Act of God and Vis Major

Act of God and Vis Major Act of God and Vis Major Act of God and Vis Major By Maeve Maddox In March of 1997, 16 tornados tore through Arkansas, killing 26 people and destroying homes and businesses. At the time I was living in Hot Springs, cowering in the closet. The twister missed us, but thirty miles away, the college town of Arkadelphia was nearly wiped off the map. That March the state legislature quickly drafted a bill intended to protect tornado victims from the possibility that insurance companies might deny their claims. It contained the following language: No insurance policy or contract covering damages to property shall be canceled nor the renewal thereof denied solely as a result of claims arising from acts of God.† Then governor Mike Huckabee refused to sign the bill because he objected to the phrase â€Å"act of God† to describe â€Å"a destructive and deadly force.† He preferred â€Å"natural disaster.† After about three weeks, the term â€Å"natural causes† was agreed upon and the governor signed the bill. The term â€Å"act of God† to describe an event beyond human control has long been used by insurance underwriters. Here are some definitions listed at the Business Dictionary: act of God: violent and catastrophic event caused by forces of nature, which could not have been prevented or avoided by foresight or prudence. An act of God that makes performance of a contractual duty impossible may excuse performance of that duty. Dictionary of Business Terms act of God: natural occurrence beyond human control or influence. Such acts of nature include hurricanes, earthquakes, and floods. Dictionary of Insurance Terms act of God: an unpreventable destructive occurrence of the natural world. Example: A contract has a provision that allows the buyer to default if the property is damaged by an act of God. Examples of an act of God are: earthquake, flood, hurricane, lightning, tornado. Dictionary of Real Estate Terms An alternate term for â€Å"act of God† is the Latin term vis major, â€Å"an overpowering force†: vis major [vÄ ­s mÄ jÉ™r]: such a degree of superior force that no effective resistance can be made to it. OED Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:When to Use â€Å"That,† â€Å"Which,† and â€Å"Who†Homogeneous vs. HeterogeneousJanuary 1 Doesn't Need an "st"

