Tuesday, November 26, 2019

marketing analysis essays

marketing analysis essays 1 I believe that a Company has the obligation in all cases of R-rated movies to make it aware to the public what actual events in the movie give it that R- rating. Whether it is because of language, nudity, violence, or all of them included. This should be made easily accessible to the parents or children that go and see the movies. They should also make why and how much of the explicit content is shown throughout the film. Parents should be informed of this so they can make a decision on whether or not their child should be allowed to see the movie. Some movies like Schindlers List have been given an R-rating, but the explicitness of the film was put in the movie to show the intensity of the holocaust. Many parents would want their children to see that movie because of the historic content. Other movies have explicit content just for entertainment value. All of this information should be compiled and put into a summary and should be posted in newspapers, the Internet and at the movie theater. This would make it easily accessible to the public audience and help parents, teenagers, and children to choose which movie is suitable for them. 2 The movie industry produces movies so that they can make money. In the past movies that have not been suitable for young children and that have been given the R-rating have been advertised during television programming that is made for younger viewers. It is also true that in magazines made for teenagers have had advertisements in them for R-rated movies. The movie industry must realize that their target audience should not be kids who arent supposed to be seeing those sorts of films anyway and should be focused on the older crowds. It is a fine line to distinguish where and where not advertise since 15 and 16 year old children read and watch the same television shows as 17 and 18 year olds, but it still must be done. ...

Friday, November 22, 2019

The History of Scissors

The History of Scissors Leonardo da  Vinci has often been credited with inventing scissors, but they predate his lifetime by many centuries. Nowadays, it’s hard to find a household these days that doesn’t have at least one pair. Ancient Scissors The ancient Egyptians used a version of scissors as long ago as 1500 B.C. They were a single piece of metal, typically bronze, fashioned into two blades that were controlled by a metal strip. The strip kept the blades apart until they were squeezed. Each blade was a scissor. Collectively, the blades were scissors, or so rumor has it. Through trade and adventure, the device eventually spread beyond Egypt to other parts of the world. The Romans adapted the Egyptians  design in 100 A.D., creating pivoted or cross-blade scissors that were more in line with what we have today. The Romans also used bronze, but they sometimes made their scissors from iron as well. Roman scissors had two blades that slid past each other. The pivot was situated between the tip and the handles to create a cutting effect between the two blades when they were applied to various properties.  Both Egyptian and Roman versions of scissors had to be sharpened regularly. Scissors Enter the 18th Century Although the actual inventor of scissors is hard to identify, Robert Hinchliffe, of Sheffield, England, should be rightfully acknowledged as the father of modern scissors. He was the first to use steel to manufacture and mass-produce them in 1761 more than 200 years after da  Vinci’s death. Pinking shears  were first invented and patented in 1893 by Louise Austin of Whatcom of Washington to facilitate pinking and scalloping and as a marked improvement over ordinary pinking irons and tools.† Here are some mentions of scissors in print publications over the years, as well as a bit of folklore. From Emar, Capital of Astata, in the 14th  Century BCE By Jean-Claude Margueron Besides ceramics, occasionally collected in large quantities, the houses produced stone and metallic objects illustrating both day-to-day needs and the activities of city merchants: beer filters,  containers, arrow and javelin heads, scales of armor, needles and  scissors,  long nails,  bronze scrapers, millstones, mortars, many kinds of grindstones, pestles, various tools and stone rings. From  The Story of Scissors  by J. Wiss Sons, 1948 Egyptian bronze shears of the Third Century B.C., a unique object of art.  Showing Greek influence although with decoration characteristic of Nile culture, the shears are illustrative of the high degree of craftsmanship which developed in the period following Alexanders conquest of Egypt.  Decorative male and female figures, which complement each other on each blade, are formed by solid pieces of metal of a different color inlaid in the bronze shears.Sir Flinders Petrie ascribes the development of cross-bladed shears to the First Century. In the Fifth Century, the scribe Isidore of Seville  describes cross-bladed shears or scissors with a center pivot as tools of the barber and tailor. Folklore and Superstition More than one expectant mother has placed a pair of scissors beneath her pillow at night somewhere toward the end of her ninth month of pregnancy. Superstition says that this will â€Å"cut the cord† with her baby and prompt labor. And heres another tall tale: Don’t hand those scissors to your best friend. Place them on any available surface and let your friend pick them up. Otherwise, you risk severing your relationship. Some say that those scissors languishing in your catch-it-all drawer can help keep evil spirits out of your home. Hang them by one handle near your door so they form a version of a cross.

