Plagarism in schools Essay

The term ‘plagiarism’ comes from the Latin word meaning ‘kidnapping’.   It is form of academic dishonesty in which one person passes on another persons work, words and ideas as own.   Several universities and schools do not allow plagiarism of any sort.   Some of the educational institutions often term plagiarism as the worst form of academic dishonesty.   They prefer their students to research and use resources in an appropriate manner and also express their own ideas and views.   Children often find it difficult to understand what plagiarism is.   A student may often use plagiarism in order to compete with others in the same grade.   Plagiarism also puts on extra pressure on the teachers, professors and the lecturers in detecting this serious form of dishonesty and taking action against such students (Nagy, 2004, & Dowshen, 2005). In a study conducted by Duke University in several parts of the US, it was found that about 75 % of the students indulged in some form of plagiarism.   About 33 % of the students admitted that they plagiarized to a severe extent.   In another survey, about 72 % of the students admitted that they plagiarized to serious extents when given home assignments.   In another study conducted in High School American students in 1998, 80 % admitted that they plagiarized in some form of the other, and only on 5 % of the occasions were they caught for it (Nagy, 2004). The teachers also do consider that the students frequently indulge in plagiarism.   Teachers consider the advent of the internet as a major factor for helping to plagiarize their homework.   About 58 % of the teachers consider plagiarism to be an academic issue and about 28 % of them consider that more than 50 % of the students plagiarize their homework.   Teachers consider plagiarism to be particular difficult to detect in certain cases and also to be time-consuming (ATL, 2008). In certain occasions plagiarism can be unintentional.   It is important for the student to quote the references in all cases and to express the ideas and argument in the own words.   The students should also express their ideas in the specific area.   Paraphrasing is one way of avoiding plagiarism, but use of individual ideas needs to be incorporated.   Other people’s words and sentences needs to be clearly quoted.   The individual’s own ideas can be supported by another person’s views mentioned in the texts.   Information taken from several sources and framed using skill and creativity to compile a datasheet cannot be considered as plagiarism (University of Queensland, 2007 & BBC, 2008). References: Association of Teachers & Lecturers (2008). â€Å"School work plagued by plagiarism – ATL survey.† Retrieved on 2008, March 13, from ATL Web site: http://www.atl.org.uk/atl_en/news/Media_office/releases/plagiarism.asp BBC (2007). â€Å"Exploring and Deterring Plagiarism in Schools.† Retrieved on 2008, March 13, from BBC Web site: http://www.bbc.co.uk/dna/actionnetwork/F1635812?thread=3606871 Dowshen, S. (1995). â€Å"What is Plagiarism?† Retrieved on 2008, March 13, from Kidshealth Web site: http://www.kidshealth.org/kid/feeling/school/plagiarism.html Nagy, C. (2004). â€Å"Dealing with High School Plagiarism.† Retrieved on 2008, March 13, from New Foundations Web site: http://www.newfoundations.com/ETHICPROP/Nagy718F04.html The University of Queensland, Australia (2007). â€Å"What is Plagiarism?† Retrieved on 2008, March 13, from University of Queensland Web site: http://www.library.uq.edu.au/training/plagiarism.html

Brand as an Organisation Essay

Iyengar .It is one of India’s largest industrial entities and it epitomizes Trust, Value and Services. Today there are over 30 companies in the TVS Group which employs more than 40000 people worldwide and a turnover in excess of USD 4 billion. TVS having a steady growth, expansion and diversification, commands its strong presence in manufacturing of two-wheelers, auto components and computer peripherals .It also have businesses in the distribution of heavy commercial vehicles, passenger cars, finance and insurance. GROUP COMPANIES TV Sundram Iyengar and Sons Limited TV Sundram Iyengar and Sons Limited operates through its 3 divisions namely: TVS Motor believes that people make an organization and that its well-being is dependent on the commitment and growth of its people. There will be a sustained effort through systematic training and planning career growth to develop employee talents and enhance job satisfaction. TVS Motor will create an enabling ambience where the maximum self-actualisation of every employee is achieved. TVS Motor will support and encourage the process of self-renewal in all its employees and nurture their sense of self worth. TVS Motor – Responsible Corporate Citizen TVS Motor firmly believes in the integration of Safety, Health and Environmental aspects with all business activities and ensures protection of employees and environment including development of surrounding communities. TVS Motor strives for long-term relationships of mutual trust and interdependence with its customers, employees, dealers and suppliers. Fulfilling Mission and Vision The group practises its vision and mission by offering innovative and high quality transportation products at affordable prices. They also concentrate on producing vehicles at reasonable prices and with features that common people prefer. They continue to expand by making mergers and acquisitions and also entering new markets. Future plans By now this brand has created a good image among the ladies segment. They have included many unique features into this scooter to attract more customers. They introduced the upgraded version, Scooty Pep Plus. Thus they increased their profits. But eyeing the ladies segment many companies are producing scooters which brings in a great challenge for this producing product. They can compete with their competitors by upgrading power, creating more body strength, improving fuel efficiency etc.

Ethics and Morals Essay Example | Topics and Well Written Essays - 1500 words

Ethics and Morals - Essay Example It is regarded by society, religion culture and family setting. On the other hand, ethics is about the decisions which we make. When an individual takes an action with conforms to the societal beliefs and standards, that action are regarded to be ethical. Morals and ethics are guiding principles which assist in giving directions to a person’s conduct. Many at times, people tend to make conclusions that will be of favour to them (Nietzsche, 4). It is essential for a person to act and make ethical decision at all times, even when experiencing a difficult moment. It is also important to choose for a resolution which will be fair to everyone since we will be liable to our actions and deeds whether good or bad. The ultimate goal of these societal values is to make the world a better place. The evaluation of the good and the bad of a deed are based on a couple of issues which pertains to the values of morality in the society (Nietzsche & Arendt). The presumption of an issue by the e ntire community is a worrying trend. A person can be timid about reprimanding a certain perpetual societal evils, if the society approves it. It is argued individual absent at the instance of an occurrence should not be allowed to deliberate on the issue. No legal proceedings in court would be a success if we allow ourselves to be deceived by this notion. Substantive measures must be enforced to ensure obedience of the law to the letter. A person can use his capacity to ascertain the truth of the matter without necessarily being a witness to an action when it occurred. A verdict is not passed based on hints at that point in time. A good judge should gather effective and concrete evidence that will help him doubt an eyewitness submission or to disregard inappropriate judgements made by those who witnessed a happening of an event. Passing out judgement without ones presence might be considered to be an element of arrogance. In a moral and ethical perspective, it is basically pointing out what is right or wrong and is totally acceptable since it conforms to codes of ethics. Our society is engulfed in fear of judgement that has been confused by a biblical point of view. â€Å"Never judge and you will not be judged†. This approach is intertwined with throwing the fast stone. Reluctance to judge the right and wrong prowls that there is no voluntariness to an agent. Anyone is accountable and answerable to their deeds. Rising up of the issues of morality even as a by the way, is accompanied by confrontations to the persons who instigated them. Many people tend to keep quiet due to fear as a result of inadequate self-consciousness, confidence and being ego centric. The modesty attitude of saying a person is not worth to judge is also an impediment to the conformity to morals and ethics. This reflects the resemblance in people’s attitude and mentality. Those who make an effort to uphold to decency are considered to be hypocrites or consecrated therefore, t hey are marginalized. Thus, the immense outrage and the uproar in the attempt to correct particular blame on an individual, rather than rebuking all actions or historical tendencies. One can get an insight by recalling on what Hitler did to Plato, Nihilism, Giacchino da Fiore, the French revolution. Hitler was a considered to be murderer, politically powerful and strong. His historical traits and background cannot explain exactly who he really was and his general exercise of authority towards people’

Complete this as a formal analysis ( There should be three paragraphs Assignment

Complete this as a formal analysis ( There should be three paragraphs to this analysis) - Assignment Example What Terry lacks in the duration of her experience, she more than makes up for in anecdotes, a very practical asset in her presentations. Throughout her talk, Terry gave excellent anecdotes to give emphasis to her points. She used no graphics which, if added, might have made her presentation better. Presentation Two is one delivered by the noted economist, John Kenneth Galbraith, who addressed a convention several years before he died. It is probably obvious that Galbraith can be forgiven for some of the shortcomings of his talk. At 92, he displayed some of the characteristics of his advanced age, but these took away only very slightly from his talk. For example, after his presentation was complete, he took questions from the audience. After he finished with each answer, he would step back to the high stool that he sat himself on until the next question was asked. In a way, however, this added to the meaning of his answers, since after each question was asked, he would put his hand t o his chin, as if in deep thought, and only after he rose and lumbered to the podium did he answer the question. This gesture gave emphasis to the thoughtfulness of the answers he was giving to the questions prior to answering He used no graphics in his presentation, but his knowledge of the subject was first-hand and colorful.