Stephen F. Austin, Founding Father of Texan Independence

Stephen F. Austin, Founding Father of Texan Independence Stephen F. Austin (November 3, 1793–December 27, 1836) was a lawyer, settler, and administrator who played a key role in the secession of Texas from Mexico. He brought hundreds of U.S. families into Texas on behalf of the Mexican government, which wished to populate the isolated northern state. Fast Facts: Stephen F. Austin Known For: Key role in the U.S. colonization of Texas and its succession from MexicoBorn: November 3, 1793 in VirginiaParents: Moses Austin and Mary Brown AustinDied: December 27, 1836 in Austin TexasEducation: Bacon Academy, Transylvania UniversitySpouse: NoneChildren: None At first, Austin was a diligent agent for Mexico, but later he became a fierce fighter for Texas independence and is today remembered in Texas as one of the most important founding fathers of the state. Early  Life Stephen Fuller Austin was born in Virginia on November 3, 1793, the third child and first of two sons of Moses Austin and Mary Brown. Moses was a businessman and lead mine owner, and he began his working life in Philadelphia, where he met in 1784 and married Mary Brown, known as Maria. Moses ran a mercantile business in Richmond, Virginia with his brother Stephen. Moses and Marys first daughter Anna Maria was born and died in Richmond in 1787. In 1788, Moses and Stephen and their families moved to Wythe County, Virginia to own and operate a lead mine. In a settlement which would become known as Austinville, Moses and Mary had Eliza (1790–1790), Stephen (1793–1836), and Emily (1795–1851). In 1796, Moses Austin traveled to the Spanish colony of St. Louis on the Mississippi River now in eastern Missouri, where he finagled permission from the commandant to search for a new lead mine near Ste. Genevieve. He moved his family to Ste. Genevieve in 1798, where the last Austin sibling, James Elijah Brown, was born (1803–1829). Education In 1804, Stephen, age 11, was sent off by himself to Connecticut, where relatives found him a good school to attend: the Bacon Academy in Colchester, where he studied English grammar and writing, logic, rhetoric, geometry, geography, and a little Latin and Greek. He graduated in 1807 and was then sent to Transylvania University in Lexington, Kentucky, where he studied math, geography, and astronomy. He then in 1810 with a certificate. Stephen arrived back in Ste. Genevieve in 1810, where his father put him in a prominent role in the mercantile business. For the next several years, Stephen Austins informal education included time spent in New Orleans with a shipment of lead during the War of 1812, as a militiaman harassing Native Americans in what is today central Illinois, and taking over the lead mine when his father grew too ill to continue. In New Orleans, he contracted malaria, which he never fully recovered from. And, in 1815, Stephen Austin ran for a seat in what was now the Missouri territorial legislature, taking his position in the lower House in December. Moses Austin eventually lost his fortune in lead mining and traveled westward to Texas, where the elder Austin fell in love with the ruggedly beautiful lands of Texas and secured permission from Spanish authorities- Mexico was not yet independent- to bring a group of settlers there. Moses fell ill and died in 1821: His final wish was that Stephen complete his settlement project. Settlement of Texas Stephen Austin’s planned settlement of Texas hit many snags between 1821 and 1830, not the least of which was the fact that Mexico achieved independence in 1821, meaning he had to re-negotiate his father’s grant. Emperor Iturbide of Mexico came and went, leading to further confusion. Attacks by Native American tribes such as the Comanche were a constant problem, and Austin very nearly went broke meeting his obligations. Still, he persevered, and by 1830 he was in charge of a thriving colony of settlers, nearly all of whom had accepted Mexican citizenship and converted to Roman Catholicism. Although Austin remained staunchly pro-Mexican, Texas itself was becoming more and more American in nature. By 1830 or so, mostly Anglo-American settlers outnumbered Mexicans in the Texas territory by almost 10 to 1. The rich land drew not only legitimate settlers, such as those in Austin’s colony, but also squatters and other unauthorized settlers who simply moved in, selected some land, and set up a homestead. Austin’s colony was the most important settlement, however, and the families there had begun raising cotton, mules, and other goods for export, much of which went through New Orleans. These differences and others convinced many that Texas should leave Mexico and become part of the U.S. or independent. The Trip to Mexico City In 1833 Austin went to Mexico City to clear up some business with the Mexican Federal government. He was bringing new demands from the Texas settlers, including separation from Coahuila (Texas and Coahuila were one state at the time) and reduced taxes. Meanwhile, he sent letters home hoping to placate those Texans who favored outright separation from Mexico. Some of Austin’s letters home, including some telling Texans to go ahead and begin to declare statehood before the approval of the federal government, made their way to officials in Mexico City. While returning to Texas, Austin was arrested, brought back to Mexico City, and thrown into jail. Austin was in jail in Mexico City for a year and a half: he was never tried or even formally charged with anything. It is perhaps ironic that the Mexicans jailed one Texan who was at least initially inclined to keep Texas part of Mexico. As it was, Austin’s jailing probably sealed Texas’ fate. Released in August of 1835, Austin returned to Texas a changed man. His loyalty to Mexico had been ground out of him in prison, and he realized now that Mexico would never grant the rights his people desired. Also, by the time he returned in late 1835, it was clear that Texas was on a path destined for conflict with Mexico and that it was too late for a peaceful solution. When push came to shove, Austin would choose Texas over Mexico. The Texas Revolution Not long after Austins return, Texas rebels fired on Mexican soldiers in the town of Gonzales: the Battle of Gonzales, as it came to be known, marked the beginning of the military phase of the Texas Revolution. Not long after, Austin was named commander of all Texan military forces. Along with Jim Bowie and James Fannin, he marched on San Antonio, where Bowie and Fannin won the Battle of Concepcià ³n. Austin returned to the town of San Felipe, where delegates from all over Texas were meeting to determine its fate. At the convention, Austin was replaced as military commander by Sam Houston. Even Austin, whose health was still frail after 1812 bout with malaria, was in favor of the change: His brief stint as General had proven decisively that he was no military man. Instead, he was given a job much better suited to his abilities. He would be the Texas envoy to the United States, where he would seek official recognition if Texas declared independence, purchase and send weapons, encourage volunteers to take up arms and head to Texas, and see to other important tasks. Return to Texas Austin made his way to Washington, stopping along the way at key cities such as New Orleans and Memphis, where he gave speeches, encouraged volunteers to go to Texas, secured loans (usually to be repaid in Texas land after independence), and met with officials. He was a big hit and always drew a large crowd. Texas effectively gained independence on April 21, 1836, at the Battle of San Jacinto,  and Austin returned not long after. Death He lost the election to be the first president of the Republic of Texas to Sam Houston, who appointed him Secretary of State. Austin fell ill of pneumonia and died on December 27, 1836. Legacy Austin was a hardworking, honorable man caught up in times of sweeping change and chaos. He was a skillful colony administrator, a canny diplomat, and a diligent lawyer. The only thing he tried that he did not excel at was war. After leading the Texas army to San Antonio, he quickly and happily turned command over to Sam Houston, who was much more suited to the job. Austin was only 43 when he died: the young Republic of Texas could have used his guidance in the years of war and uncertainty that followed its independence. It is a little misleading that Austins name is usually associated with the Texas Revolution. Up until 1835, Austin was the leading proponent of working things out with Mexico, and at that time his was the most influential voice in Texas. Austin remained loyal to Mexico long after most men in Texas were rebelling. Only after a year and a half in jail and a first-hand look at the anarchy in Mexico City did he decide that Texas must set out on its own. Once he made the decision, he threw himself wholeheartedly into revolution. The people of Texas consider Austin one of their greatest heroes. The city of Austin is named after him, as are countless streets, parks, and schools, including Austin College and Stephen F. Austin State University. Sources: Brands, H.W. Lone Star Nation: The Epic Story of the Battle for Texas Independence.New York: Anchor Books, 2004.Cantrell, Gregg. Stephen F. Austin: Empresario of Texas. New Haven, Connecticut: Yale University Press, 1999.Henderson, Timothy J. A Glorious Defeat: Mexico and its War with the United StatesNew York: Hill and Wang, 2007.

Selling smarter with CRM by Dawson Chris Essay Example | Topics and Well Written Essays - 500 words

Selling smarter with CRM by Dawson Chris - Essay Example It operates in a cycle that includes organizational management, sales and marketing teams, product generation departments and the customers. Organizations apply customer relationship management towards different benefits. One of such benefits is the establishment of a strong relationship between an organization and its customers through developing an understanding of the customers’ needs towards meeting the needs. Other benefits include managements of sales processes, improvement of sales strategies and evaluation of fundamental data including social data that affects an organization (Dawson, p. 3- 5). Achieving these benefits does not however require extensive investment of resources and efforts. This is because of existence of cheaper and efficient approaches such as Google enabled applications and social networks for reaching and interacting with customers and potential customers. Such approaches can further be cheaply implemented by using an organization’s interns t hat are another source of cheap resources. This is because of the changing environment in which everything is social, and a social approach to customer relationship management through Google based applications and social network that promises higher level of effectiveness. A number of computer-based applications exist for such CRM initiatives towards better management of product development and sales initiatives (Dawson, p. 6- 10). Achieving these benefits does not however require extensive investment of resources.