Thursday, November 21, 2019

Leadership and management issues that might occur in SABMiller Essay

Leadership and management issues that might occur in SABMiller takeover of Fosters - Essay Example The Leadership styles and the organization culture though are quite similar between these cultures yet there are some major differences which can be lethal if not looked into. The British business culture is more formal and there approach is more money oriented while they like to engage in work with people. The management and leadership put more emphasis on organization structure having defined hierarchy and ranks. This approach leads to an organization in which employees have to adhere to strict norms and follow rules while interacting within the organization. Australians on the other hand are less formal and casual in situations, they are more motivated by the organization itself rather than people working around them. The managers like to take direct part in the employee progress and have an environment similar to a coaching culture. They are more performance oriented rather than power oriented indicating that if SABMiller management will have certain issues while making policies and decisions regarding organizational changes. Fosters employees can face lack of motivation when made to work in teams, changing their approach towards monetary returns, int eract formally with peers within the organization and maintain a formal attitude throughout the working day. Management has to employee Change managers typically familiar with both these cultures so as to keep a balance and achieve a balanced workforce. The leadership in UK is more keen on monetary results i.e. they base success on the result on the financial return the team or employee brought rather than the performance in the situation. This leadership style can be troublesome for the Australian employees. ABC.net. (September 22, 201). Unions worried about Fosters job losses. Available: http://www.abc.net.au/news/2011-09-22/unions-worried-about-fosters-job-losses/2911742/?site=northandwest. Last accessed 10th OCT

Tuesday, November 19, 2019

Sierra Leone and Child Soldiers during the Civil War Research Paper - 1

Sierra Leone and Child Soldiers during the Civil War - Research Paper Example Lightweight assault weapons increased these children’s lethality while others participated in politically motivated, though unstructured, violence like planting bombs or hurling rocks. While the use of child soldiers is a widespread phenomenon in global conflicts, the case of Sierra Leone was the first case that received widespread media coverage. The issue of child soldiers in Sierra Leone defied gender boundaries with girls joining military drills and activities. Girls made up at least 25% of the rebels in Sierra Leone’s Civil War with typical sexual victimization being rampant as they were forced to service soldiers with sex (Williams 80). This had an especially negative impact on their lives as they were found to be unsuitable for marriage since they were considered impure. Because of desperation, most of them became prostitutes to earn a living. Most child soldiers in Sierra Leone were enlisted through coercion; forced recruitment and mandatory conscription. Whenever the rebels had a shortfall in numbers, they found it convenient to ignore birth dates with no birth records used, except to find out the tribal allegiance of a particular conscript. In fact, even the government turned to the use of child soldiers to counter their use by the rebels. A child who stood as tall as a rifle was considered eligible for consc ription into the army. Village headmen were instructed, by local authorities, to provide a specified number of Sierra Leoneans with children being easier to find and conscript (Williams 81). Some militias in Sierra Leone abducted the children, especially from schools, at gunpoint. Surrounding a school, they would arrest children without explanation and herd them to the forest for training. In other areas, armed militia surrounded public spaces like marketplaces and ordered its occupants to sit before trucking away anyone found â€Å"eligible† for service (Maclure & Myriam 120). Those who were most at risk were teenage boys

Saturday, November 16, 2019

Analysis on the Studio System of Hollywood in the Golden Era Essay Example for Free