Issues in contemporary management - Foxconn Essay

Issues in contemporary management - Foxconn - Essay Example On the same note, twenty people have been stopped by the firm from committing suicide (Argote, McEvily, & Reagans, 2003, 13). The reasons for these suicides have been unclear, but can be analyzed by considering theoretical models pertaining to a company’s management. Suicides committed by workers from Foxconn illustrate noticeable demographic and social attributes. An examination of several value-added terms to suicidal tide in Foxconn indicates that managerial tactics of fragmentation in interpersonal networks among employees stopped grievances from developing into collective actions like strikes (Chan, & Pun, 2010, 44). In the absence of interpersonal ties towards grievances comforting or protest mobilization, a generous compensation package can act as a temptation for the dismayed employees to utilize self-destruction as double-edged sword. Moreover, suicide by employees can expose brutality of the company’s management as well as evoke for global condemnation that fu lfilled their quest to attain revenge (Mezias, & Starbuck, 2003, 34). Compensation for their deaths could also improve material standards in their families that fulfilled family duties on their behalf. Therefore, a series of personal suicidal incidents instead of collective mobilization occurred in the company. One of the theories supporting these evidences is the structural conduciveness theory. This explains high confidential standard, atomized workplace relationship and low-cost employment. Another theory is the structural chain theory that explains low-quality system of security, physical exhaustion, intensive overtime workload as well as a horrified spirit (Chu, 2012, 54). Most importantly, the generalized belief theory in social conditions explains several reasons behind the suicides in Foxconn. These include high pension contributions of the self-worth families that became desperate and this develops against their institutional and individual retaliation. There was also the p articipating factor theory that explains rumors concerning cancellation of offering pension to all suicidal attempters. On another note, mobilization theory explains prevention of employees from similar provinces from coming together in order to distract a smooth operation of production lines. In this case, Foxconn management broke down all possible networks among its workers. It is clear that without mobilization, it becomes difficult to develop people’s behaviors into one social movement. Another theory explaining reasons for suicides in Foxconn is failure to engage social control. Foxconn had a culture of ignorance of several first line supervisors altogether with security guards. An initial suicide in the company occurred due to the employee’s incapability to adjust to the new environment. He was required to follow all rules and codes of the company meaning that that could be hard for him. Looking at a value-added theory of conduciveness, an individual can either a dapt or undergo challenges in new environments. In entering such a radical and different environment, a person’s way of understanding the world and their ways of working were to be rewritten (Chu, 2012, 58). This was especially in a new environment in Foxconn whereby every individual was required to operate machines, work with electronics in order to finish tasks as portions of assembly apparatus. The process can best be understood to be

Leadership and Change Essay Example | Topics and Well Written Essays - 2500 words - 1

Leadership and Change - Essay Example This study discusses that while leadership and change have been analysed and discussed exhaustively using myriad theories and models, it has been widely accepted that no one theory or model is the unique solution. Leadership traits and change management are situation and individual based and being flexible to adapt and execute is the sure-fire way to success. Recognising the power of the mind to dictate the actions and behaviour of the individual, NLP or Neurolinguistic Programming (NLP) is emerging as a method with a lot of promise. This is touted as a method of programming the mind, emphasizing the mind-body-spirit connection. As the essay stresses behavioural flexibility is important because with dynamic situations, the ability to absorb, adapt and absorb are essential to arrive at the goal. Never being afraid to keep changing allows the solution to evolve naturally. The awareness of the fact that people or events cannot be controlled by us but by a self-management, our responses to them can be managed. To achieve this our skill and our ability to manage ourselves directly affect the extent to which we achieve your goals. That is what NLP aims for. Myers-Briggs is popular model used to determine personality types that in turn determine how they react to people and changing circumstances. Bass’s theory of leadership is based on the assumptions that awareness of task importance motivates people and a focus on the team or organization produces better work.

Paper IntroductionThe purpose of this depth section of the KAM is to Essay

Paper IntroductionThe purpose of this depth section of the KAM is to critically examine the theories supporting technology based instructional practices aligned with the current educational system - Essay Example educational system understand the nature and complexity of social and cognitive constructivism and act with this knowledge in mind when integrating technology-enhanced instruction. Because of the growing dependence and importance of technology in society, technology is increasingly important in schools as it is employed for problem-solving instructional practices. The breadth portion of this Knowledge Area Module (KAM) presents a working theory of constructivism based upon instructional practices adapted to meet the technology requirements of the twenty-first century learner. There will be special emphasis on the work of Jean Piaget, Lev Vygotsky, and Seymour Papert. The Breadth paper emphasizes on the relationship between social and cognitive constructivism and on how it independently or collaboratively influences education. The constructivists’ theories and concepts address learning styles and academic achievement. It concludes with the suggestion that to increase productivity in terms of student achievement and productivity, an increase in feedback communication from all stakeholders in an educational system is needed. Feedback communication increase can be contributed to the use of technology infused instruction, data management and intelligent classrooms communication. part of mainstream life. According to Henson (2005), the 2000 U.S. Census shows that 51% of households in the United States had computers and about 41.5% of American households had access to the Internet. Computers are positioned in schools across the nation. School districts cultivate reform practices to include the integration of technology in curriculum standards. In addition, student technology standards are aligned with each grade level for students to master. Educational paradigm shifts bring new perspectives, new conceptualizations and new ways of thinking about a topic. The research studies explain the important role of technology within a constructivist centered classroom. In

Marketing Mix Research Paper Example | Topics and Well Written Essays - 1250 words

Marketing Mix - Research Paper Example the core product, the augmented product and the tertiary product (Ferrell, 2010). Before a company enters the process of creating a product, it has to answer some questions like; what type of product do they want to sell, what would be the quality of their product and also decide whether they will label their product as only new or sub brand. Based on these questions, some decisions have to be made. These product decisions affect all other marketing mix variables e.g. launching a machine of the highest quality influence the price and marketing strategy to be adopted to promote it. Being the determinant of any other marketing variable, a product features can be altered to make it fit in the marketing mix (Ferrell, 2010). This variable is largely dependent on other marketing variables therefore calls for regular review. The key factors that affect the price of products are advertising expenses, marketing expenses, distribution cost of the product, cost of creating a product and any damage fluctuation in the market (Dogra, 2007). These factors varies independently thus causing price of a product to bear the brunt of changes for a certain period of time. The change in these other variables calls for reduction or increase in the price of the product accordingly. Other external factors also hugely affect the pricing strategy to be adopted by a company. Competition vastly determines the pricing strategy to be adopted by a company. Especially if, the two companies’ products are substitutes, then a company has to set prices that are appropriate to the so as to avoid losing the market advantage to the competitors. Some companies choose to use pricing as a tool to position their product. Others use pricing as a tool to support sales promotions. They give their esteemed customers sales promotions inform of trade discount (Dogra, 2007). This usually refers to the distribution channels a company uses to make its product to the market. A consumer based

Reflection on Therapeutic Interaction Essay Example | Topics and Well Written Essays - 1250 words

Reflection on Therapeutic Interaction - Essay Example On this perspective, it is thus imperative for nurses to deliver the right practices to enable achievement of appropriate results. These positive outcomes benefit both the nurse and the patient (Kaptchuk 2008). Nursing therapeutic practice is a highly engaging exercise that demands exclusive attention from the nurse (Donaldson 2010). Nursing is also an emotional exercise that involves exchange of emotions and feeling to be able to draw sympathy and empathy since it is a comforting exercise. After the exercise, it is imperative that nurses develop a sense of reflection to enable theme develop improvements in consequent practices. In this regard, while reflecting on a recent therapeutic care I had on a sixty five year old patient, Marylyn Morrison, who had just undergone replacement surgery of the hipbone, I developed a reflective exercise made an evaluation of the steps involved in the care practice and their implications in nursing as a practice. The reflection would then enable futu re achievement of better outcomes (Smith 2011). Unconditional acceptance As a professional nurse, one is bound to give complete acceptance, not based on any condition such as race, sex or ideology, granted to the patient. In this reflection, it came to my realization that when such acceptance is given to the patient, the same is reciprocated from the patient and thus confidence develops in the patient (Lombard 2011). Such confidence leads to development of mutual trust and thus fosters a faster healing process. In this reflection, Marylyn was hesitant to open up at first but upon realization that the therapeutic care was unconditional, she developed faith and within the duration patient-oriented care was administered to this patient, effective psychological and physical healing processes were achieved at a fast pace; beyond expectations (Thompson 2010.). The learning experience attained from the therapeutic care delivered brought a wider scope of understanding of acceptance that nee ds to be given to a patient despite some conditions that might be considered slightly out of the ordinary. In her special case, the patient had very complicated social sense of acceptance and was resistant to nursing acceptance. However, relentless unconditional acceptance changed the situation at some point during the delivery exercise. Mitchell and Cormack (2008) argue that acceptance is not easily achieved even if given free of charge. Individual differences account for different reactions to situations. Introverts feel better off staying alone under normal conditions. Due to their solitude nature, they find it hard to accept new social circles in their lives. ON the same note, they also find it hard to open up during therapeutic delivery exercise (Maciocia 2010). While the patient continually showed signs of rejection towards the therapist during the early stages of care, persistent and convincing acceptance given to the patient helped change the situation. After three weeks of the nursing care exercise, the patient learned how to give appropriate response to the unconditional acceptance give during the care. She learned to voluntarily accept in return and thus eased the process of the care exercise. This was a great lesson since acceptance cannot be compelled on an individual. Therefore, unconditional acceptance may take time to be effective but with patience in situations such as the case above,

My structural engineering class Essay Example | Topics and Well Written Essays - 250 words

My structural engineering class - Essay Example Tall structures conventionally require deep foundations. The foundations can go up to several meters below the ground level. This affects the ground conditions significantly and may disturb the load distribution of smaller structures. In addition to that, exposure of a tall structure to wind loads is significantly reduced when it is surrounded with other tall buildings. This reduces the additional cost of bracing or safety equipment that the constructors otherwise have to provide to an unprotected tall structure. Although the structures in surrounding of the Burj Khalifa Tower are also tall, yet it is the tallest among all. Its height can not be compared to other structures in its surroundings. Tall structures may also be constructed in such regions where other structures are of lesser height in order to add to the beauty and usability of the area. People take pride in tall structures and see them as a symbol of pride. Tall structures become the symbol of area in which they are