Personal Development Essay Example | Topics and Well Written Essays - 750 words - 1

Personal Development - Essay Example essed, I have had the chance to increase the amount of time that I spend with the instructors in terms of learning after class and made sure that I went over all the material that was delivered in class. In the event that there was a concept or point that needed to be clarified, I made the resolve to talk to the instructors before the next class so that I may understand the concept and catch up with the rest of the group. Social development has also been a considerable part of my personal development as I made the discovery that I was lacking soft skills in comparison to other people. The significance of these skills in the school and work environment cannot be ignored, therefore, I had to develop them so that I could avoid cases of skill mismatching in school as well as the workplace. (Zenger and Folkman 137). Improving interactions with other individuals was among the main goals of my personal development and as the semester progressed, I had to make changes on the ways I related to people through allowing more time for interactions. I was able to achieve this goal through seeking an elective position as a representative of one of the clubs in school and the acquisition of the leadership position was critical for the developing my leadership skills. Being elected for this post has also assisted me to enhance my communication skills as am tasked with communicating the needs and issues of the members of the club to the leaders of the club. This has also assisted me to become a better listener while developing more focus in my activities since I have other responsibilities apart from my schoolwork. I had also intended to better my social interaction both within and outside the school and among the most effective ways, that I chose to achieve this was through more involvement in extra-curricular programs. Settling on a particular activity was not easy as there were numerous programs to choose from, nevertheless, I had an awareness of the significance of this and

American History Essay Example for Free

American History Essay The civil war, according to President Abraham Lincoln, was not really fought to end the prolonged existence of slavery in the United States. The American Civil War was fought to preserve the Union and safeguard the interest of the American people but not of the slaves. Lincoln, who was not an absolute abolitionist himself, believe that the slaves should be free gradually and not on a one time big time basis. But as the civil war became lengthy, Lincoln and his administration has made colossal changes to the original plan and had to issue an Emancipation Proclamation freeing the slaves in the Confederacy. This action was well thought of Lincoln. When the congress has passed the Second Confiscation Act on July 17, 1862, Lincoln was prompted to respond. The Second Confiscation Act entailed that all slaves of everyone in rebellion to the United States were declared free. The act from the congress was not only what impelled Lincoln to act but also the peoples’ growing aversion of slavery. Lincoln has read his drafted â€Å"Preliminary Proclamation† to Secretary of State William H. Seward and Secretary of Navy Gideon Welles. Both were overwhelmed and were unable to respond quickly. On July 22, Lincoln discussed the matter to his cabinet and has received a lot of mix reactions but majority of the cabinet approved of the proclamation. Yet, it was only a consultation. The cabinet reviewed the contexts on September 22 and Lincoln has composed the final Emancipation Proclamation on New Year’s Day of 1863. The Emancipation Proclamation pronounced that â€Å"all slaves within any states or on a designated part of a State whereof shall then be in rebellion against the United States shall be then, henceforward, and forever free†¦Ã¢â‚¬  The Emancipation Proclamation guaranteed freedom only of those slaves in the states not in the jurisdiction of the Union. Lincoln’s Secretary of State William H. Seward has criticized the irony of the emancipation. Seward pointed out that the Union might have been sympathetic to slavery by freeing the slaves on the states uncontrolled by the Union but holding them in servitude in places possible to be freed by the government. Lincoln has known this but he did not want to irritate the slaveholders in the Union. Moreover, the Emancipation Proclamation would have not been easily released if it were not a war necessity. The Union saw its last resort on freeing the slave to increase its army and to antagonize the farms and the industries in the South. The proclamation was not sympathy to the slaves but a remedy to the unending war. Yet, the Emancipation Proclamation was one of the greatest victories of the Lincoln administration and of American democracy. It has also stressed that the war is not all about preserving the Union but also on the pressing need to abolish slavery. It was also the foundation of the 13th Amendment to the Constitution, which forever end slavery in the United States. On the other hand, after the Emancipation Proclamation the war did not ended soon. Many critics of the Lincoln administration supposed that the proclamation has only worsened the situation. The Union was still deficient of soldiers. Lincoln was prompted to create solutions by issuing the Enrollment Act of Conscription on March 3, 1863, which agitated many Northerners. The Union at the early stage of the war has relied on volunteerism but fewer men wanted to enlist. The Conscription Act imposed military duty to every capable man of 20 to 45 years old. Yet those who can find a substitute or pay $300 could be exempted from the draft. This exemption has angered the poor. Leslie M. Harris (2003) reported that antiwar newspaper in New York began criticizing the draft law citing the government’s interference on local affairs on behalf of the â€Å"nigger war. †The most unruly response to the act happened in New York City when unruly mobs appeared on July 11, 1963 when the draft took effect. Even though New York politicians have been very supportive of the Emancipation Proclamation, New Yorkers were divided on their stance towards the proclamation. Likewise, the mob consisted mostly of the poor Irish and German immigrants who lived on New York’s slum area. Irish and German immigrants in New York were told to prepare for the emancipated slaves who will flee to the North and would seek job. The immigrants did not think it was necessary for them to fight and they also have bigotry towards the African-American because they were usually their competitors to lowest-paying jobs. Yet, the main problem arose when the mob started to create commotions on the city. The first targets of the mob include military and government building, which instituted the inequitable draft. But after a while, the mob targeted the black people. First, they assaulted a black vendor and a nine year-old boy before burning to ashes the Colored Orphan Asylum on Fifth Avenue between Forty-Third and Forty-Fourth Streets. Luckily, no child was hurt in the attack. However, the mob has continued to attack Black people and sometimes killing them. Harris (2003) further reported that the mob singled out men for special violence. William Jones, a black man was hanged and his body burned afterward. Some group white men were even cheering when they kill William Williams, a black sailor, shouting: vengeance on every nigger in New York. The mayhem which lasted five days forced hundreds of Blacks to leave the city. Yet, not every Irish were sympathetic to the mob. There were reported cases were Irishmen helped black men. Irish neighbors of Philip White, a black drugstore owner at the corner of Gold and Frankfurt Street, help drove the mob away because White has been a good neighbor and creditor. However, this interracial cooperation was very least as compared to the havoc against the black people. However, the Union Army stationed at the Potomac were able to pacify the rioters and restore order in the city however they remained encamped around the city for several weeks. The Emancipation Proclamation and the Draft Riots embodied the bearing of the people during the Civil War. Though, only was a war measure, the Emancipation Proclamation was a great demonstration of democracy. The Draft Riots proved that not every person has the heart to fight for the Union and not everyone was in favor of the Emancipation. However, though Washington Times wrote, â€Å"The nation is at this time in a state of Revolution, North, South, East, and West, those who believed in the restoration of the Union and the rule of law never gave up hope but fought for what they believe was right. The New York Draft Riots, the Civil War and all its casualties were the price paid by the United States in order to protect and defend the Constitution, its people and those unalienable rights that were bestowed to each citizen which are â€Å"Life, Liberty and the Pursuit of Happiness. † References Harris, L. M. (2003). In the Shadow of Slavery: African Americans in New York City, 1626-1863. Chicago: University of Chicago. Smith, A. I. , (2007). The American civil war. Macmillan: New York.