Analysis on the Studio System of Hollywood in the Golden Era Essay The Fall of Monopoly ‘As far as the filmmaking process is concerned, stars are essentially worthless and absolutely essential. ’ -William Goldman It started with Florence Lawrence as the ‘Biograph Girl’ in the early 1900’s, and bred into the formation of the Universal Studios by one smart producer by the name of Carl Laemmle. The birth of Hollywood had never experienced a joyful transition for editors and actors, who back in the day were treated like hired help by directors. The silent film era was not the commercial enterprise it is today; it was a mere impression of Vaudeville, and studios generated cheap and generic content, while actors remained anonymous and low paid. Florence was one of the popular actresses of the time who helped create a celebrity culture that was infact a farce used by Studios to promote their cinematographic content. And this farce became known in history as the Golden Age of Hollywood. The celebrity culture that is idolized today was in actuality a ploy used to attract an audience following. Stars were created, not born. The Studio System comprised of The Big Five (MGM, Paramount, Warner Brothers, RKO and Fox), who are credited for creating some of the most legendary stars of the time, thus leading to the term ‘star system’. Studios invested a great deal of time and money into grooming and publicizing an actor, and owning him in the process, simply by signing him to a contract. When an actor had inscribed his name on the formidable piece of paper, he had no future of his own. Depending on his talent and the response his image got from the audience, he was either crucial or dispensable to the Studio he had been employed by. The industry was relentless when it came to the treatment of actors. Fame, in all its shallow glory, was a high price to pay for the compensation of no personal life and no personal choice. Actors were required to play the roles they were assigned to without question or argument, made to indulge in publicity stints, and traded off or loaned to another Studio on mutually agreed upon arrangements without their consent. Performers were very similar to the posters their faces were displayed on because they had absolutely no control over their careers, just as a poster has no control over how it is used or interpreted. An example of the extent to which a Studio went to glamourize its artists is Rita Hayworth, who was coerced into changing her name from Margarita Casino and made to get plastic surgery performed (hairline electrolysis) to make her more marketable. However, that is not to say that actors were treated with any respect when the silent era fell off its crippling platform. The past was not a happy place for an actor before the term ‘celebrity’ came into being. The release of ‘The Jazz Singer’ is known to be the pedestal on which the studio era was founded upon because it was the first motion picture with a few minutes of synchronized sound. When sound entered the frame, Vaudeville rapidly depleted into obscurity, and former Vaudeville actors were faced with the bitter reality of unemployment, forcing them to migrate into the film industry. This immigration created a domino effect for the entertainers already present in the enterprise. They had never been exposed to the element of voice being incorporated into a motion picture, and could not adjust to the inclusion of sound. Various hurdles included bad voices, thick accents and the inability to remember dialogues. Moreover, the Big Five circulated their own theatre chains, and adopted specific genre as labels for their reputation and glory. In this process, actors were never given much flexibility to explore or expand their potential, but were in a constant state of repeating the same theme over and over again in each new production. On a more positive note, this repetition led to the recognition of some very creative artists, who explored a theme with such unabashed inquisition that no two films were ever shown in a tiresome cycle of alliteration. ‘One well-known actor in this situation was Gene Kelly. Gene Kelly was associated with musical films such as  An American in Paris,  Les Girls,  Brigadoon, and  Singin’ in the Rain. In virtually all of his movies, Kelly would sing and go through intricate dance numbers. MGM, the studio Kelly was contracted with, knew people expected this from Kelly, so the studio made sure to put Kelly in musical films. The few movies Kelly was in that weren’t musicals did not do nearly as well as the ones he sang and danced in. When people saw a trailer for a movie with Gene Kelly in it, they expected to see a musical; this expectation kept people coming back to see more of Kelly’s movies, which brought MGM more and more revenue. ’ The Studio System did not only control the lives of its performers within the confines of its sets or production houses. An employee had no concept of privacy or freedom of indulging in the luxuries offered outside the bubble of the world of film. Due to the incredulous amount of acclamation an actor received, he could not ruin his public image, even by making the mistakes a common citizen could afford to overlook. Studios had contracts drawn with ‘morality clauses’ that forbade an employee from engaging in the utility of drug abuse, divorce and adultery as these would lead to the consequence of a foiled public image, thus resulting in loss of annuity. However, even though such social control was oppressive, it retained a modest reputation and acted as a form of deterrence for the artists. However, the violation of these clauses led to no direct effect on the perpetrators, because the Studio they were assigned to would pay off the witnesses or offer exclusive stories to tabloids in exchange for not reporting on the truth of the matter. In this sense, actors were provided with free reign to do as they pleased. ‘Cinema is the culmination of the obsessive, mechanistic male drive in western culture. The movie projector is an Apollonian straight-shooter, demonstrating the link between aggression and art. Every pictorial framing is a ritual limitation, a barred precinct. -Camille Paglia Was it the male drive in western culture -if the term western culture can be deemed as appropriate- that led to the birth of explicit content in Hollywood, or the market demand for it? Censorship created a massive propaganda in the late 1920’s. It was one of the major reasons why The Motion Picture Commission was established in 1921, the strongest form of government that induced censorship on films for the next 44 years. It began with ‘The Kiss’ in 1896, in which a man and a woman shared a kiss that barely lasted half a minute, leading on to ‘Know Thy Husband’ (1919), in hich the protagonist contracted a horrible disease after indulging in his primal desires in the city, evolving further into ‘Outside the Law’ (1921), a crime film with the same connotations. Hollywood was never subtle with its aesthetic imagination, and actors, as a result, developed a notorious reputation. Infact, Hollywood itself was renowned to be a place infested with scandal and immoral behavior. This splintered imagery of the sensational mirror that reflected the flaws of Hollywood was not for the righteous offence of the general public alone. Celebrities suffered directly from the environment they presided in- literally in the fatal sense. For instance, one of the most tragic deaths a star faced was Thelma Todd, a young actress who had costarred in a number of classic comedies with the Marx Brothers, Laurel and Hardy, and Buster Keaton (Monkey Business’ ‘Horse Feathers’). She died at the age of 30, in 1935, believed to have committed an accidental suicide when she was found dead in her car, although the general opinion suggested suspicions of cold blooded murder. Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls. -Ingmar Bergman The Studio System gave rise to legendary personalities, faces of people that are remembered as icons of inspiration and unadulterated talent. It gave rise to films like ‘Casablanca’, ‘Gone with the Wind’, ’The Maltese Falcon’ and ‘Singin’ in the Rain’. It gave us Marilyn Monroe, Fred Astaire, and countless other idols to look up to and admire. However, with the emergence of Sound and Studio, even when Hollywood acquired so much recognition and wealth, it lost the sense of morality and the image of an honest corporation by degrading its own reputation, and that of its main components, the actors. Cinema is now associated with superficial glamour, it is a world that is infested with deceit and facade. A false pretense of joy through fame, a bubble of happiness that does not seem to exist in the first place. Ironically, the fall of the Studio System began with the reason for its accession. War brought people to theatres, and war became its undoing. After World War II legal, technological and social developments converged on the Hollywood film industry, undermining the economic foundation of the studio system. The antitrust suit against Paramount in 1948, combined with the increasing strength of unions, encouraged the growing practice of freelancing’. This decision not only outlawed the practice of block booking, it also forced the studios to sell their theater chains, and reduce the number of productions. What was once a monopoly of the ‘Big Five’ turned out to be a doorway for minor studios and independent filmmakers to thrive in. As far as the actors were concerned, they found the opportunity to become more genre savvy, and demand the right to refuse a contract, or opt to go to a free agency instead. They found the leeway to become more selective and demanding in their preferences regarding their professional services. The star system crumbled, but the stars found liberation. References: http://www.hollywoodmoviememories.com/articles/hollywood-history/hollywood-studio-system-golden.php http://www.moderntimes.com/palace/apex/ http://www.filmsite.org/30sintro2.html http://tvtropes.org/pmwiki/pmwiki.php/UsefulNotes/TheGoldenAgeOfHollywood?from=Main.GoldenAgeOfHollywood http://www.ritahayworth.com/ http://ivythesis.typepad.com/term_paper_topics/2009/09/the-rise-and-fall-of-hollywood-studio-system.html http://tvtropes.org/pmwiki/pmwiki.php/UsefulNotes/FallOfTheStudioSystem?from=Main.FallOfTheStudioSystem

