability† is â€Å"supported by earlier legislation inasmuch as it produced a comprehensive code for sheriffs principal who demitted or was removed from office because of physical or mental infirmity†. He further asserts that if the wider interpretation is to accrue â€Å"an anomalous result would be reached†. He clarified that the word â€Å"inability† is not intended to mean â€Å"unfit for duty due to behavioral infirmity† as used in his case but to describe the natural consequence of not being able to perform a sheriff’s duty due to health reasons or disability. Appellant likewise assert that the Lord President and the Lord Justice Clerk erred and committed procedural lapses in their investigation. He asserts that he was not properly informed of the actual charges against him and that the charge was â€Å"inability† rather â€Å"than misbehavior† or †Å"defect in character†. He further contends that he was not given the opportunity to face and respond to the allegation of the Lord President and the Lord Justice Clerk’s sources. ... Sheriff Courts (Scotland) Act 1838 repealed this provision in particular by letting the sheriffs continue even after the death of the appointing officer. Under the then new law, the Sheriff has been made eligible to receive an annuity provided that they completed a minimum of ten years. In the same length, the same law also provided for instances where the sheriff was removed from office due to old age or permanent infirmity that disabled them to exercise the demands of their office. In Section 5 of the Sheriff Courts (Scotland) Act 1877 the word â€Å"inability† was first mentioned. The provision of this law provided â€Å"that no sheriff should be removed except by a Secretary of State for inability or misbehavior upon a report of the Senior Judges†. Consequently, â€Å"Inability or Misbehaviour† was used in section 18 of the Small Debts Act 1846 in relation to the removal by Lord Chancellor of a county court judge. Section 38 of the Sheriff Courts (Scotland) A ct 1853 empowered the Treasury to grant an annuity to a sheriff principal in circumstances where annuity could have been paid to a sheriff under the Act of 1838. Then in section 1 of the Sheriffs Tenure of Office (Scotland), Act 1898 empowered the Secretary of State on a report by the senior judges to remove sheriff principal who was by reason of ‘inability or misbehavior unfit for his office’.

Poetry reaearch eassy Essay Example | Topics and Well Written Essays - 750 words

Poetry reaearch eassy - Essay Example The interconnection of various words in the poem, like the, â€Å"fear no more,† brings out the emphasis of death on various aspects of this poem. Shakespeare in this poem of â€Å"fear no more heat† uses some euphonic words to emphasize the serenity towards the subject of death that is being brought out in this poem and consequently, people should have a peaceful death. Shakespeare considers that death is one kind of extrication. As for this reason, I chose â€Å"Fear no more the heat o’ the sun† because I like the theme of the poem which indicates that we should fearless face death since death is inevitable. Generally, the tone of the poem is a deep melancholy describing death. Nonetheless, the poet regards death as a part of human life, and he encourages people to have a positive attitude towards facing it. Moreover, Shakespeare is seeing the world’s attitude towards death and put it with a soft, gentle voice comforting people to face death peace fully. Also, this emphasis is followed by, â€Å"must†¦; come to dust,† in the fifth and sixth lines of the three stanzas of the poem. Shakespeare uses refrain to reiterate the author’s central idea. The author uses such words like, â€Å"golden lads and girls,† to show that even the young and wealthy girls will face death. He also uses words like, â€Å"chimney sweepers,† which stand for the old and the poor. He means that both rich and poor will also have to face death. At the beginning of the poem, Shakespeare depicts that people toil for their work in order to survive. The Consonance used brings out rhythm such as â€Å"sun† and â€Å"done† that makes the cadence of the poem flows smoothly. Next, in the second stanza, the poet has used various stylistic devices such as alliteration â€Å"though art past the tyrant’s stroke, care no further to clothe and eat;† (9). there is the

The Impact of PPACA on Nursing Essay Example | Topics and Well Written Essays - 250 words - 2

The Impact of PPACA on Nursing - Essay Example It clearly indicates that through the provision of money the nurse-managed clinics will be supported therefore increasing the number of physicians. The access to money will help them provide real care, and their results will be clearly seen. Provision of education and funding program will also help cab the problem physician shortages, therefore, the delivery of quality healthcare. Nurses who have advanced education have a greater benefit since the law contains considerable language about the expansion of primary care services, and many people will be insured. It, therefore, allows for different approaches to how nurses deliver primary care, by whom and where (United States, 2012). Fewer physicians will be going into primary care and, therefore, an excellent opportunity for the nurses. It also means that nurses will be employed, and there will be no congestion since those who have specialized in geriatrics will be allowed to practice elsewhere and create opportunities. The above will impact on the nursing job positively since the availability of funding will help boost our clinics. It will also help provide quality care since individuals will have undergone thorough training. However due to job availability many people will run for the nursing course creating a jump in the sector United States. (2012). The true cost of PPACA: Effects on the budget and jobs : hearing before the Subcommittee on Health of the Committee on Energy and Commerce, House of Representatives, One Hundred Twelfth Congress.