Truths Exposed in John Steinbecks Of Mice and Men Essay -- Steinbeck

Truths Exposed in Of Mice and Men  Ã‚        Ã‚   John Steinbeck's timeless novel Of Mice and Men is a somewhat controversial story of the hardships of life. To illustrate these hardships, Steinbeck takes the reader back to an era of bankruptcies, migrant workers, and drifters. Today, this time, the 1930's, is branded the Great Depression. The quest of George and Lennie, two migrant workers, is an example of the dilemma of thousands of homeless and unemployed men in America during the Great Depression era (Ito 39). The harsh circumstances presented by the Great Depression reveal a darker side of human nature. In order to survive, a man's priority had to be himself. Through his characters, Steinbeck exposes truths about people and life in general.    Through the character of Curley, Steinbeck mocks the insecurity that can develop in a person. This primary flaw in Curley displays a basic flaw of humanity. Howard Levant reiterates this point in saying, "The central theme is stated and restated - the good life is impossible because humanity is flawed" (Owens 146). Candy, an old swamper, tells George, "Curley's like a lot of little guys. He hates big guys. He's alla time picking scraps with big guys. Kind of like he's mad at 'em because he ain't a big guy" (Steinbeck 26). This insecurity is articulated through Curley's abhorrence for men bigger than he, or often men in general. Curley also relentlessly worries about the activities of his wife, which reemphasizes his apparent lack of self-confidence. He further demonstrates his diffidence by his frequent ganging up on Lennie. Curley shows this when he picks a fight with Lennie. Curley asks, "What the hell you laughin' at?" (Steinbeck 62). Not only was Lennie an immense man, but he ... ...s novel causes the characters to act to some extent selfishly, looking out for their own good. It would be wrong to blame them though. In the Depression Era world that Steinbeck recreates, this live and let die attitude was often the only way to endure. The point of the novel, however, is not who is right or wrong. The point is that, by the conclusion of the novel, everyone loses. Though it is often easier to fulfill one's basic needs on his or her own, in the long run, interaction with others is an essential part of human nature.    Works Cited Ito, Tom. The Importance of John Steinbeck. San Diego: Lucent Books, 1994. Owens, Louis. "Of Mice and Men: The Dream of Commitment." Modern Critical Views on John Steinbeck. Ed. Harold Bloom. New York: Chelsea House Publishers, 1987. 145 - 149. Steinbeck, John. Of Mice and Men. New York: Penguin Group, 1993. Truths Exposed in John Steinbeck's Of Mice and Men Essay -- Steinbeck Truths Exposed in Of Mice and Men  Ã‚        Ã‚   John Steinbeck's timeless novel Of Mice and Men is a somewhat controversial story of the hardships of life. To illustrate these hardships, Steinbeck takes the reader back to an era of bankruptcies, migrant workers, and drifters. Today, this time, the 1930's, is branded the Great Depression. The quest of George and Lennie, two migrant workers, is an example of the dilemma of thousands of homeless and unemployed men in America during the Great Depression era (Ito 39). The harsh circumstances presented by the Great Depression reveal a darker side of human nature. In order to survive, a man's priority had to be himself. Through his characters, Steinbeck exposes truths about people and life in general.    Through the character of Curley, Steinbeck mocks the insecurity that can develop in a person. This primary flaw in Curley displays a basic flaw of humanity. Howard Levant reiterates this point in saying, "The central theme is stated and restated - the good life is impossible because humanity is flawed" (Owens 146). Candy, an old swamper, tells George, "Curley's like a lot of little guys. He hates big guys. He's alla time picking scraps with big guys. Kind of like he's mad at 'em because he ain't a big guy" (Steinbeck 26). This insecurity is articulated through Curley's abhorrence for men bigger than he, or often men in general. Curley also relentlessly worries about the activities of his wife, which reemphasizes his apparent lack of self-confidence. He further demonstrates his diffidence by his frequent ganging up on Lennie. Curley shows this when he picks a fight with Lennie. Curley asks, "What the hell you laughin' at?" (Steinbeck 62). Not only was Lennie an immense man, but he ... ...s novel causes the characters to act to some extent selfishly, looking out for their own good. It would be wrong to blame them though. In the Depression Era world that Steinbeck recreates, this live and let die attitude was often the only way to endure. The point of the novel, however, is not who is right or wrong. The point is that, by the conclusion of the novel, everyone loses. Though it is often easier to fulfill one's basic needs on his or her own, in the long run, interaction with others is an essential part of human nature.    Works Cited Ito, Tom. The Importance of John Steinbeck. San Diego: Lucent Books, 1994. Owens, Louis. "Of Mice and Men: The Dream of Commitment." Modern Critical Views on John Steinbeck. Ed. Harold Bloom. New York: Chelsea House Publishers, 1987. 145 - 149. Steinbeck, John. Of Mice and Men. New York: Penguin Group, 1993.