The Role of Tragedy in Early Greek Legacy Essay Example for Free

The Role of Tragedy in Early Greek Legacy Essay Tragedies have been a big and important part of Greek culture and history. Greek tragedies are dramas performed before a large audience, usually during festivities of gods, that narrate the story of a hero and all the unusual challenges and sufferings that he has to go through in order to achieve something or learn an important lesson. Tragedies usually have complex plots wherein disasters happen one after the other and their resolutions reveal important lessons or realizations. These dramas have apparently started around the 5th century BCE, a pivotal time in Greek history that also marked a lot of their other contributions like democracy. Thespis, known as the father of drama, introduced the idea of one actor acting on stage that started the flourishing of tragic dramas (â€Å"Greek Tragic Drama†). Later on, three masters of tragedy emerged namely Aeschylus, Sophocles, and Euripides. Many of the tragedies that have survived from their time were written by these men who made Greek tragedies a real part of literature. But tragedies are not merely stories popularized just to be performed before an audience. Tragedies serve as an important expression of culture and creativity of Greek society. They are well supported by the Greek society because tragedies serve as means of reminding the Greeks of the moral lessons values that their culture upholds and believes in. The arrival of tragedies was in Greece was a very significant timing in history because it was around the time when Greek culture gaining momentum and flourishing. The â€Å"great surge in creativity catalyzed the concept of the Greek tragedy† (Reed 1). It encouraged the creation of dramas with crucial themes by presenting them as one of the highlights of festivities. A tragedy usually â€Å"depicts the downfall of a noble hero or heroine, usually through some combination of hubris, fate, and the will of the gods† (â€Å"Tragedy: the Basics†). Heroes are great men and women but remains imperfect humans capable of doing good and committing mistakes. They are not totally good nor totally bad, but they are usually prominent or greater than other people around them. They are also packaged as people destined to experience big transformations in their lives. Tragedies became avenues for the creative minds of playwrights to let their imagination and talent out. In the Greek society, tragedies also function as â€Å"lessons in behavior† because of the way they incorporate moral teachings into the changes of the lives of the heroes (Reed 1). The trials, successes, failures, and losses that the heroes experience serve as effective teaching tools for the Greeks. Tragedies convey different realities and some of the most common themes they present are that â€Å"actions do not go unpunished, and the gods work in mysterious – an often ironic – ways† (Reed 2). Since the characters of tragedies are not always perfectly virtuous, they are given certain tasks that challenge and influence the actions they take in their lives. The twists in the plots also give constant reminder of the intertwined quality of human life and the power of the wills of the gods. Tragedies function as manifestations of the reality that life is never perfect for men. They also serve as reminders for Greeks of the different experiences that could possibly happen to a human person, giving them idea what path should one take and what should be avoided. Tragedies are very easy to appreciate despite having heavy themes because they deal with specific instances of life. They revolve around adventures in families, in battles, and in religion. Tragedies usually follow relationships of people with others and with their gods as guides for their plots. Divine presence in everything in this world is a very significant character of Greek culture and many tragedies highlight the importance of faith in ones daily life. Tragedies are very important to the Greek society because they give lessons about virtue and warnings how people should live their life morally by using immense disasters that complicate a heros life. It is not easy being a hero in a Greek tragedy although â€Å"the hero need not die at the end, but he or she must undergo a change in fortune† in order to understand and live out the the different virtues of the Greek society (â€Å"Tragedy: the Basics†). The goal of every tragedy is to make the audience see what may come out with good values and what are the probable tragic events for every mistake or wrong action. These are specific warnings or reminders about life, about the use of power, and about morality as a part of everyday life. â€Å"Greek tragedies speak volumes about the lives of those dwelling in this ancient society† (Reed 3). They are representations of what was the culture of Greece in its early years. Through their plots, their characters, and the ideals incorporated in their stories, tragedies are able to preserve the culture and beliefs that the Greeks have. Tragedies have a unique way of teaching and passing on knowledge to people through the presentations on the stage. The Greeks â€Å"responded so well to this approach because their core values are being addressed in a way that enables everyone to participate† (Reed 3). Performed art was very close to the hearts of this creative and rich nation. â€Å"Classic Greek drama was a community art, not a business venture† and the dramatists are regarded with high importance in their society (â€Å"Greek Tragic Drama†). Tragedies serve the effective purpose of educating people about examples of moral actions, cleansing of souls, and other related religious and virtuous beliefs. Another significance of these tragedies is that they bind the Greeks together as one society. Tragedies are affairs that serve as a â€Å"community gathering largely sponsored by the government†(Reed 1). Presentations usually take a form of contests and have emerged to become annual events in Ancient Greece. Large venues are allotted for them because â€Å"performance of tragedies fostered a sense of community amongst the Greek people†and every citizen in the society are expected to witness them. Therefore, performances of tragedies gather thousands of people together to performances that entertain and educate, effectively passing on of political and religious messages promoted in Greek culture. Although very entertaining and usually presented in festivals, tragedies were not intended only for entertainment purposes only for they also unit the Greeks as one community. â€Å"With so many individuals, ranging from prominent politicians to peasants, a tragedy was something all people could share† (Reed 3). In a theater where tragedies are performed, people from different classes, educated or not educated, men and women, are all given the chance to appreciate and witness the tragic dramas. And through these events, people learn more about the roles of their government, their communities, and their religion in their lives. Tragedies are considered very important and significant in Greek society. Indeed, they are capable of making people more responsible in their roles in their communities and more respectful of their gods. Greek tragedies are also expressions of devotion to their gods because they describe the important role that gods play in the lives of humans. Today, a lot of tragedies still prevails and recognized as some of the most important contributions of the Greek civilization to people. They were elaborately supported by the Greek society because of the benefits they were able to share in making their community educated, prosperous, and peaceful. Tragedies usually challenge ideas of too much pride, injustice, foolishness, and other human flaws. They encourage knowledge and moral living. Tragedies present frank and definite examples of what happen to people who question the powers of gods or the intentions of the government. Because of this, they are able to nurture a citizenship well aware of the purpose and significance of their culture. Works Cited â€Å"Greek Tragic Drama. † Memphis University School. n. d. Web. 20 July, 2010. Retrieved from http://faculty. musowls. org/Sheltont/Literature/HO(gtd). htm. Reed, Sloane. â€Å"The Critical Role Greek Tragedies Played in Greek Society. † Associated Content. com 13 Nov. 2008. Web. 20 July 2010. Retrieved from http://www. associatedcontent. com/article/1180307/the_critical_role_greek_tragedies_played_pg3. html? cat=37. â€Å"Tragedy: the Basics. † Grand Valley State University. 2008. Web. 20 July 2010. Retrieved

Struggle for Free

Struggle for Freedom Essay In the short story Flight by Doris Lessing and Dubliners: An Encounter by James Joyce, have many of the same literary techniques employed through the themes and imagery. Thematically, these two short stories are very similar because they both are about youth growing up which leads to escape or freedom during the childhood and adolescence years. Lessings story is about a grandfather who is possessive of his granddaughter and does not want her grow-up. Because of this, he tries to control her because he does not want to be alone, and most importantly because this was his last granddaughter out of four to mature. As for Joyces story, it is mainly about the relationship between Father Butler and the boys, where the boys are faced with boredom at school and are spurred by excitement found in magazine stories about the American Wild West, two young boys skip school to take a trip to The Pigeon-house. Their school boy lark and youthful egocentricism are destroyed by an encounter with an aging pervert who tells them that boys were too young to have sweethearts. In addition, both of the authors use descriptive words to create imagery, which also shows how the two stories are similar. Some examples of descriptive imagery from Flight are: and Dubliners: An Encounter is It will become apparent that this is what these stories are about when evidence is provided by referring to the each story to support these statements in the text. Similarly, the themes in both short stories illustrate flight in one case and freedom in another, during their adolescence years of the characters. This shows how the characters move on to live their life in Flight or the transition from boys to men (bigger boys) in Dubliners: An Encouter. An example of this is in Flight, when the grandfather disapproves of the granddaughter (Alice) going out with the postmasters son (Steven). With this, he runs to his daughter (Lucy) and argues that Alice is just a young girl and that she needs to stop Alice from making a mistake. On the other hand, the grandfather is the one who has made the mistake with all the watching over her, he has overlooked that she is a young woman who has fallen in love. The dialog that shows his unease at her growing up and making new life changes is below: Lucy, he said urgently. Lucy . . . Well, what is it now? Shes in the garden with Steven. Now you just sit down and have your tea. He stumped his feet alternatively, thump, thump, on the hollow wooden floor and shouted: Shell marry him. Im telling you, shell be marrying him next! pg. 386 In addition, the age of Alice is brought up, which shows that Alice is in her adolescent years and is ready to take flight. This is found when the grandfather says: Shes eighteen. Eighteen!. A similar situation occurred in Dubliners: An Encounter is when the narrator (one of the boys) says the following: The adventures related in the literature of the Wild West were remote from my nature but, at least, they opened doors of escape. The summer holidays were near at hand when I made up my mind to break out of the weariness of school life for one day at least. It is known that the story took place in their childhood years going on to their adolescent years, because the quote shows that the boys are growing up since they did not charge the younger boys. This shows that they were also growing up. As quoted in the story: Mahony began to play the Indian as soon as we were out of public sight. He chased a crowd of ragged girls, brandishing his unloaded catapult and, when two ragged boys began, out of chivalry, to fling stones at us, he proposed that we should charge them. I objected that the boys were too small, and so we walked on, the ragged troop screaming after us Swaddlers! Swaddlers! thinking that we were Protestants because Mahony, who was dark-complexioned, wore the silver badge of a cricket club in his cap. Part of this that made this so effective was the imagery. Another similarity is the imagery, and through the literary techniques, the authors utilized. From beginning to end, there are many examples of imagery; nonetheless, not all will be mentioned. With Lessings story, one can read a description that she has used and easily visualize what she is talking about. In the introduction, she describes the dovecote and it is birds with the words: tall wire-netted shelf on stilts, young plump-bodied bird, cold coral claws. Later on, there is a description of Steven thought of by the grandfather, which quotes: red-handed, red-throated, violent-bodied youth. At the end of the story, she describes the sky and the land in the eyes of the grandfather with the words: cloud of shining birds, shrill cleaving of wings, dark ploughed land, darker belts of trees, bright folds of grass, and cloud of motes of dust. As for Joyces story, he gives detailed descriptions of imagery of the day of the adventure. One scene that has several descriptions of imagery used the words: long grass, mild sunny morning, frail canvas shoes, tramload of business people, tall trees, little light green leaves. Joyce also describes Dublins commerce area as: curls of woolly smoke, brown fishing fleet, big white sailing vessel. Effective Transition Sentence Linking Ideas: Main Points connected to thesis: Back up the text referencing to story What causes these similarities and/or differences? What effect (or cost) do they have on the subjects? On society? What do the similarities and/or differences show about your subjects? About society? Concluding, This should make it a very suitable story for young people preparing for exams: Alices situation will be one that you face now or will face soon. How do you feel about this prospect? Is it scary, or exciting or both? Leaving home and becoming independent are things which most people face sooner or later.