Thursday, November 14, 2019

Chaucers Canterbury Tales - Suppression and Silence in The Reeve’s Tale :: Reeves Tale Essays

Suppression and Silence in The Reeve’s Tale  Ã‚   Such comments as, â€Å"I pray to God his nekke mote to-breke† quickly reveal that the ver-bal game of â€Å"quite† involves much more than a free meal to the Reeve in â€Å"The Canterbury Tales† (I 3918). This overreaction, which grabs the attention of the audience and gives it pause, is characteristic of the Reeve’s ostensibly odd behavior, being given to morose speeches followed by violent outbursts, all the while harboring spiteful desires. Anger typifies the Reeve’s dialogue and his tale, which begs the question why. It appears to be a reaction to the Miller’s insults, but they are not extreme enough to provoke such resentment. He seem-ingly has no hesitation in articulating his bitterness, yet he and his story are as much marked by suppression as expression. Silence resounds as loudly as any noise in the Reeve’s Prologue and Tale. The reader is as puzzled by his utterances as the lack of them: his sudden sermon on death is matche d by the quietness of two couples copulating in a small room of five, none of which are able to hear what the others are doing. The reality is that the behavior of the Reeve and the characters in his tale are not random or unaccountable. The Reeve is continually si-lenced by other pilgrims and himself, which is paralleled in his tale, and in turn suppresses his emotions, which leads to even more explosive conduct.   I. Characterization   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In order to appreciate the melancholic and serious temperament of the Reeve, it is nec-essary to view him in comparison to other characters, as Chaucer intended. The identities of the pilgrims are relative. They are characterized by their description in the General Prologue, but not fully developed until they are seen in contrast to the pilgrim they are â€Å"quiting.† As the Miller’s personality is developed by his dissimilarity to the Knight, so is the Reeve by the Miller. Therefore Robin’s enjoyment of life shows just how little Oswald receives from the same. For instance, the Miller’s large frame and excessive drinking show his delight in small pleasures. The Reeve, however, is â€Å"a sclendre colerik man† who controls his beard and hair (in opposition to the unruly strands that grow on a wart on the miller’s nose) as manipula-tively as the accounts of the farm on which he works (I 587). The Miller ma stered the bag-pipes for entertainment in his spare time while the Reeve trained with more practical tools: â€Å"In youthe he had lerned a good myster: He was a wel good wrighte, a carpenter† (I 614).