Clean Edge Razor: Splitting Hairs in Product Positioning Essay

A well-known health and beauty company, Paramount is launching a high-technology nondisposable razor, Clean Edge. They are searching for the most efficient way to gain market share. Their concerns come down to three main problems: whether they should target niche market and price the product in the super-premium segment, or aim mainstream market and gain broad appeal, ;whether they should just emphasize the product name â€Å"Clean Edge† or add â€Å"Paramount† at the front to broaden brand image;whether they should sustain current market allocations and focus on niche market or increase the marketing budget for extensive advertisement in the mainstream market. Analysis In the past, nondisposable razors merely served as hair removing tool for the vast majority of the population. However, according to Exhibit 1, as personal images became important in social life, hair removing routine became a means of gaining confidence for some people. For this reason, customers started to seek nondisposable razor that not only effectively removes hair but also protects skin, and further gives them sense of luxury by utilizing the best technology. Understanding customers’ tendency to always search for newest and advanced products, Paramount developed Clean Edge using their unique technology. Although they were confident about quality of their product, their competitive position was not stable. They had two big competitors, Benet & Klein and Prince which already had loyal customers throughout the world, not to mention other new competitors that started to threaten Paramount with their groundbreaking products. Moreover, because Benet & Klein and Prince’ s expenditures in advertising exceeded those of Paramount, it was difficult for Paramount to take away the market share and brand recognition. Using 4P strategy to analyze Paramount’s potential was helpful. Clean Edge is a very competitive and advanced product that can attract a lot of men of all ages. They also have increasing retail channels that allow them to sell Clean Edge in a diversity  of venues. The problem occurs when determining the price of this product and finding promotional outlets. If the price of Clean Edge is lower than other existing nondisposable razors, it certainly would gain broader appeal, but will not be welcomed by customers who are looking for high-end products. This possibly would bring about cannibalization, eating out their own brand image. On the other hand, if the price is higher than other existing nondisposable razors, it may successfully enter niche market, but customers who are already loyal to Paramount may be wooed away to seek for other brands. Their decision on a proper price point also influences their promotional strategies. If they decide to remain in the niche market they only need to target a specific customer group who would be intrigued b y their products, thus, their expenditures in advertising would likely decrease. This is more effortless and direct, since Paramount is already aware of the demographic segment of the market. However, they would have to cultivate certain promotional strategies to build firm and intimate relationship with potentially would become loyal customers of Paramount. If they maintain a mainstream position, their revenue would increase since they would sell more, but they would have to conceive ways of getting more customers involved, from advertisements using media to discount promotions. This can be clearly seen in Exhibit 7. Although in niche positioning, production unit cost is higher and unit volume is much lower than in mainstream positioning, advertising and promotion costs are more than two times lower. Their effort of reaching out to more people is revealed in promotion costs. Recommendation Niche Market – From Exhibit 5, it is clear that Paramount’s market share is steadily increasing while other competitors’ market shares are slightly fluctuating. This is definitely the perfect timing for Paramount to improve their brand quality by entering to the niche market, at the same time slowing down strong growth of new competitors. According to financial data (see appendix 1), it is true that net profit is much higher in mainstream positioning, due to higher volume and lower unit cost. However, considering that Paramount’s nondisposable razor market share is continuously increasing from Paramount Pro and Avail, which are not super-premium products, suddenly introducing Clean Edge in the mainstream market to get mass appeal would  cannibalize Paramount’s existing brands, potentially degrading Paramount as a ‘cheap brand’. Do not keep â€Å"by the Paramount† label – Considering that Prince and Benet & Klein are stil l better known to customers not just for the razors but also for other health and beauty products, it is uneasy for Paramount to get their brand name widespread in the market, especially when they are spending less budget on advertising. Radiance, the new competitor that specifically targeted super-premium razor market and spent $16.1 million dollars on advertising in 2010, successfully entered and survived the competition, and gradually gained title of ‘super-premium’ brand. On the other hand, because Paramount originally started with mid-low priced value products, it is difficult to predict customers’ reaction when they launch Clean Edge with the name of Paramount. Predictions may vary but some customers would not trust the high-end products made by Paramount. Since some Paramount executives believe design is the major breakthrough that will differentiate Clean Edge from other nondisposable razors, Paramount can start off with a whole new image, without having to attach their brand name. A good example is Lexus, the luxury vehicle division of Japanese automaker Toyota Motor Corporation. One of the biggest reasons why Lexus gained worldwide profit was because they did not emphasize the quotidian brand of Toyota. Sustain current allocations but partially increase advertising budget- Advertising is a necessity when it comes to launching new product. Nonetheless Clean Edge has a groundbreaking design, without the support of advertisement, it is impos sible to attract customers to try new products. It is reasonable to put more budget allocations, but using a completely different approach from mainstream positioning. Promotions such as free trials or cents-off coupons are for customer groups that are easily affected by fluctuating prices. What Paramount is aiming for is the customer groups that are seeking for high-end luxury products that would generate social and emotional satisfaction. Traditional TV and Newspaper advertisements may suit such a niche market, since a lot of customers who tend to use nondisposable razors are in older age groups. Accordingly, good customer service in making them feel special is essential to the niche market. Especially because involved razor users believe shaving is a way of improving their self-esteem, they would want to be treated in a way that they are being cared. Using social media to constantly connect with  the customers is a great approach to win over customers’ mind. Allocating budget in customer service therefore, is another w ay to gain loyal customers.