Report market sells product internationally Essay

Report market sells product internationally - Essay Example The report would also include an analysis of the market segments and the beer market in the nation. The report would also showcase the market entry strategies and a specific product mix for the new market and would also include an analysis of the integrated marketing communication and other market strategies for entering the market successfully. Finally a set of plausible recommendations would be prepared that would be framed on the basis of the study conducted in the course of research. The present era of business environment is largely stated by various circles as the age of turbulence and intense competition. The entry of globalisation has made the world turn into a boundary less structure with firms expanding beyond political and geographic boundaries to reach out to new markets. This has also triggered a wave of competition among the organizations to establish their organizations in the market. The present study would deal with the international expansion of a beer company in the UK market. The choice of the market assumes significance considering the presence of a strong demand and favourable future opportunities in the nation. Background According to a report published by Nielsen the total beer industry in UK is valued at 3.48 billion pounds with volumes expected to be around 18.7 million hl. This shows a considerable scope for business in the market. However the market is also characterised by intense levels of competition as the market is dotted with a large number of players with highly established brand image and formidable brand positioning (Nielsen, 2009, p.6). Aim The main aim of this study would be to frame a business report that would try to uncover the business potential of UK as a beer market. The report would try to analyse the business market of the nation and would frame up a market entry plan that would also include formulating a product mix specifically designed for the UK market. The report would also cover the aspect of positioning and integrated marketing communication as well as an entry strategy for the company in the UK market. Scope The business report would analyse the business attractiveness of a new market in the context of the beer market in UK. The report would analyse the appropriateness in choosing the UK market as a destination for investment for foreign market players in the beer industry. Country Information Geographies UK is one of the most developed economies of the world with its importance being that of one of the pioneer nations of the industrial revolution. Geographically the nation is located in Western Europe with a total area of 243,610 square kilometres. The nation has a long coastline in the Atlantic Ocean that serves as its sea link with the USA. London the capital city of the nation is also known as the commercial and financial hubs of the world with

Black Leisure Assignment Example | Topics and Well Written Essays - 2500 words

Black Leisure - Assignment Example (Zagotta & Don, 2008, Issue 5) This mission is will be very successful in the communication of the strategy by use of mantra. The mission statements are also very well articulated to plan the strategy results rather than planning the activities. The Mission Statement has also clearly planned what Black Leisure's group will not do so that they avoid doing everything and finally end up not achieving anything. (Zagotta & Don, 2008, Issue 5) By mentioning the various sections that will be target for growth, the mission has taken the first step to open up to the organization. By use of the annual financial results and the quarterly feedback, these mission statements will be able to give feedback on the progress. Finally the whole statements has laid a foundation for a virtuous circle of improvement and implementation by the way it has been laid out. (Zagotta & Don, 2008, Issue 5) According to H. Ansoff (1988), there are two fronts that Black Leisure can adopt as marketing strategies to develop their objectives. These are the markets and products. Since Black Leisure has an existing market of outdoor retailing activities and existing product of clothing wear and Boardwear, they should concentrate to enhance the brands they have such as Peter Storm, One Earth, Eurohike, Storm Shield, Rarespecies, ALS, Technicals, O'neill, Freespirit and 100%MAMBO. They should have objectives of expanding the market turnover that is currently at 298.3 million and operating profit that had declined to 1.6 million due to poor brand sales force.(Ansoff, 1988, chapter 6.) (BernStein, 2007, p. 4) Black Leisure have an existing clothing brand product that they consider offering to new markets within and outside UK. These new market segments should be concentrate on youth style brands objectives, show fashion innovations, and have high sporting technology. They should also objectives that are focused on Boardwear and latest rebalanced wears that can be used for varied sport operations. (Ansoff, 1988, chapter 6.) ( BernStein, 2007, p. 8) Black Leisure Group have may be having a new product such as Outdoor and Boadwear clothing and an existing market such as skiing, mountaineering, walking and many others. The strategy should be to having objective of mixing the brands wear such as promoting a Freesprint Clothes and O'neill shoes; Storm Shield jackets combined with One Earth boots; Freesprint Sport shoes and ALS tracksuit and any other new mixes possible. (Ansoff, 1988, chapter 6.); (Bernstein, 2007, p. 6). Finally, Black Leisure have will need to formulate new products such as parachutes, goggles pressure pads and for new markets such as sky diving. This is becoming a popular sport activity whose objective will be to diversify the current product availabilities and capabilities with the customers being able to explore new geographical

Waste Management in LA County Essay Example | Topics and Well Written Essays - 750 words