Tuesday, November 12, 2019

A Feministic Reading Of Donnes Poetry English Literature Essay

To analyze seventeenth century literature, one can barely overlook John Donne and to read done literature, one can non ignore his love sonnets through which Donne ‘s position of love and how he viewed the adult females of his clip, as the object of this love, can be scrutinized absolutely. However, one facet remains changeless ; Donne seldom lingers over the adult female ‘s physical visual aspect, and leaves the reader to presume that the adult female in Donne ‘s verse form is a shady figure, the object or contemplation of male desire, or a sex object to be circulated for the exhilaration and amusement of Donne ‘s male groups. Beauty was merely a thing that happened by opportunity and is accordingly, as Donne concludes, of no existent worth. Not merely was beauty of no existent worth, but neither were the females themselves. These ideals were set forth chiefly by mediaeval and early-modern Christians, who found several justifications for adult females ‘s lower status in the narratives of Genesis and the New Testament ; 1 ) adult female was created after adult male, and hence adult male must be more perfect ; 2 ) Eve ‘s function in the autumn suggests pride, that she was governed by passions, and that adult females ‘s beauty and gender made them possible corrupters of adult male ; 3 ) adult females were clearly expected to be subservient to their hubbies ; and 4 ) as the ‘weaker vas, ‘ adult females possessed non merely less physical, but less mental strength than work forces. Though there were so many statements against the female sex, the female physical ( non needfully sexual ) organic structure and psyche was held in the highest respect, particularly the abovementioned thought of the female as â€Å" vas. † John Donne expanded this thought in his poesy, composing about adult females in a manner that degraded their physical organic structure, their mental and emotional capablenesss, and their relation to the male sex. Women, in John Donne ‘s eyes were seen as a necessary portion of the male-female, body-soul connexion but were unsafe every bit good. Womans, in the 16th and 17th centuries were believed to transport merely every bit much truth – and secrecy – as work forces. Womans were vass that could be filled ( with anything ) ; this capacity non merely made adult females appealing, but made them unbelievable agents of any force, good or bad. The relationship between organic structure and psyche, a relationship Donne regarded as one of common necessity, was the specifying bond of his life. His experiences ( of friendly relationship, love, wellness, unwellness, work, leisure ) were all conditioned by the interactions between the two parts of the ego. As a poet and a curate, the physical and the religious, the male and the female, the layman and the Godhead were inexorably linked for Donne, and were ever carried into his poesy. To obtain farther grounds of how Donne, every bit good as his talkers, views the female organic structure, one must look closely at his poesy ; for illustration, Donne ‘s verse form â€Å" Air and Angels. † This verse form addresses the struggle of Love within the spirit and the organic structure. The verse form begins: â€Å" Twice or thrice had I loved thee, / Before I knew thy face or name ; / So in a voice, so in a shapeless fire † ( 1-3 ) In another verse form, â€Å" The Extasie, † Donne states that â€Å" Our soules, ( which to progress their province, / ere gone out, ) hung ‘twixt her, and mee./ And whil'st our soules negotiate at that place, / Wee like sepulchral statues ballad † ( 15-18 ) . Asserting this anterior belief that souls/spirits can go forth the organic structure to mix with other psyches, Donne carries this belief to the lines in â€Å" Air and Angels. † Possibly how he ‘met ‘ his lover, their psyches negociating far from their physical organic structures, Donne ‘s talker in â€Å" Air and Angels † believes his spirit met his lover ‘s spirit ( a voice or shapeless fire ) while their organic structures lay elsewhere. Despite the talker ‘s declaration that the female was disembodied and â€Å" shapeless, † and merely as psyches are required to take a organic structure, the talker needs to concentrate upon the human signifier ( as sim ply an empty outline/container ) in order to make full it with whatever he chooses, in this instance his love. The female lover addressed is the concrete incarnation required to finish this relationship. The talker describes the determination of the physical being and their first meeting in the 5th line: â€Å" Still when, to where 1000 wert, I came, / Some lovely glorious nil did I see † ( 5-6 ) . When the talker came ( physically ) to where his female lover was, a â€Å" glorious nil † did he see. This interesting line becomes a sexual wordplay sing the female genital organ. If we look back at Galenic theories of foetal development, ( Galen, a outstanding Roman doctor, philosopher, and accomplished medical research worker ) we find that 2nd century doctors believed that the female was an inferior version of the male. Despite multiple grounds for this, one ground was universally accepted ; the female was an â€Å" undercooked † male for the parts that are indoors in adult female are outside in man.The outgrowth of the phallus in male foetuss was an look of â€Å" doneness † in foetal development. Since the vagina remained inside the female foetus, Galen a nd co-workers understood this to intend the female foetus was non â€Å" done. † Therefore, the female genital organ were nil, a â€Å" glorious nil, † and an interestingly present absence. As a consequence, the talker supposes that he must make full that empty infinite, that absence, within this lover ‘s organic structure. He utters, â€Å" Since my psyche, whose kid, love is/ Takes limbs of flesh and else could nil make † ( 7-8 ) . Because the kid of the psyche is Love, Love needs a corporeal organic structure ; a place. Love must take a organic structure, so the talker asks Love to â€Å" presume thy organic structure, I allow, / And repair itself in thy lip, oculus, and forehead † ( 12-14 ) . Her organic structure is the container for Love, and the talker must come to acknowledge and love her physically. Other footings throughout the verse form that suggest her organic structure is simply a container are â€Å" ballast † and â€Å" tender † ( a little boat ) as in: â€Å" Whilst therefore to ballast love I thought, / And so more steadily to hold gone, / With wares which would drop esteem, / I saw I had love ‘s tender overfraught † ( 15-18 ) . In the verse form, Donne expresses that the talker ‘s love is excessively much for the female ; that he invades her and â€Å" love ‘s tender is overfraught † ( 18 ) . What should hold been a stabilising weight ( Love ) was emotionally unwieldy for the bantam vas. The talker had intended to stabilise love ‘s boat with wares which would drop an undistinguished ship of mere esteem, but alternatively had overloaded even Love ‘s ship ( a more powerful abstraction than mere esteem ) , unbalancing the really Love which he meant to maintain safe. The concrete and physical specifics were excessiv ely overpowering for human love, which can non inhere ( be portion of something natural and built-in ) in discorporate liquors. Here, Donne reasserts his passionate belief that one can be neither merely affair nor merely spirit ; one must capture both. Therefore, neither can Love happen its permanency in â€Å" nil, † nor in the appendage or glare of passion or beauty as the talker states, â€Å" For, nor in nil, nor in things/ Extreme, and dispersing bright, can love inhere † ( 21 ) ( Nutt 24 ) . In the concluding lines: â€Å" Merely such disparity/ As is ‘twixt air ‘s and angel ‘s pureness, / ‘Twixt adult females ‘s love, and work forces ‘s, will of all time be † ( 26-28 ) , Donne stresses the Elizabethan sentiment that there will everlastingly be a duality between a adult male and a adult female ‘s love. A adult female ‘s is more fugitive and sacred, yet harder to capture and more widely sought after, hence, le ss â€Å" bodily † and more â€Å" spirit-like. † These factors besides make her love less stable. A delicate balance is required to non merely maintain Love afloat, but to non overburden it every bit good ; even the most carefully placed, but lopsided ballast can easy tip the tender of Love. In â€Å" Air and Angels, † the female organic structure is highly misunderstood, and described as a mere container for Love to busy. Although look up toing adult female for her ownership of a sacred and widely sought-after Love, the full verse form relies upon the female signifier and the fact that it is uninhabited and can easy be filled with a assortment of things. The transforming regard of the witness, need non be constrained by an being outside the organic structure. In imaginativeness at any rate, it might be possible to sail into the organic structure which could therefore look as a topographic point of infinite infinite, a topographic point with infinite possibilities ( 140 ) . Sadly, this filling is non done of her ain will, but of the male talker ‘s ; she must digest his use and idealistic position of love, and addition nil in return save an overfraught tender. And in Donne ‘s verse forms, we seldom hear the female voice, or learn of Love from the female position. In the bulk of Donne ‘s verse forms, the talker is male, and the audience is preponderantly male. John Donne was a clique poet, significance that he wrote to a choice group of close friends, most likely poets themselves. Writing in an epoch where a female was deemed a lesser being than a male, Donne was entirely following the conventions used by other coterie poets by composing misogynous Hagiographas about adult females from a hypermasculine point-of-view. And though he seldom wrote about Love itself, he did compose about Love in the sense that it was an abstract male-female connexion. Work cited The Norton Anthology of English Literature Volume one, Sixth edition. Abjadian, A. A study of English Literature. Tehran ; 2006. www.wikipedia.com