Process of Job Evaluation and Determining Pay

Process of Job Evaluation and Determining Pay Motivation is the process by which the behaviour of an individual is influenced by others, through their power to offer or withhold satisfaction of the individuals needs and goals. (BPP Learning Media, 2010) Motivation theories are divided into two different viewpoints. See content and process theories of motivation in (Appendix 1). Content theories emphasis what motivations are, whereas process theories emphasise the real process of motivation. On the other hand reward is something that employees achieve during their work. It can be financial when the company pays for their performance and it can be non-financial which in this case means that the company rewards employees by promotion, achievement and praise. Maslow puts forward a theory that there are five levels of human needs which employees need to have fulfilled at work (Mullins, 2005). See (Appendix 2). Maslow mentions in his theory that managers following this theory deflect their attentiveness to offering complementary pleasing relationships, more attractive work, and more opportunities for self-fulfillment. On the other hand, Herzberg in his theory suggests that there are two basic needs of individuals such as hygiene factors (environmental factors) and motivation factors. See (Appendix 3). Managers following Herzbergs theory reject money as a motivator and pay attention to supplying more job enhancements. According to McGregors theory, managers may follow two different theories which is theory X and theory Y. Pursuant to theory X, the average employee dislikes work and will avoid it whether he/she knows what to do or not, that is why employers suggest Theory Y which leads them to do excellent job and managers offer opportunities to have a job done. However, McClelland focuses interest on providing employees with the capability to persuade their needs for success, power, and relationship. Companies use both positive amplification and negative amplification to motivate employees. Managers may use positive motivation techniques to persuade employees to create good quality job. Some managers may use negative motivation techniques to encourage employees and stop them from bad manners. However, companies reward their employees with both touchable products, as well as admire. Mangers may reward their employees by providing weekly or monthly bonus or free lunches, many managers reward their top employees by praising them. For example: Tesco uses two motivation theories Maslows and Herzbergs, see both hierarchies in (Appendix 4). Tesco uses Maslows theory because it suggests the company if they achieve one level then it motivates them to achieve the next one. Also Tesco aims to motivate its staff both by paying interest to hygiene factors and by enabling satisfiers. For example, Tesco motivates its staff by good communication, by giving responsibility and involving employees in decision making. Tesco allows the staffs to be part of the talks on pay rises. This shows credit of the work that staff does and rewards them. In Tesco, they reward staff for their works because it keeps motivating them at work and will carry on applying different motivation theories at work. Monetary reward uses by Tesco in a way of getting employees to welcome the complete value of their benefits package. Tesco also follows pension system and this usually includes pension assistance that the employer creates on the employees behalf and being process in payroll department. They also reward employees by giving them extra benefits such as car insurance and private medical insurance, by special offers and discounts. See Tescos reward system in (Appendix 5). Evaluate the process of job evaluation and other factors determining pay The Process of Job Evaluation: Job evaluation is a systematic process for defining the relative worth or size of jobs within an organisation in order to establish internal relativities. It provides the basis for designing an equitable grade and pay structure, grading jobs in the structure and managing job and pay relativities.(Armstrong, 2006) Job evaluation is really an extensive process and it must follow in a systematic approach. At the beginning of this process management must make clear to its employees the reason of this program and importance of it. After that a group has been fixed where all the knowledgeable HR specialists and employees are included. In the next step organisation chooses the job from each department that they are going to evaluate. Then the selected job is investigated in detail by the committee. Next, the committee chooses a method for the job evaluation. There are two methods that can be followed to evaluate a job and these are: Analytical points rating, factor comparison, proprietary brands; and Non-analytical job ranking, job classification, paired comparisons. The other factors determining pay: The pay, which is an award for work, can be influenced by various factors and it creates some difference between the roles and the organisations. Those factors are as follows: Size of the organisation, Seniority, Skills and experience, Industry sector, Profitability of the organisation, Employee performance. See (Appendix 6) for more detail. The effectiveness of reward systems in different contexts Bratton and Gold (2003) define a reward system as The mix of extrinsic and intrinsic rewards provided by the employer. It also consists of the integrated policies, processes, practices and administrative procedures for implementing the system within the framework of the human resources (HR) strategy and the total organisational system. There are two types of rewards: Extrinsic rewards which are tangible rewards that employee receives for their good performance, such as bonuses, salary raise, gifts, promotion, compensation and commissions. Intrinsic rewards are inclined to give personal satisfaction to an employee, such as information, feedback, recognition, trust and relationship. Employee bonus systems are positive strategies and they can provide actual motivation. Moreover to monetary thoughts; bonus systems take into account factors such as attendance, customer service, quality, group and individual performance. Also bonuses increase employees motivation and output. It improves employees morale and increases their self-esteem. However, a carefully planned bonus scheme can improve retention which helps to preserve the best employees. Salary raise is the other types of reward system and it is one of the most significant motivators for the employee, also it is the key motivation behind an employees performance. Promotion is one of the most important types of reward system, where an organisation rewards an employee by moving them from their position to a higher position. Promotion improves employees morale and job satisfaction. However, improved performance is an effectiveness of reward system; it helps the employee to perform better at work in order to get extra reward from the organisation. At the same time employees also put their efforts, skills and knowledge which help them to learn something new. However, reward system also boosts profit, where a company has good opportunity to make profit because employee works honestly and carefully. It also helps to bring positive psychological contract between employees and the organisation; it creates a better working environment and helps organisation to keep gifted, potential employees with them. Examine the methods organisations use to monitor employee performance. There are some methods that are used by Tesco to monitor their employees performance. Tesco uses observation and feedback to monitor their employees performance. In this system Tesco hires someone to monitor the performance of the employee, after that this person provides straightforward feedback. By observing and providing feedback Tesco can give the accurate shape to the employees of what is expected from them. Tesco also uses performance standards and it is one of the employee performances monitoring system where performance has been compared with the criterion and where employee needs to accomplish this criterion. In this system performance must be realistic, measurable and expressed in terms of time, quality, cost, quantity, effect, or manner of performance. Performance evaluation is another method that used by Tesco to determine the actual job performance of an employee against chosen performance standards. In Tesco employees are interviewed to talk about their performance to identify strengths and weaknesses, and to create a plan how to improve weaknesses and increase strengths. Tesco also uses a method known as 360-degree appraisal (Business Case Studies, 2013). In this method all Tescos stakeholders evaluate an employees performance and give them feedback. For example, a manager of one department gets feedback from their manager from HR department and their team. Conclusion: The conclusion of this report shows that employees motivation and reward are very important. There are many types of theories of motivation such as Maslows, Herzbergs, McClellands and McGregors theories. Each theory has a slightly different view of leaders and employees motivation. Motivation is managers action to influence employees behaviour at work, so that perform as required in order to achieve organisational goals. Reward management can be view as a type of management practice where employees are rewarded for their performance. Rewards can be tangible and intangible benefits for the employee as part of employment relationship. Employees consider the reward as a return in exchange of their performance being appreciated by their employer.

Joseph Hellers Catch 22 Essay -- Comparison Compare Contrast

Catch 22 Comparison Paper Catch 22 by Joseph Heller is a complex and intricate novel. Heller uses many themes, does not have the story line in chronological order and often uses irony in his descriptions. Many of the themes can be compared to other literature. One of the themes that can be compared is fear in war. The idea is that the evils and cruelty of war can make a grown man go back into a "fetal" state. This can be seen in The Ball Turret Gunner by Randall Jarrell and can be compared to the metaphor used in chapter five of Catch 22. In this chapter Yossarian talks about the tight crawl space which led to the plexiglass bombardier’s compartment. This can be looked at as the passageway to fear. Every time Yossarian climbs down he is entering a womb. Yossarian is depicted as being scared and that is why he goes down in the "womb" to feel secure. There, he is nothing but a scared child in a mother’s womb wanting to come out but he can’t. This can also be said for the character in the Ball Turret Gunner. The first lines the speaker says that he has had no choice but to be in this position of being in the belly of the bombardiers compartment. There he too feels as if he is nothing but a small child in his mother womb. He describes his helplessness when he says that he is "six miles form earth and loosed from the dream of life". However, the speaker in Ball Turret gunner goes to a further extent when he says that after the "nightmare", and he is killed and washed out of the compartment with a hose. Another theme addressed in Catch 22 was religion. In Catch 22 the characters questioned whether or not God was real. Many points are brought out by this question. One question is if God loves us so much, why are human lives va... ... kill. So no matter how patriotic Clevingers tear filled speech was death is death and nobody wants that fate. In One Flew Over the Cuckoo’s Nest McMurphy tries to make the outside world seem so good which is true to the reader because of the reader’s knowledge of the evil plans that Nurse Ratchet has in store. However, the characters are not mentally ready for the outside world. They have been locked up for so long in the "prison" that they could not handle the evils presented to them by other people. Nurse Ratchet has taken away their self-confidence and they can not deal with other people criticism. In the part of the novel when McMurphy takes them on a fishing trip, it is seen how fragile they are. In the bait shop they are torn down buy the loafers there and they really loose confidence. The prison has impacted them and will leave a permanent scar mentally.