Waste Management in LA County - Essay Example In addition to the Integrated Waste Management Board, the Los Angeles County Sanitation Districts (LACSD) also undertakes significant tasks of waste management. The Sanitation Districts was established in 1923 with the County Sanitation Districts Act. It consists of 25 independent special districts which fulfill the waste management needs of around 5.1 million people in Los Angeles. It constructs, operates and maintains facilities to collect treat and disposes of sewage and industrial water (Green D., 2007 p.93). The major portion of landfills and waste water treatment plants in Los Angeles are operated by the Sanitation Districts. The LA County’s Integrated Waste Management Plan and Hazardous Waste management Plan are prepared and administered by the Department of Public Works (DPW). It also advises Los Angeles County’s Board of Supervisors on all issues on waste management. The major goal of this board is to reduce the solid waste through recycling, the composting, an d source reduction. It would also respond to any sort of complaints about the discharge of toxic waste that would harm the environment, soil, water, or wildlife. The CIWMB has initiated a ‘Zero Waste’ master plan of twenty year recycle program called Solid Waste Integrated Resource Plan (SWIRP). The program includes various tasks such as conversion, source reduction, recycling, renewable energy, and maximum material recovery in order to achieve the goal by 2030.

Black Leisure Assignment Example | Topics and Well Written Essays - 2500 words

Black Leisure - Assignment Example (Zagotta & Don, 2008, Issue 5) This mission is will be very successful in the communication of the strategy by use of mantra. The mission statements are also very well articulated to plan the strategy results rather than planning the activities. The Mission Statement has also clearly planned what Black Leisure's group will not do so that they avoid doing everything and finally end up not achieving anything. (Zagotta & Don, 2008, Issue 5) By mentioning the various sections that will be target for growth, the mission has taken the first step to open up to the organization. By use of the annual financial results and the quarterly feedback, these mission statements will be able to give feedback on the progress. Finally the whole statements has laid a foundation for a virtuous circle of improvement and implementation by the way it has been laid out. (Zagotta & Don, 2008, Issue 5) According to H. Ansoff (1988), there are two fronts that Black Leisure can adopt as marketing strategies to develop their objectives. These are the markets and products. Since Black Leisure has an existing market of outdoor retailing activities and existing product of clothing wear and Boardwear, they should concentrate to enhance the brands they have such as Peter Storm, One Earth, Eurohike, Storm Shield, Rarespecies, ALS, Technicals, O'neill, Freespirit and 100%MAMBO. They should have objectives of expanding the market turnover that is currently at 298.3 million and operating profit that had declined to 1.6 million due to poor brand sales force.(Ansoff, 1988, chapter 6.) (BernStein, 2007, p. 4) Black Leisure have an existing clothing brand product that they consider offering to new markets within and outside UK. These new market segments should be concentrate on youth style brands objectives, show fashion innovations, and have high sporting technology. They should also objectives that are focused on Boardwear and latest rebalanced wears that can be used for varied sport operations. (Ansoff, 1988, chapter 6.) ( BernStein, 2007, p. 8) Black Leisure Group have may be having a new product such as Outdoor and Boadwear clothing and an existing market such as skiing, mountaineering, walking and many others. The strategy should be to having objective of mixing the brands wear such as promoting a Freesprint Clothes and O'neill shoes; Storm Shield jackets combined with One Earth boots; Freesprint Sport shoes and ALS tracksuit and any other new mixes possible. (Ansoff, 1988, chapter 6.); (Bernstein, 2007, p. 6). Finally, Black Leisure have will need to formulate new products such as parachutes, goggles pressure pads and for new markets such as sky diving. This is becoming a popular sport activity whose objective will be to diversify the current product availabilities and capabilities with the customers being able to explore new geographical

Ethical objectivism and Kantian Ethics ar arguments to ethical Essay

Ethical objectivism and Kantian Ethics ar arguments to ethical relativism - Essay Example Even in the contemporary world there are a strong amount of arguments in favor of ethical relativism. Some of the most prominent such arguments are advanced by anthropologists whose job it is to go into a region and develop ethnographical research regarding a culture. While these perspectives are at times convincing specifically about more grey areas issues, on a large-scale it’s clear that they are shortsighted. When extended to universal aspects of all cultures, adopting an approach of ethical relativism could potentially be calamitous for humanity. In these regards, it is possible that one cultural paradigm conflicts with the subsistence of another culture. It follows that when one’s cultural paradigm infringes on the rights and existence of another cultural paradigm that there needs to be a means of further establishing ethical responsibility. A great number of ethical theories exist in contradistinction to the ethical relativist model, with the Kantian approach to ethics the most convincing. Kant argues that, â€Å"All moral statements should be general laws, which apply to everyone under and circumstances† (â€Å"Kant†). This notion, referred to as the categorical imperative, is the understanding that an ethical action must be that can be applied in a universal way; as such, this precludes many activities that would otherwise be condoned under an ethical relativist perspective. Another prominent notion within Kantian ethics is the notion of moral duty. Moral duty argues that an individual has the duty to obey innate moral laws (â€Å"Kant’s Moral Philosophy†). The articulation of ethical responsibility as rooted in innate moral laws characteristic of all humanity is antithetical to moral relativism. Rather ethics as functioning subjectively, they are innate and universal to all cultures. Ulti mately, adopting this Kantian is model is superior to the relativist approach as the former