Saturday, November 9, 2019

Edgar Degas Research

Edgar Degas was both a man and an artist of contradictions. The French artist, paint err, and sculptor Edgar Degas was born on July 19, 1834 in Paris, France. Degas died September 27, 1917 in Paris, France. Degas is associated historically with the Impressionists because of his concentration on scenes of contemporary life and he never painted outdoors and rarely depicted landscape and also his desire to capture the transitory moment. Degas surpassed other impressionists in compositional sense; his use of vibrant expressive color became his primary concern in his late works. Degas was one of the first to understand and creatively use the new pictorial possibilities offered by photography and Japanese prints. With that being said, in describing the physical characteristics of one of Degas’s most famous still life paintings, was titled â€Å"Woman with Chrysanthemums†, painted in the year 1865. The medium used was oil on canvas and the scale was 29†x 361/2†. The subject is a female figure depicted sitting at the right side of a table with a bouquet of flowers in the center and also a glass pitcher of water with gloves placed beside the glass pitcher. The painting is objective, and it is because the huge bouquet of flowers opens the viewer’s eye and draws one into the still life painting dominating almost overshadowing the figure. As an artist Degas utilized several major elements of art in his still life famous painting, â€Å"Woman with Chrysanthemums†, therefore, one of the major elements utilized was use Lines. Degas utilized lines in his painting of the table and the open window at the right side of the painting. A second element of art utilized in this painting was the use Color. Degas uses bright spots of color in the bouquet, yellow, red, and specifically white, mostly the general coloring of the painting was subdued, with shades of brown being the predominate coloring. Degas utilized a third element of art being Space. Degas captured the look of Japanese prints and influenced Degas’s painting, as Japanese also is the shallowness of the space, accented by the flowered wallpaper to the left of the picture. A fourth major element utilized in Degas’s â€Å"Woman with Chrysanthemums† described is use Mass. The artist utilized mass with the fullness of the massive bouquet of flowers. Degas utilized the element of texture brilliantly in his rendering of the colorful bouquet of mums. In describing how Degas organized the elements with the principles of design, firstly, unity and variety is utilized with the consistency of color throughout the painting. The mass bouquet of flowers dominates the center, the flowered wall paper behind the table and the flowers that are seen through the open window on the right of the painting. Utilizing another one of the elements of art and principles of design, Degas utilized Balance in this particular painting. Degas placed the woman figure at the far right where she occupies less than a third of the composition, her body cut in half by the picture’s edge. The mass of flowers dominates the center, and the glass pitcher and the lady’s gloves casually tossed on the table, help to balance the composition, which in turn acts as a visual foil to the figure. Emphasis is utilized in the painting as Degas captured the visual appearance, an impression of the inner mood of the woman staring off in to space, her cheek resting on her hand, looking as though she is lost in reflection and unaware of the encroaching bouquet of Chrysanthemums. Directional Forces utilized are using the implied lines for the viewer’s eye to follow the beautiful colors throughout the painting. Also, another way the artist utilized elements with the principles would be through Contrast. The difference between the artist’s use of light and dark throughout his painting. In describing how Degas organized the elements with the principles of design, Repetition and Rhythm with the vivid colors of the flowers flow through and gives the composition unity. Moving along describing the organized elements with the principles of design, scale and proportion, in which the figure of the woman compared to the enormous still life. Degas was influenced by the Impressionist during his time, and also he had formed some friendships. Most importantly Edgar Degas was highly influenced by the Japanese prints and photography. He also carried over the Japanese influence and used the symbolic flower of Japan, once known as The Land of Chrysanthemums in his paintings. Furthermore, Degas created many daring compositional innovations. His study of Japanese prints led him to experiment with unusual visual lines and asymmetrical compositions. His subjects would often seem cropped at the edges, or seemed to appear to be accidental cutoff views and off-centered subjects, as in Woman with Chrysanthemums. Moreover, Degas’s content and meaning of the selection was the woman in the painting staring off into space, her cheek resting on her hand, lost in deep thought unaware of the dominating bouquet of Chrysanthemums. In conclusion, Edgar Degas’s painting of â€Å"Woman with Chrysanthemums† was chosen because of its unusual and unique composition. Also, the unusually unbalanced painting made curiosity prevail. The asymmetrical principle of design and accidental cutoff views were intriguing as to why Edgar Degas painted as he once did long ago. Personally liking Chrysanthemums and beautiful bouquets of flowers made the painting easy to choose for the essay. Edgar Degas truly was both a man and an artist of contradictions.