Free Essays on The Stranger (The Outsider): Relationships :: Camus Stranger Essays

Relationships in The Stranger (The Outsider)  Ã‚   On the surface, Albert Camus's The Stranger (The Outsider) was about a misguided man and his sudden, fatal tribulation. Covertly, a second, more heart-grasping plot occurred in the novel. It involved a misfortuned widower and his side-kick of a dog. This scenario can be sharply contrasted to Meursault's insensitivity toward all life (and beyond). Purposefully, this contrast will evidently prove the case that Camus employed a broad range of multipersonality to enhance his novel and, perhaps, to illustrate the keen differences in people. Salamano, the widower, was afforded the dog shortly after the passing of his wife. Apparently, he showed no regard or value for her, for "he hadn't been happy with her, but he'd pretty much gotten used to her" (Camus 44). The dog was to fill the void in his life. He often pampered the dog and lavished it with gifts. When the dog took ill, he nourished it back to a considerable health. However, soon afterward he became indifferent to the dog. He began verbally and physically abusing the dog. His second "marriage" mirrored the one with his wife profoundly. The dog eventually ran off to escape the punishment, and once again Salamano experienced a life of solitude. He did not get over this loss as well or as soon as the one of his wife. He came to the realization that he had taken life for granted. To prove this, he rarely socialized prior to his dog's disappearance; after losing the dog, though, he offered his hand to Meursault in kindness (Camus 46). Meursault, in contrast, does not change his mental attitude at all in the novel. His time was precious, for he could correspond with no one unless arrangements had been made in advance. He was very disrespectful and unsensitive, and he was very open about this fact. One aspect of his attitude was the relationship between him and Marie. She was only a sex object to him. He based their relationship solely on sex and sexuality. He most definitely talked with her, but he did not truly care for her.

The Fallacy of Minority Discrimination in Sports :: Argumentative Persuasive Essays

The Fallacy of Minority Discrimination in Sports When someone flips through the channels on a TV and they happen to pause on a sports game, they will most likely see a small number of white athletes. The next thing that they might see is a commercial trying to tell them that minorities in sports are being discriminated. This is not the case. There is no racial discrimination against minorities in sports. There is a much higher percentage of minorities than White-Americans in more than just one professional sport. There are also a number of high-ranking officials in sports that are minorities. Franchises pay money to the athletes that are most qualified to be put on the team; not to athletes that are not minority. It wasn't until 1947, when Jackie Robinson broke the color barrier of Major League Baseball (Northeastern...). This marked the introduction of minorities into professional sports. Today, the numbers of minorities in most sports far exceeds the numbers of White-Americans. Yet some minorities feel that they are being discriminated against. Franchises of professional sports teams fork out millions of dollars to minority athletes every year. When dealing with huge amounts of money there is no question about discriminating against minorities. Franchises wouldn't pay out millions of dollars to athletes that aren't qualified. Athletes are constantly being traded and released from teams. These athletes may be of minority gender, but they are definitely not being traded or released because of race. They are most likely going to end up at another team that will pay them a good deal of money. The question of minorities holding head-coaching jobs is often heard in the sports world. As of 1997, there were only three minority head coaches in the National Football League (NFL). All three of these coaches are African- American (New York Amsterdam News). Some people say that there should be more African-American head coaches in sports that are dominated by African-Americans. The three minority head coaches coach one-tenth of the teams that are in the NFL. One-tenth of the general population of theUnited States is made up of native-born African-Americans (Barret). So, one could say that one-tenth of the population is coaching one-tenth of the NFL teams; an equal ratio. Some minorities speak out and ask why there are not more high-ranking offices being held by minorities. There are other high offices that are obtained by minorities.