Renaissance Drama in England

Renaissance Drama in England From Medieval to Renaissance Drama ? Mystery plays -> ? Historical (chronicle) ? Miracle plays -> plays ? Tragedies ? Comedies ? Morality plays -> ? Interludes -> Other public â€Å"spectacles†Ã¢â‚¬ ¦ The Elizabethan Drama ? The Elizabethan era saw a great flourishing of literature, especially in the field of drama. ? The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by Seneca (a major tragic playwright and philosopher) and Plautus (comic cliches, especially that of the boasting soldier had a powerful influence on the Renaissance and after). ? However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. It is also true that the Elizabethan Era was a very violent age. As a result, representing that kind of violence on the stage in scenes of high ? physical realism? was probably more cathartic for the Elizabethan spectator. Lady Macbeth by John Singer Sargent,1889Elizabethan Drama and Acting – Main Features ? ? ? ? ? ? ? ? ? ? The plays had 5 acts; Physical realism; Issues borrowed from the ancient Greek drama (the chorus); Allegorical characters borrowed from the Medieval moralities; Issues borrowed from the Italian drama (the pantomime); Exaggerated feelings (love, hatred, revenge); Props and settings were simple; Costumes were rich and in accordance with the fashion of the time; There was no curtain; Women were not allowed to perform. Spanish Tragedy by Thomas Kyd ? Examples: Gorboduc (or Ferrex and Porrex) by Sackville ; Norton, TheThe Elizabethan Playhouse ? The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama—once they were in op eration, drama could become a fixed and permanent rather than a transitory phenomenon. The crucial initiating development was the building of The Theatre by James Burbage, in Shoreditch in 1576. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).The Elizabethan Playhouse ? The public theatres were three stories high, and built around an open space at the centre. ? Usually polygonal in plan to give an overall rounded effect (though the Red Bull and the first Fortune were square), the three levels of inwardfacing galleries overlooked the open center, into which jutted the stage— essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony. Usually built of timber and plaster and with thatched roofs , the early theatres were vulnerable to fire, and were replaced (when necessary) with stronger structures. When the Globe burned down in June 1613, it was rebuilt with a tile roof. The English Renaissance Drama ? 1. The early tragedies ? 2. The early comedies ? 3. The plays of the ? University Wits? ? 4. William Shakespeare’s plays the â€Å"university wits† The decade of the 1590s, just before Shakespeare started his career, saw a radical transformation in popular drama. A group of welleducated men chose to write for the public stage, taking over native traditions.They brought new coherence in structure, and real wit and poetic power to the language. They are known collectively as the â€Å"University Wits,† though they did not always work as a group, and indeed wrangled with each other at times. ? ? ? ? ? ? ? John Lyly (1554-1606) Thomas Lodge (c. 1558-1625) Christopher Marlowe (1564-1593) Robert Greene (1560-1592) Thomas Nashe (1567-1601) George Peele Thomas Kyd Thomas Kyd (1558 –1594) ? ? ? Th. Kyd was the author of The Spanish Tragedy, and one of the most important figures in the development of Elizabethan drama.The Spanish Tragedie was probably written in the mid to late 1580s. The earliest surviving edition was printed in 1592; the full title being, The Spanish Tragedie, Containing the lamentable end of Don Horatio, and Bel-imperia: with the pittifull death of olde Hieronimo. However, the play was usually known simply as â€Å"Hieronimo†, after the protagonist. Kyd is more generally accepted to have been the author of a Hamlet, the precursor of the Shakespearean play (Ur-Hamlet). Christopher Marlowe(1564 –1593) ? ? ? ? ? ? ? ? ? ?The foremost Elizabethan tragedian before William Shakespeare, he is known for his magnificent blank verse, his overreaching protagonists, and his own untimely death. Marlowe’s most important plays in which he created his tytanic characters are: Dido, Queen of Carthage (c. 1586) (possibly co-written with Thomas Nashe) Tamburlaine, part 1 (c. 1587) Tamburlaine, part 2 (c. 1587-1588) The Jew of Malta (c. 1589) Doctor Faustus (c. 1589, or, c. 1593) Edward II (c. 1592) The Massacre at Paris (c. 1593) Marlowe is often alleged to have been a government spy killed upon the orders of the Queen.William Shakespeare and His Contemporaries ? According to some critics of his time, Shakespeare was vulgar, provincial and overrated. ? Robert Greene (1558 –1592) is most familiar to Shakespeare scholars for his pamphlet Greene's Groats-Worth of Wit (full title: Greene's Groats-worth of Wit bought with a Million of Repentance), which most scholars agree contains the earliest known mention of Shakespeare as a member of the London dramatic community. In it, Greene disparages Shakespeare, for being an actor who has the temerity to write plays, and for committing plagiarism. ? â€Å"†¦ or there is an upstart Crow, beautified with our feathers, that with his Tygers ha rt wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and being an absolute Johannes fac totum, is in his owne conceit the onely Shake-scene in a countrey†. William Shakespeare and His Contemporaries ? ? Francis Meres, one year younger than Shakespeare, described himself as â€Å"Maister of Arte of both Universities†; in 1598 Meres published a work which has proven most valuable in dating Shakespeare's plays, for he mentions many of them, and in the most laudatory terms.In Palladis Tamia, Wits Treasury, Meres begins by praising Shakespeare's poetry the two narrative poems, Venus and Adonis and The Rape of Lucrece, and the Sonnets – then