Thursday, November 7, 2019

Sex and Violence on Television essays

Sex and Violence on Television essays This movie is about Jamal Wallace. Jamal meets William Forrester, who is a Pulitzer Prize winner. Jamals friends dare him to go into Forresters apartment because Forrester was always watching them through binoculars. When Jamal gets caught, he runs out, but forgets his notebook and belongings. William Forrester gives him his belongings back with comments of his own. After that, they develop a good friendship. One teaching aspect I found was mentoring. Jamal would get Cs for his schoolwork, which was average, but in reality he was a straight A student. Forresters mentoring brought out the best out of Jamal. Jamal was a gifted student, but he didnt realize that until he got that little push from his mentor Forrester. I found, from watching this movie, that talents should not be hidden. I liked this movie a lot because it was hopeful and encouraging. This movie is about a math teacher named Jaime Escalante. He went to Garfield High School to teach computer science. This movie takes place in 1982 in East Los Angeles, CA. He was expecting to teach computer science, but instead he teaches calculus. The class is told that they are going to be taught AP calculus. The students dont like the idea when they realize the amount of work it will take to pass calculus. One teaching aspect I found in this movie is that instead of Mr. Escalante focusing on his students limitations, he chose to focus in their potential. Mr. Escalante was able to relate to any type of student and motivate them by raising their self-expectations. Overall, this movie is inspirational and great! This movie is about Mark Thackeray. He is an engineer but then is out of work. Since Mark Thackeray is out of work, he then decides to take on a job as a teacher in London. The story takes place in the rough east end. Since hes teaching the kids from the dock workers, Mr. ...