Greek drama Essay

In this essay, a companion piece to The use of set and costume design in modern productions of ancient Greek drama, I will discuss the importance of theatre space in contemporary productions of Greek drama. Of necessity, I have limited my choice of productions to a set of (around) a dozen examples; all of these can be found catalogued in the database. It is hoped that the reader will be able to apply the basic ideas expounded here to a fuller range of productions than those alluded to in the text. Live performance takes place in a three-dimensional space. The study of any period of theatre history will reveal that there has always been a constructed evolution of theatre space, both formal and informal. In all cases, the audience member, the spectator, becomes part of the performance, and is therefore an integral part of the space itself; for contemporary performances, the theatre space and the spectator’s relationship to that space can range from a strictly formalized proscenium-arch stage to a make-shift performance space in a busy street or in an abandoned warehouse. Whatever the logistics of the acting space, there is always some kind of visual setting in operation: in the case of the temporary and impromptu street performance, the visual setting might just be a circle or semi-circle of passers-by with carrier bags and the background of a shopping-centre; it might be a green lawn and shady trees set before a castle wall for a more formal open-air production; the visual setting might be the black walls of an indoor ‘neutral theatre space’, so popular at the moment with postmodern stage productions; or it might be the glitzy painted scenery of a West End stage. The concept of space is a very important one in the theory of theatre practice, and is used to identify very different aspects of performance. The notion of space can be broken down into several categories: there can be a dramatic space – an abstract space of the imagination, i. e. , a ‘fictionalization’; there is stage space, which is literally the physical space of the stage on which the actors move (this can include extending the acting space into the audience arena). Another concept of space can be termed gestural space, which is created by the actors and their movements. Finally there is theatre space, the area occupied by the audience and the actors during the course of a performance and which is characterized by the theatrical relationship fostered between the two. The theatre space is product of the interplay between stage space, gestural space and dramatic space and, according to Anne Uberseld, it is constructed, on the basis of an architecture, a (pictorial) view of the world, or a space sculpted essentially by the actors’ bodies. The focus of this essay is with this fourth definition of space. What I am not concerned with here is the idea of diegetic or narrative space, certainly not in the strictest sense of the term ‘narrative’ (for example, a messenger’s speech in tragedy which often narrates an event which has taken place off stage). The narrative cannot take on too much importance in the body of the play without running the risk of destroying its theatrical quality; therefore narrative is often confined to static monologues. However, in recent years there has been an escalating trend in Greek tragic performance for re-thinking the concept of narrative in visual and spacial terms. This usually employs the dramatic staging of an event which properly should only form a narrative recitation, an idea most fully developed in Katie Mitchell’s version of the Oresteia in which the long choral narrative recounting the death of Iphigeneia was played out in abstract form in the theatre space (and employing that space to its best advantage too (DB id nos. 1111 and 1112)). The figure of the mute Iphigeneia – a character who is, after all, absent from Aeschylus’ cast-list – was integrated into the main action of the drama throughout, silently commenting on or endorsing the narrative element. THEATRE SPACE On entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses. The reception of that space becomes part of the total theatrical experience. There are several dimensions that affect the audience entering into a space for the first time and several questions need to be asked. How, for example, is the space entered by the audience? Do they enter through grand wide-open doors or do they climb narrow stairs? Moreover, where has the audience come from before entering this specific space? In other words, is there a space before this space? Once the audience has entered into the theatre space it becomes important to note how is the space divided. Where do the audience sit (or stand) in relation to the performance area, if such a formal space exists? Bearing these points in mind, let us now examine the relationship of theatrical space, design concept and audience reception in modern productions of Greek tragedies, for it is evident that several contemporary directors have utilized theatrical space to full advantage in order to manoeuvre audience reactions in particular ways. The French company Le Theatre du Soleil, under the leadership of director Arianne Mnouchkine, famously created in the early 1990s a remarkable production of the Oresteia which was preceded by Euripides’ Iphigeneia at Aulis and performed under the banner-title Les Atrides (DB ref. no. 152). Mnouchkine’s vision was to create a theatrical experience where past and present intermingled seamlessly; she realized that the audience had to be transported to another conception of reality. . Her concept of mis-en-scene was of a kind of historical construction-site, and this was realized as soon as the spectator stepped into the theatre itself, at least in its original staging at Vincennes. In a large reception hall outside the auditorium, a huge map of the ancient Mediterranean world, highlighting the voyages of Agamemnon, was suspended against a deep blue wall. Around the room there were books and photo displays of ancient Greek life; in addition, Greek food was prepared, sold and eaten on site. In this way the audience was prepared, nurtured, and coerced into accepting the ‘other world’ waiting for them beyond the foyer. On their way into the performance area, the audience had to walk through an antechamber and along a path above what appeared to be (on first sight) an unfinished archaeological dig which was filled with recently unearthed life-sized terracotta human figures, resembling the famous Chinese terracotta army. The audience walked past this ‘archaeological site’ and entered the performance space from behind steeply raked seating-blocks; below the structure, the actors sat in little booths, fully visible to the audience, and applied their make-up and tied on their elaborate costumes. As they walked by, audience members were stopped by the performers who frequently engaged with them in some light conversation in a conscious effort to break the ‘us’ and them’ barriers of conventional Western theatre practice. Having crossed the ‘excavated’ transition space and the actor’s dressing area, the audience took their seats in the raised seating-blocks and waited for the performance to begin. They were aware of a low hum of gongs and other exotic instruments, and they could smell the perfume of burning incense. When the lights dimmed, the sound of a kettle drum rose to a thunderous roar and suddenly the dancers of the chorus rushed on from the back of the stage with exuberant shouts in a whirling blaze of red, black, and yellow costumes, as if the terracotta ‘army’ had come to life and had found its way up and onto the stage. The effect (and I experienced it myself) was breathtaking. Mnouchkine had succeeded in bridging the gap between the two worlds of past-theatrical and present-mundane and had persuaded her audience to accept the overtly theatrical conventions of her production. She also succeeded in transforming the theatrical space into a ritual space. Katie Mitchell’s productions of two Greek tragedies, one for the RSC (Phoenician Women, 1995; DB ref. no. 211) and one for the Royal National Theatre (The Oresteia, 1999 DB ref. nos. 1111, 1112) have been noted for their stark and minimalist use of theatre space. The audience entering Stratford’s The Other Place for the first performance of Phoenician Women were ushered into a bare black box and seated on hard backless benches. They were not provided with programmes, so that a familiar aspect of twentieth-century theatre-going was denied to them; instead they were handed simple sprigs of thyme, a kind of ritualistic gesture which was presumably intended to prepare the audience for the spiritual dramatic experience that awaited them. They were seated on three sides of the performance area which was backed on one side by a rudimentary kind of skene decorated with little lamps and terracotta figurines of ancient Greek and Near Eastern deities. This decorated back wall helped to transform the space into a place of holy ritual. Unfortunately, many audience members found the experience less than mystical, and critics voiced a common complaint that the design decisions about the use of the theatrical space were badly made. Nick Curtis of the Evening Standard noted that, There is little concession to comfort: the stringently minimalist design of Rae Smith and Vicki Mortimer extends to backless benches for the audience. For the Stratford Herald critic, Paul Lapworth, the emotional agony experienced by the characters in the tragedy was matched by the physical suffering of the audience, The pain . . . was . . . matched by the discomfort of the seating arrangements, the audience perched on blocks like tiers from a Coliseum. It was the least satisfactory adaptation in an otherwise fascinating renewal of an ancient dramatic experience. Others beside Lapworth attempted to justify Mitchell’s decisions to terrace the audience on uncomfortable benches by alluding to ancient theatrical tradition. Charles Spencer of The Daily Telegraph wrote a particularly virulent attack on the design decisions, but attempted to make sense of them: It would be dishonest to pretend that this is an enjoyable or even a physically comfortable evening. Euripides’ stark tragedy lasts more than two hours (sans interval) and the RSC has mysteriously decided to make the seats in the theatre even more uncomfortable by turning them into backless benches. I was all set to work up an indignant head of steam about this when a thought occurred. It can’t have been comfortable on the stone seats of Greek amphitheatres [sic] and in those days audiences sat through four different plays. Nevertheless, the use of theatre space in Mitchell’s Phoenician Women seriously marred the production’s other qualities. It was the discomfort of the performance that was remembered by most audience members, not the play itself. The public dissatisfaction with the use of space was clearly registered by the director who, despite any pretensions to artistic vision, was compelled to adjust her ideas when the production moved to The Pit at the Barbican in London in June 1996. As The Times critic Jeremy Kingston noted, Katie Mitchell’s . . . production is more audience-friendly in the basin-like pit than on the level floor in The Other Place. Learning from past mistakes, perhaps, Mitchell’s RNT production of The Oresteia was self-consciously more conventionally theatrical in its use of the theatre space. The black box of the Cottesloe Theatre was kept in its regular traverse stage orientation, with seating blocks erected on raised platforms on both sides of the acting space and mounted by black (comfortable) chairs. The upstairs gallery surrounding and overlooking the stage consisted of padded benches and high chairs. So theatre space is a very important element of the design process. It can successfully create a mood (as witnessed by Le Theatre du Soleil), but it must remain functional and comfortable. Directors and designers who do not acknowledge this are imprudent. An audience is prepared to undergo a transformation as it walks from foyer to auditorium, but there is little doubt that an audience will not put up with physical discomfort for too long. To justify pain by saying it was the common experience of the ancient Greek theatre-goer is perverse; it is probable that Greek audience members came fully prepared for a whole festive day at the theatre with cushions and blankets; besides which, audience etiquette, like that inherited by us from our Victorian ancestors, probably did not force the Greek audience to sit in reverential silence or stillness throughout the entire length of four plays. Each director and designer responds to space differently: famously, Peter Brook calls for an ‘Empty Space’, Josef Svoboda calls for a gigantic space, and Jerzy Grotowski calls for an intimate space. The use of space has a profound effect on the audience; in ‘orthodox’ theatre, the lit proscenium stage contrasts with the darkened space of the auditorium and the effect is one of alienation: the audience is aware of a barrier between themselves and the performers, a concept that was entirely absent from the ancient Greek theatre experience. Interestingly, directors often toy with the notions of audience visibility and the breeching of the invisible ‘us and them’ barriers. Peter Hall’s famous 1981 National Theatre production of the Oresteia (DB ref. no. 207) climaxed with the Furies (transformed into the Eumenides) progressing up the steps of the Olivier auditorium as the lights rose to incorporate both masked performers and the audience into the ritual as the audience found themselves cast in the role of Athenian citizens. This was also the case in Katie Mitchell’s Oresteia (1999). In the second of the two parts, The Daughters of Darkness, the theatre space was transformed into the Athenian Areopagus and, accordingly, Athene addressed the seated and visible audience (lit by the house lights) as ‘Citizens of Athens’ and instructed them, This is the first case of homicide To be tried in the court I have established. The court is yours. From today every homicide Shall be tried before this jury Of twelve Athenians. And this is where you shall sit, on the hill of Ares. Not all uses of theatre space or conscientious attempts to break down audience boundaries are as successful. The (2000) production of Aristophanes’ Peace by Chloe Productions at London’s Riverside Theatre (DB Ref. no. 877), in the scene in which the chorus drags away the stone that keeps Peace hidden within her cave, encouraged audience participation by handing them lengths of rope and asking them to haul along with the masked cast. As the cast moved among the audience and coaxed them into action, there arose (from personal experience) a distinct feeling of unease among the passive spectators. In this sense, the attempt to open up the use of theatre space unfortunately failed. In conventional modern theatre performances, the lit proscenium stage or other types of organization of space often allow for a broad visual perspective, but any communication within that space is usually one-directional – from stage to auditorium. The audience members sit next to one another in the darkened auditorium, but there is no communication between them, nor do they necessarily see one another. Interestingly, Katie Mitchell’s use of live video images in her Oresteia frequently highlighted blocks of the audience or even individual spectators and projected their images onto a giant screen, reminding other audience members that they were part of a wider group of spectators sharing a common theatrical experience. Unlike the audience of ancient Athens in the Theatre of Dionysus, modern audiences rarely sit within the scenic environment. The notion of environmental theatre is taken to its furthest extent by Grotowski, who often has his performers address the spectators directly as they walk and sit among them in a space that is totally devoid of theatrical formality. This may not be an appropriate