compares Shakespeare to Plautus in comedy and to Seneca in tragedy: Shakespeare was â€Å"not of an age, but for all time. † ? These are the words of Shakespeare's great friend and contemporary, Ben Jonson. The quotation comes from Jonson's poem, To the memory of my belove d, found in the First Folio of Shakespeare's works, published in 1623. Ben Jonson (1572-1637) William Shakespeare (1564 – 1616) ? There is no simple explanation forShakespeare’s unrivaled popularity, but he remains our greatest entertainer and perhaps our most profound thinker. He had a remarkable knowledge of human behavior, which he was able to communicate through his portrayal of a wide variety of characters. ? His mastery of poetic language and of the techniques of drama enabled him to combine these multiple viewpoints, human motives, and actions to produce a uniquely compelling theatrical experience. SHAKESPEARE’S EARLY YEARS English playwright William Shakespeare was born in a small house on Henley Street in Stratford-uponAvon in April 1564.The third of eight children, William Shakespeare was the eldest son of John Shakespeare, a locally prominent glove-maker and wool merchant, and Mary Arden, the daughter of a well-to-do landowner in the nearby village of Wilmcote. The young Shakespeare probably attended the Stratford grammar school, the King’s New School. Shakespeare’s Birthplace Stratford upon Avon On November 27, 1582, a license was issued to permit Shakespeare’s marriage, at the age of 18, to Anne Hathaway, aged 26 and the daughter of a Warwickshire farmer.The couple’s first daughter, Susanna, was born on May 26, 1583, and twins Hamnet and Judith who were named for their godparents, neighbors Hamnet and Judith Sadler followed on February 2, 1585. Anne Hathaway? s Cottage Charlecote Park, Sir Thomas Lucy? s Property Sometime after the birth of the twins, Shakespeare apparently left Stratford, but no records have turned up to reveal his activity between their birth and his presence in London in 1592, when he was already at work in the theater. Shakespeare? s biographers sometimes refer to the years between 1585 and 1592 as â€Å"the lost years. Speculations about this period abound. An unsubstantiated report claims Shakespeare left Stratford after he was caught poaching in the deer park of Sir Thomas Lucy, a local justice of the peace. Another theory has him leaving for London with a theater troupe that had performed in Stratford in 1587. SHAKESPEARE IN LONDON ? Shakespeare seems to have arrived in London about 1588, and by 1592 he had attained sufficient success as an actor and a playwright to attract the venom of Greene, an anxious rival. SOME OF SHAKESPEARE’S CONTEMPORARIES HENRY WRIOTHESLEY RICHARD BURBAGE WILLIAM KEMPECRISTOPHER MARLOWE ? In 1594 Shakespeare became the member of Lord Chamberlain’s men and was active in the formation of famous theatre, the Globe. London – The Globe Theater (rebuilt in 1997) London – The Globe Theater (rebuilt in 1997) Shakespeare’s Last Years Shakespeare's company erected the storied Globe Theatre circa 1598 in London's Bankside district. It was one of four major theatres in the area, along with the Swan, th e Rose, and the Hope. After about 1608 Shakespeare began to write fewer plays. In 1613 fire destroyed the Globe Theatre during a performance of Henry VIII.Although the Globe was quickly rebuilt, Shakespeare? s association with it – and probably with the company – had ended. Around the time of the fire, Shakespeare retired to Stratford, where he had established his family and become a prominent citizen. Shakespeare? s daughter Susanna had married John Hall, a doctor with a thriving practice in Stratford, in 1607. His younger daughter, Judith, married a Stratford winemaker, Thomas Quiney, in 1616. ? Shakespeare died on April 23, 1616 – the month and day traditionally assigned to his birth – and was buried in Stratford’s Holy Trinity Church.He had made his will the previous month, ? in perfect health and memory.? The cause of his death is not known, though a report from the Holy Trinity’s vicar in the 1660s claims that he ? died of a fever â₠¬ ¦ contracted after a night of drinking with Ben Jonson and Michael Drayton, friends and fellow writers?. ? England’s greatest playwright, William Shakespeare was buried in the Holy Trinity Church in Stratford-upon-Avon, Warwickshire. His epitaph reads: ? Good frend for Iesvs sake forbeare, ? To digg the dvst encloased heare. ? Blest be ye man yt spares thes stones, ? And cvrst be he yt moves my bones.Trinity Church – Stratford-upon-Avon Shakespeare Authorship Debate ? The Shakespeare authorship debate continues to rage unabated. ? The traditional camp (Stratfordian's) maintain that the famous Bard was indeed a poet, playwright and an actor. ? Critics known as â€Å"Oxfordian? s† argue that a more likely contender may have been Edward De Vere (1550-1604), Christopher Marlowe, Sir Francis Bacon, Derby or even Queen Elizabeth herself! Shakespeare’s Works and their chronology (apud Halliday) ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1589-1590 1. Henry VI 15 90 – 1591 – 2.Henry VI 1592 – 1593 Richard III Titus Andronicus Venus and Adonis 1592 – 1598 Sonnets 1593 – 1594 The Comedy of Errors The Taming of the Shrew The Rape of Lucrece 1594 – 1595 The Two gentlemen of Verona Love? s Labours Lost 1595 – 1596 Romeo and Juliet Richard II A Midsummer Night? s Dream 1596 – 1597 King John The Merchant of Venice 1597 – 1598 1 Henry IV 2 Henry IV 1598 – 1599 Much ado About Nothing Henry V The Merry Wives of Windsor ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1599 – 1600 Julius Caesar As You Like It Twelfth Night 1600 – 1601 Hamlet 1601 – 1602 Troilus and Cressida 1602 – 1603 All? Well that Ends Well Othello 1603 – 1604 Measure for measure 1604 – 1605 Timon of Athens 1605 – 1606 King Lear Macbeth 1606 – 1607 Antony and Cleopatra 1607 – 1608 Coriolanus 1608 – 1609 Pericles, Prince of Tyre 1609 – 1610 Cymbeline 1610 – 1611 The Winter? s Tale 1611 – 1612 The Tempest 1612 – 1613 Henry VIII (1613 – 1614) The Two Noble Kinsmen The First Folio ? The â€Å"First Folio† is of major importance to William Shakespeare as it is the first collected edition of Shakespeare's plays. The copperengraving picture of William Shakespeare is signed Martin Droeshout on the title-page of the „First Folio? 