Tuesday, November 5, 2019

How Principals Can Provide Teacher Support

How Principals Can Provide Teacher Support Having a supportive principal can make all the difference for a teacher. Teachers want to know that their principal has their best interests in mind. One of the main duties of a principal is to provide ongoing, collaborative teacher support. The relationship between a teacher and a principal has to be built on a foundation of trust. This type of relationship takes a lot of time to build. Principals must slowly cultivate these relationships while taking the time to get to know each teachers strength and weaknesses. The worst thing that a new principal can do is to go in and quickly make a lot of changes. This will assuredly turn a group of teachers against a principal quickly. A smart principal will initially make small changes, allow time for teachers to get to know them, and then gradually make larger, more meaningful changes over the course of time. It is important to note that any significant changes should be made only after seeking and considering input from teachers. Here, we examine ten suggestions for earning teacher trust and ultimately providing them with ongoing, collaborative teacher support. Allow Time for Peer Collaboration Teachers should be given time to work together in a collaborative effort. This collaboration will strengthen relationships among your faculty, provide new or struggling teachers with an outlet to gain valuable insight and advice, and allows teachers to share best practices and success stories. The principal becomes the driving force in this collaboration. They are the one who schedules the time to collaborate and sets the agenda for these times. Principals who reject the importance of peer collaboration are selling its value far short. Ask Questions and Seek Their Advice The principal is the primary decision maker in their building. This doesn’t mean that teachers shouldn’t be included in the decision-making process. Although a principal may have the final say, teachers should be given a platform to express their feelings or provide advice for the principal, especially when the issue will directly affect the teachers. A principal should use the resources at hand when making decisions. Teachers have brilliant ideas. By seeking their advice, they may challenge your thinking on an issue may validate that you are on the right track. Neither case is a terrible thing when making any decision. Have Their Back Teachers are people, and all people go through difficult times both personally and professionally at some point in their lives. When a teacher is going through a difficult situation personally (death, divorce, illness, etc.), a principal should give them 100% support at all times. A teacher going through a personal issue will appreciate any support their principal shows during this time. Sometimes this could be as simple as asking them how they are doing and sometimes it may be necessary to give them a few days off. Professionally you want to back a teacher as long as you believe they are effective, ethical, and moral. There are situations where you absolutely cannot support a teacher because the decision they made is ethically or morally wrong. In this case, do not skirt around the issue. Be up front with them and tell them that they messed up, and there is no way you can back them up based on their actions. Be Consistent Teachers hate it when principals are inconsistent especially when dealing with student discipline or parent situations. A principal should always try to be fair and consistent with their decision making. Teachers may not always agree with how you handle situations, but if you establish a pattern of consistency, then they will not complain too much. For example, if a 3rd-grade teacher sends a student to the office for being disrespectful in class, check your student discipline records to see how you have handled similar issues in the past. You do not want any teacher to feel like you play favorites. Conduct Meaningful Evaluations Teacher evaluations are meant to be tools that show a teacher where they are and to move them in a direction to maximize their overall effectiveness. Conducting meaningful evaluations takes a lot of time and time is not something a lot of principals have, therefore many principals neglect making the most out of their teacher evaluations. Providing effective teacher support requires constructive criticism at times. No teacher is perfect. There is always room for improvement in some area. A meaningful evaluation allows you the opportunity to be critical and to offer praise. It is a balance of both. A satisfactory evaluation cannot be given on a single classroom visit. It is a collaboration of information gathered through many visits that provide the most meaningful evaluations. Create a Teacher-Friendly Schedule Principals are typically responsible for creating their building’s daily schedule. This includes class schedules, teacher planning periods, and duties. If you want to make your teachers happy, minimize the time they need to be on duty. Teachers hate duties of any kind whether it is lunch duty, recess duty, bus duty, etc. If you can figure out a way to create a schedule in which they only have to cover a few duties a month, your teachers will love you. Encourage Them to Bring Problems to You Have an open door policy. The relationship between a teacher and principal should be strong enough that they can bring any problem or issue and trust that you are going to try your best to help them out confidentially. Often times you will find that teachers simply need someone to vent their frustrations to, so being a good listener is often all that is necessary. Other times you will have to tell the teacher that you need some time to think about the problem and then get back with them with some take it or leave it advice. Try not to force your opinion on the teacher. Give them options and explain where you are coming from. Tell them what decision you would make and why, but don’t hold it against them if they go with another option. Understand that every situation that is brought to you is unique and how you handle that situation depends on upon the situation itself. Get to Know Them There is a thin line between getting to know your teachers and being their best friends. As their leader, you want to build a trusting relationship without getting so close that it interferes when you have to make a tough decision. You want to build a balanced relationship between personal and professional, but you don’t want to tip it where it is more personal than professional. Take an active interest in their family, hobbies, and other interest. This will let them know that you care about them as individuals and not just as teachers. Offer Advice, Direction, or Assistance All principals should continuously offer their teachers advice, direction, or assistance. This is especially true for beginning teachers, but it is true for teachers throughout all levels of experience. The principal is the instructional leader, and providing advice, direction, or assistance is the primary job of a leader. This can be done through a variety of ways. Sometimes a principal can simply provide a teacher with verbal advice. Other times they may want to show the teacher by having them observe another teacher whose strengths are in an area where that teacher needs assistance. Providing the teacher with books and resources are another way to provide advice, direction, or assistance. Provide Applicable Professional Development All teachers are required to participate in professional development. However, teachers want these professional development opportunities to be applicable to their situation. No teacher wants to sit through eight hours of professional development that doesn’t directly apply to what their teaching or they will never use. This can fall back on the principal as they are often involved in the scheduling of professional development. Choose professional development opportunities that are going to benefit your teachers, not just ones that meet your minimum professional development criteria. Your teachers will appreciate you more, and your school will be better off in the long run because your teachers are learning new things that they can then apply to their daily classroom.

Sunday, November 3, 2019

Course Evaluation Case Study Example | Topics and Well Written Essays - 500 words

Course Evaluation - Case Study Example This questioner helps me track my academic expectations as per this course. This is by the questions made in the questioner. Examples of such questions are; the grade expected from the course, course discussion participation, and individual study time. As a student, this questioner will help me know if I was serious enough or not. This questioner also gives the lecturer the reasons as to why students enrolled in the course, were they forced as per the institution’s prerequisite or did they enroll willingly? The instructors will also know if they presented the topics well, as well as their work performance. This questioner gauges the academic performance of the lecturers as well as the students (Freed, & Ehrlich, 2010). According to the results of the statistical approach of data collection, most of the students strongly agreed that the lecturer was well prepared before the class. This means that the content delivered yielded good outcome, evident from the good presentation results as well as interest stimulation. This data shows that the students enjoyed the course due to the preparedness and liveliness of the tutor. The results also show that the tutor was accessible to all students in the course. The factor of availability was met by the instructor. The course was intellectually challenging, but one student strongly disagreed with two being on the neutral side and most of the students supporting the motion. Although the course was challenging, reading materials were readily available as well as the lecturer’s devotion. A probability of most of the students passing the course is high. Another probability is most students will enroll in this course due to the high recommendations of the lecturer given by the former students. The ratio of student increment in the course is expected to increase in the coming semesters, due to the positive responses