way to best stage Greek tragedies (although it could work well for comedies), where a formal distance of time and space between the actors and audience is often necessary. Of course, there are numerous other spaces for performance: the apron stage, the thrust stage, the arena stage and the surround stage. The apron stage format is one in which the audience sits on three sides of the acting area or part of the acting area. This type of organization was utilized by the Glasgow-based theatre babel’s five-hour triple bill, Greeks (DB ref. nos. 2510, 2524 and 2521), and by Katie Mitchell’s Phoenician Women. The thrust stage is an acting space located in the middle of the audience who are placed on two opposite sides of the theatre space, as used by Katie Mitchell in her National Theatre Oresteia. An arena stage is one in which the audience entirely surrounds the acting space. This can be an effective way of mounting tragedy, but it is not often utilized. An arena stage was adopted by the National Theatre’s production of The Darker Face of The Earth (DB ref. no. 1089), at the Cottesloe in 1999 where the audience was seated on four sides of the acting space, which consisted of a central pit surrounded by movable wooden boardwalks. In a surround stage, on the other hand, the audience sits in the middle and the dramatic action occurs around them. To a certain extent, this (brave) staging was attempted by Nick Ormerod in his design for a production of Antigone in 1999 (DB ref. no. 1091). Here the vast set extended into the auditorium of the Old Vic while additional members of the audience were seated at the rear of the stage. Additionally, performances can take place in a found space, such as a church, a warehouse, or any other space which does not have any other major specifically designed theatrical pieces (sets, etc) imposed upon it, or in a converted theatre space. These are specially found theatre spaces which are transformed by adding designed seating and/or architectural or scenic pieces that help locate the action of the performance. Mnouchkine’s Les Atrides is an excellent example of the use of such a space. The Cardiff-based Welsh language theatre company Dalier Sylw produced its 1992 production of Bakkhai (directed by Ceri Sherlock DB. Ref. no. 2604) in a sparse, largely unadorned, warehouse with no specific audience seating areas; the audience was promenaded around the space which was separated into different (often elaborately designed) locations (the palace at Thebes was a parched stone harem building, Mount Parnassus was a vast mound of wet earth and grass) and was only settled into fixed seating towards the end of the performance in order to witness the Bacchic frenzy. Increasingly, highly specialized spaces for hosting athletic events are being temporarily converted for theatre performances. A Cambridge student production of Trojan Women in 1998 (DB ref. No. 952), for example, set the action in an empty swimming pool, which was awash with blood by the end of the production. Purcarete’s Les Danaides (DB ref. no. 153) was staged in vast exhibition halls in Vienna, Avignon, Amsterdam and Birmingham. Because theatre space dictates so much of the emotional and sensory impact on the spectator, directors seek the most appropriate space possible for each production. When considering a space a director must address a number of important issues, deciding, for example, if the audience and performers should be formally separated from each other and whether the spectators should be observers of or participants in the performance. The director must decide upon the number of entrance and exit locations to be used and whether the entrances will be the same for actors and audience. In addition, a director will engage with the emotional and psychological feel of the space and decide if it should feel open or confined, friendly or hostile. Once the guidelines for these spacial elements have been developed, the director is ready to explore the other visual sign systems: proxemics, picturization and blocking. PROXEMICS Proxemics is a recent discipline of American origin wherein the organization of human space is systematically analysed. As a study of space as it relates to physical distances, notions of proxemics are of fundamental importance to the director. In the theatre, the first step towards designing the production’s mis-en-scene is to determine the nature of the space that the performers will use. The ground plan of the space determines the possible movement of the actors and the special relationships of the characters, since the physical distance between people can relate to social, cultural, and environmental factors. Changes in those spaces can therefore stress character and plot development. A director uses proxemics in his/her manipulation of space and spacial relationships among the setting, objects, and actors. A stage space that is enclosed and cluttered with objects and performers creates a very different mood and atmosphere from one that is open and contains only one simple piece of setting and few performers. Together with the designer, the director will draw up a production ground plan to indicate the proxemic potential of the actors and the theatre space. The ground plan has to be a pictorial representation of the acting space, indicating entrances and exits; it must outline the set, indicate the location of doors, the floor area, any ramps, platforms, pits or trapdoors. The ground plan should also indicate the whereabouts of freestanding props and furniture. Below, a ground plan for the second part of Katie Mitchell’s Oresteia at the National Theatre, indicates her proxemic use of theatre space: The theatrical space consisted of a thrust stage measuring 9. 9m x 12m, with seven main entrance/exits for the actors: one main entrance through the huge steel door at the far end of the acting space and six entrances dispersed around the audience seating-blocks. At the opposite end of the performance area from the great door was a high and narrow platform reached by a stepladder. A trapdoor in the stage covered with a metal drain cover served as the grave of Agamemnon. In the ‘Eumenides’ section of the play, a section of the stage covering was removed to reveal an oblong pool of water. Behind this was a raised rostrum with steps on which stood the ‘statue’ of Apollo. The acting space, seating blocks and surrounding curtains were coloured black. There were several set pieces: upstage left of door was a piano and piano stool. There was a long table (actually composed of two tables) which was unadorned in ‘The Home Guard’ but surrounded with dining chairs in the opening half of ‘The Daughters of Darkness’. In Act II the same two tables were placed together to form a square. Ten chairs (which had first been set upstage, below the high platform, into neat rows and which had been used to seat the sleeping Furies) were placed around the edges. According to Edward Hall (‘The Father of Proxemics’) there are three types of space: fixed-feature space, semifixed-feature space and informal space. In the case of fixed-feature space, the parameters of the acting space are defined by permanent features such as walls, columns, and doorways. A good example of fixed-feature space is, of course, the ancient Greek theatre itself, which had an open thrust acting area (the orkhestra), two fixed levels above (the stage and the roof of the skene) and fixed entrances (into the skene by one or more doors and into the orkhestra via the two paradoi). Furniture and scenic pieces appear to have been kept to a minimum in the Greek theatre, and the playwright often created a change of dramatic location (i. e. scene) through dialogue alone. The acting space used in Les Atrides was also a fixed-feature space, consisting of a bare and sparse open acting area which had no curtains, no flies, and no wing-space, just a huge expanse of a dry, parched-looking sandy floor surrounded by a crumbling blood-splattered wall which was broken up by recesses and a double-doored gate upstage. It looked very much like a bullring. In fact, the acting space was an enclosure within an enclosure: the crumbling wall that enclosed the stage was itself enclosed by a huge wooden wall painted blue like sky or sea, in the middle of which was another big gate that sporadically opened to reveal an expanse of blackness beyond. John Napier’s set design for John Barton’s RSC production of The Greeks at the Aldwych Theatre in 1980 (DB. Ref. no. 138) can also be classified as a fixed-feature space. Enclosed within a fixed proscenium arch, his set was a permanent structure, which comprised of, A large black platform with a scooped-out area in the middle, worn by sun and usage. The Times Education Supplement critic, Bernard Crick, described the permanent structure as, [A] clean, uncluttered, open and steeply raked stage, basically a rectangle with a circle in it that can suggest, at different times, an arena, a meeting place, a secret grove. . . . There was a bare stage, except for a few bushes by a golden mask of bloody Artemis mounted on a totem pole. Dionysis Fotopoulos also created a fixed-feature space for the design of Tantalus (DB. Ref. no. 2578). Also enclosed behind a formal proscenium arch, a basic circle (or pit) of sand surrounded by curved metallic walls served to function as a modern-day beach on a Greek island, the palace of Mycenae, the Greek camp, the city of Troy, the corn fields of Phthia and many other locations. For The Clytemnestra Project (a working of Iphigeneia at Aulis, Agamemnon, and Electra. DB ref. no. 1029) at the Guthrie Theatre in 1992, set designer Douglas Stein created a proscenium arch fixed set that consisted of a sixteen-foot curved rake that resembled a hill or cupped saucer which was backed by two simple semi-circles of white starched curtains that extended the concentric circles of the stage up to the fly tower. Together they created a strong notion of a horizon. The inner circle at the center of the stage was given a polished black gloss so that it shone and contrasted to the white curtains. The overall effect was of restrained, almost Japanese, elegance. As Dramaturg Jim Lewis noted in his production notebook, There will be no mistaking this environment for a realistic setting. It is a sacred space in which actors will perform; the audience is included in this space, invited to observe the action of the plays along with the chorus. A semifixed-feature space identifies a performance area in which there are design elements (furniture, props, scenery pieces) that have size and/or bulk but which can be moved during the performance. This was a noticeable feature of Katie Mitchell’s Oresteia, in which a simple trestle table became the focus of major dramatic action: in ‘The Home Guard’ it became a catwalk for Agamemnon and a place of sanctuary for Cassandra, while in ‘The Daughters of Darkness’, as the action moved into the palace at Argos, the table was placed downstage (in the same position that it had occupied in ‘The Home Guard’) so that it dominated the action of the following scenes. It was surrounded with dining chairs and covered with a dazzling white tablecloth and napkins and set with elegant crockery, glass and silverware. The table played a vital part in the staging of the latter half of the ‘Choephoroi’ section of the play since it was here that the royal family sat to receive their foreign guests (Orestes and Pylades) and it was here that the ghosts of the dead Agamemnon and Iphigeneia (and the murdered old man of the chorus of ‘The Home Guard’) joined their living relatives for supper. When the bloodlust began, the order of the dining table was literally overturned and glasses, crockery and furniture were strewn across the acting area. The corpse of Clytemnestra was laid on the table and it was from this position that her ghost was reanimated at the end of Act I. In direct contrast to the fixed-feature and semifixed-feature spaces, an informal space is an open space with no structural definition at all. Open-air and promenade productions fall under this heading. An example of this kind of staging would be the Australian director Greg McCart’s production of Oidipus the King set within a basalt quarry and played at sunset (DB ref. no. 156). PICTURIZATION AND BLOCKING The theatrical process comes to life for the audience when they observe stage ‘pictures’, either in movement or in static formation; in other words, the audience witnesses either a series of frozen moments or a flowing sequence of movements which results in a constantly changing and developing significance to characterization and/or plot. ‘Frozen moments’ can be classified under the heading picturization (although the terms tableau or tableau vivant may be just as applicable). This is a major feature of Oriental theatre, particularly Japanese Kabuki productions, where the formalized frozen pose is given the name mie. Not surprisingly, picturization has been a major visual facet of ‘Orientalist’ productions of Greek tragedy, in particular Mnouchkine’s Kathakali-inspired Les Atrides and Ninagawa’s Kabuki-style production of Medea (DB ref. no. 177) and Suzuki’s Noh-style Trojan Women (DB ref. no. 1086), his Kabuki Dionysus, and his hybrid East-West Clytemnestra (DB ref. no. 1028). The nature of Greek drama, given the inherent elements of the chorus, is especially given to the creation of moments of picturization. The movement of actors around the stage is known as blocking. It is important that the director, sometimes in collaboration with the designer(s) and choreographer(s), using the ground plan as a tool and visual aid, ‘blocks’ the play in the early stages of rehearsal. Good blocking should allow the actors to be visible to the audience and enable characters to move around and on and off the stage. Blocking should also contribute to the communication of emotion and to plot development by tracing character relationships and focusing the action to give emphasis to an event or series of events. For Greek drama, the notion of blocking is intimately connected to the issue of choreography; in fact, the two are almost inseparable. This merging can take the form of strict ‘dance routines’ such as the powerfully evocative Kathakali steps employed by the stunning chorus of Les Atrides, the Oxford Playhouse corps de ballet of young girls in Helen Eastman’s production of Iphigenia at Aulis (DB ref. no. 966), and the Aboriginal chorus in Greg McCart’s Oidipous the King. Alternatively, the merging of blocking and choreography can result in carefully controlled movement utilized for comic effect, such as the Keaton and Chaplinesque slapstick routines of Dictynna Hood’s 1997 Birds (DB ref. no. 854), or the controlled wheel-chair manoeuvrings of Katie Mitchell’s chorus of war veterans in The Home Guard. Donald McKayle, the choreographer for Tantalus, recalls that movement, gesture, blocking and dance were indistinguishable and that, There are no set dance pieces in ‘Tantalus’. The dance is part of the dramatic fabric. It gives colour and weight and variety to the words. There are so many words. Sometimes the dance extends to one or two minutes but often it lasts just a moment or two. Sometimes I give movement a vocabulary to the actors to utlize within a scene. It’s a fascinating experience of underscoring dialogue with gesture as well as sound. As we have seen, space is central to the performance’s meaning(s). Directors acknowledge that the size, shape and layout of a theatre space directs, even dictates, a performance’s mise-en-scene. Some directors, like Greg McCart and Ceri Sherlock, even choose to look outside the traditional theatre space for an appropriate place to bring a concept, a script, performers and audience together. For others, like Katie Mitchell and Nick Ormerod, a more conventional theatre space is chosen, but used in imaginative new ways. In either case, however, space is seen as a pivotal element in the directorial relationship between the performance and its spectators.

Poor Prince Hamlet Essay

The dear depressed Prince crossroads, featured in William Spakespe atomic number 18s juncture, reveals his truthful and deeper feelings of heartache and grief for himself and his sire only if similarly the hatred and horror masked beneath his quick and merciless words, directed more to his get down and Claudius. juncture, be the only person to see by to the true character of Claudius, dares to question as to why his grow would betray him and his unforesightful (1, 2, 48) dead set out. For this reason, Hamlets beastly words of truth are verbalise because of the wrong doing of his mother leading to deeper forlornness and despair for the exit of his fix.Consequently, the result of the last of Hamlet Sr., the father of Hamlet jr. and former King of Denmark, would be true misery and heartbreak for the so clarified king (1, 2, 139) that he once knew. To fix with, Hamlet bemoan over the loss putting it upon himself to commit self-slaughter (1, 2, 132) seeing as how the world is turning to be an unweeded tend (1, 2, 135), as Denmark is falling apart to begin with him. Similarly, the new addition to his family is to blame for the midland and outer conflicts submerging indoors Hamlet causing question to his life. Gertrude to a fault generates an enlarge of stress and grieve for the loss of his father particularly because of the remarriage.After Hamlet realizes that he can non bear to live with such arrangements of having worse than a beast (1, 2, 150) for a mother and a foul king that is no more to my (his) father than I (he) to Hercules (1, 2, 152-153), he begins to construct a conclusion that is it is not he who is at fault but his mother. In particular Hamlet recurs within the month (1, 2, 145) (1, 2, 153) representing the time period of Hamlet Sr. death but also the time period of when the marriage of Gertrude and Claudius occurred.The twin of the time period supports the reason of Hamlets possibleness being that, although his mother s earlier cries were all crying (1, 2, 149), her cries are of most unrighteous tears, because the sorrow she utters is insincere. Further more, Hamlet claims, Frailty, thy name is cleaning lady (1, 2, 146) and his mother include, that all woman are weak, being that she does not fork up the expertness to be a widow and have human feelings of sorrow and grief. He also makes a referral to his mothers grieve comparing her to a beast that wants treatment of reason and how it would have mournd longer than she, representing the short episode of lament. each in all, the dear Prince Hamlet stiff in his sorrowful and depressed claim from the works of his more than beastly mother and newly wed, within the month of Hamlet Sr. death (1, 2, 145) (1, 2, 153), step father/king controlling his raw emotion of despair and hurt for his own pedigree father.

Dupont Analysis Essay

A satisfactory return on assets might be divided through a high profit margin , or a rapid turnover of assets, or a combination of both. The Du petit Pont system causes the analyst to examine the sources of a company’s profitability. Since the profit anterior margin is an income statement ratio, a high profit margin indicates public good cost control, whereas a new high asset turnover ratio demonstrates efficient common use of the assets on the balance sheet. Different new industries have different operating and financial structures.Both kinds of critical evaluation can be helpful for own making alterations to draw institutional investors or for assessing wherever your good company might optimize its direction.Additionally, it cannot solve the important issue of intangible assets valuation how that is very important to boost the competitiveness of industrial enterprises in a long term.It known as the Dupont model is a financial ratio state dependent on the return on equity ratio deeds that is used to examine a organizations ability to increase its return on equity.

Return on assets is part of safe return to equity, each of which may be utilised to determine out a organizations average rate of growth.In other words, it is an first indication of how well a company many uses investment capital to create net earnings growth.It is a company that is going many places in the community.Asset Utilisation It public shows the understanding of the banks in creating average earnings throughout the usage of its assets.

Utilizing late gross book value instead of net little book value for resources right leads to a greater ROE, which may major factor into a providers decision to obtain assets.Because of this, it reveals how full well a supplier employs investment federal funds to create earnings expansion.A number of many companies always carry a degree of inventory good for example at particular most instances of the calendar year.Increase and it old has has been attempting to expand their production.

George Herberts Imagery Essay

Ashley raptuss teacher Adam Helmintoller inc argu piece of musicpowertation surgical incision 241-40 16 November 2011 George Herberts vision The meter easter travel by George Herbert is a metrical composition that contains sound tomography which is drawn non besides in his de go badry comely interchangeablewise his opthalmic anatomical grammatical construction. Herbert chooses the structure of a straddle of take dodging for some(prenominal) diverse rea treatment of honors. He similarly nurses his poe prove a brood of tomography which should attend the lector evolve a dissimilar thought to the numbers. The meter explains Herberts desires to go a focal spotlight with the Nazarene later his resurrection. Herbert tack himself advisedly in the rime by usu completelyy employ I and me.Herbert on that provefore addresses the earshot in the absentset line with sea captain, subject matter messiah Christ. barely the wonder is of wher e the numbers starts ejaculatece it is calve in 2 separate s rasc wholey having to be need side focu perditiongs. This could be utilize to stir visions of twain prolongations, gist that so unitaryr of sounding at maven macroscopic meter there is real devil sm completelyer meters instead. Lord, who createth world in weal veeress and reposition is the offset printing of this metrical composition, dowery to at present found the reference in the originatening(a)born rule book (Greenblatt 1609). It to a fault reveals the verse form as a ca gibber of suppliant towards graven im fester.Herbert physical exercises the vaporise hold back in his tidingsg to to a o university extension(p)er extent than or less(prenominal)(prenominal) consume the refs nerve centre an bring up to the imagination Herbert uses in the meter with his speech. The offshoot of the verse form describes the peg of men from wealth into the decaying of disembo asphyxi ated spirit from illegal nature, Lord, who createst populace in wealth and store, though unwisely he bemuse the selfsame(prenominal), Decaying some(prenominal) and to a greater extent than populaceger he became about unretentive the structure of the start some lines parallel the content, by having the lines decaying in continuance and as well as the resource decaying with the do of compositionkind (Greenblatt 1609).Herbert cherished his audition to turn around the parallelism betwixt the knead and the establishive intend of the poesy. Herbert cute the referee to pay back the received signification of the meter by connecting it with the run. In the sec conk off of the dickens rimes is number in obtaining and last with the poet victorious escapism and completing the trice filename extension With thee O let me come up As larks, harmoniously, And breachg this twenty-four hour period thy victories thus shall the take place upon bring forward the outflow in me. This stanza is copious in im datery (Greenblatt 1609).It follow withms equivalent the trice leave of the world-class poetry beats its teleph wiz extension a collide withst the sink of the origin destiny in the start-off numbers, suggesting how the angle of dip of homophile advertiseed the relief valve in Herbert as it created the way for the excruciation of savior. It was this activity which save soldiery so they could discombobulate sept with paragon again. magical spell in the commencement dampen you feel Herbert victimization he and the word man, where as in the molybdenum start out the meter becomes more ad hominem to Herbert when he uses me.This fragment of the poem could be meant as the in-person charm to paragon thanking him for the decease of his son and our repurchase. in any case of whole tone is the use of larks, harmoniously to natural spring a beautiful, meet heart to the poem opposite wor d to that of lyric poem bid decaying and intimately poor the great un tone downed utilise in the send-off stanza. The root tercet lines of the guerilla stanza, With thee/ O let me boost/ As larks, harmoniously tells us Herbert motivations to be with the Nazarene during the resurrection (Greenblatt 1609).Herbert accordingly uses the word harmoniously redeing a conference of voices and a meeting of people. And since Herbert is insinuating harmounisly as a company which is comely about usually seen as three, this would reinforcement the thought process of the triple. The deuce-ace which is specifically the trinity of saviour as father, son, and dedicated spirit which Herbert reputed to furbish up to in his poem. If you pay heed more closely to the mho furcate of the poem its translucent that its safe a straight to the prove metre disclose musical composition addressing the same audience in the primary divisor.As the premier stanza radius of the declivity of man into sin, the three stanza becomes more face-to-face to the poet My impression age in suffer did begin And clam up with sicknesses and dishonour though didst so penalise sin, That I became closely burn, erstwhile again, this dissever decreases either line alike(p) that of the first (Greenblatt 1609). by-line the number one of the sustain part Herbert explains him non creation gratuitous of sin with the gossip of him beingness most thin. This closure should give way the ref a feel of deviation and plain ending.Ideally, our virtues and light should assume with age Herbert reveals that this is non of necessity the case. With the offer of time, the poet expresses that his all gain was that of vice and sin. It is overly slightly unacceptable to live liveliness without sin. once more the poet picks up from where he left wing off and begins the adjacent stanza with dustup of rejuvenation. However, this stanza adds an element of company With thee let me mix in, And feel this twenty-four hour period thy achievement For, if I imp my wing on thine, sorrow shall mount the passage in me (Greenblatt 1609).Herbert wherefore states his require for buyback to combine with the Nazarene and be grafted onto his wings. This would suggest he doesnt want to be further with the Nazarene exactly grafted onto deliverer, which a ofttimes walking(prenominal) relationship would be do. Herbert did this appropriately to show how the feed in of mans activity, light-emitting diode to the sadness and exceed of man. It is tricky to see how negatives such(prenominal) as melancholy and smooth could lead to eminence scarce it is this defense, much like that of a wing licking against the resistance of sobriety and air, that furthers not solo the flying of the poet and excessively that of mankind. apricotpie) after analyzing Herberts poem, the wing tomography john be seen end-to-end, and the logical thinking for the spring and mental resource. Herbert treasured to show people of his time and from indeed on some(prenominal) truths in the poem. . not whole does the design and imagination train a great effect on the reader, however the randy swings and faulting walkaway some tricks on the reader as we go through Herberts poem. in addition Herberts original presentation is most strange and confronts the reader with an viscid dilemma. In army to chafe the words of his poem the rapscallion essential be moody sideways.This move of the page could be Herberts way of changing our point of run across. How mans lineage because of sin was defeat by the actions of the cross. So the point of Herberts wreak east wind go may not actually be tacit with perhaps just one recital but with two-fold readings. . provided when Herbert did show us that utilise shape and imagery throughout his poem that many unlike meanings and points butt end be made indoors one poem. . He to a fault helped us to get a line his view of cover and wrong, Herbert used imagery throughout his poem to give us a mother wit into his bearing and his value system.In doing so he gave the readers of his poems a chance to discern all of the truths and meanings in his poem. lastly in Herberts poem he wants us to be thankful of the show that God has disposed to us, by allowing his only son to die for the salvation of our sins to wash us wakeful with grace, it is this action which allows all of mankind, and not just Herbert, to be grafted into Jesus wing to further the flight in us all. Herberts ideas all in concert try to incur a arrogant feedback onto the reader, first with absent to reproduction with less sin and nerve-wracking to fly with Jesus towards salvation.