1623). Famous Quotes ? Juliet: â€Å"What's in a name? That which we call a rose By any other name would smell as sweet. † Romeo and Juliet (II, ii, 1-2) Juliet or The Blue Necklace (1898) by John William Waterhouse Famous Quotes ? Hamlet: There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. Hamlet Act 1, scene 5, 159–167 Ophelia (1894) – John William Waterhouse Famous Quotes Hamlet: What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in act ion how like an angel, in apprehension how like a god! he beauty of the world, the paragon of animals – and yet, to me, what is this quintessence of dust? Man delights not me nor woman neither, though by your smiling you seem to say so. Rosencrantz: My lord, there was no such stuff in my thoughts. Hamlet Act 2, scene 2, 303–312 John William Waterhouse Ophelia – blue dress (1905) Famous Quotes ? Jaques: All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. ? As You Like It Act 2, scene 7, 139–143John William Waterhouse Gather Ye Rosebuds While Ye May (1909) Famous Quotes Macbeth: ? To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. Macbeth Act 5, scene 5, 19–28 John William Waterhouse The Magic Circle (study) (1886) Famous QuotesProspero: ? †¦We are such stuff As dreams are made on; and our little life Is rounded with a sleep. ? The Tempest Act 4, scene 1, 148–158 John William Waterhouse Miranda – The Tempest (1916) Famous Quotes Hamlet: ? To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die—to sleep, No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to: 'tis a consummation Devoutly to be wish'd.To die, to sleep; To sleep, perchance to dream—ay, there's the rub: For in that sleep of death what dreams may come, When we hav e shuffled off this mortal coil, Must give us pause—there's the respect That makes calamity of so long life†¦ Hamlet Act 3, scene 1, 55–87 Sir Laurence Olivier (1907 – 1989) as Hamlet Shakespeare, Our Contemporary Hamlet's Soliloquy ? Since first performed in the early 1600s, the title role in William Shakespeare's Hamlet has remained a favorite of many actors because of the emotional complexity of Hamlet's personality. Nowhere is this complexity more apparent than in Hamlet's famous soliloquy in Act III, Scene 1.The soliloquy is a monologue in which a character reveals inner thoughts, motivations, and feelings. Shakespeare used the technique often, and his soliloquies are poetic and rich in imagery. In Hamlet, a play about a man whose mind may be his fatal flaw, the form reaches its highest level. The Structure of Shakespearean Tragedy as devised by Andrew Cecil Bradley ? Andrew Cecil Bradley (1851–1935) was an English literary scholar, best remembe red for his work on Shakespeare ? The outcome of his five years as Professor of Poetry at Oxford University were A. C.Bradley’s two major works, Shakespearean Tragedy (1904), and Oxford Lectures on Poetry (1909). Bradley's pedagogical manner and his self-confidence made him a real guide for many students to the meaning of Shakespeare. His influence on Shakespearean criticism was so great that the following anonymous poem appeared: I dreamt last night that Shakespeare’s Ghost Sat for a civil service post. The English paper for that year Had several questions on King Lear Which Shakespeare answered very badly Because he hadn’t read his Bradley. (Hawkes 1986 as cited in Taylor 2001: 46)CONSTRUCTION IN SHAKESPEARE'S TRAGEDIES ? As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any such tragedy may roughly be divided into three parts. ? A. The first of these sets forth or expounds the situation, or state of affairs, out of which the conflict arises; and it may, therefore, be called the exposition. ? B. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. ? C.The final section of the tragedy shows the issue of the conflict in a catastrophe. ? The application of this scheme of division is naturally more or less arbitrary. The first part glides into the second, and the second into the third, and there may often be difficulty in drawing the lines between them. A. The Exposition ? ? ? The role of the exposition is to introduce us into a little world of persons; to show us their positions in life, their circumstances, their relations to one another, and perhaps something of their characters; and to leave us keenly interested in the question of what will come out of this condition of things.We are left thus expectant. This situation is not one of conflict, but it threatens conflict. For example, in â€Å"Romeo and Juliet† we see first the hatred of the Montagues and Capulets; and then we see Romeo ready to fall violently in love; and then we hear talk of a marriage between Juliet and Paris; but the exposition is not complete, and the conflict has not definitely begun to arise, till, in the last scene of the First Act, Romeo the Montague sees Juliet the Capulet and falls in love with her.Sir Frank Dicksee – Romeo And Juliet, 1884 Some Shakespearean â€Å"Tricks† ? ? ? When Shakespeare begins his exposition he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity and sometimes with anxiety. On the other hand, if the play opens with a quiet conversation, this is usually brief, and then at once the hero enters and takes action of some decided kind. For instance, compare the beginning of Macbeth to that of King Lear.In the latter the tone is so low that the conversation between Kent, Gloster and Edmund is written in prose (although they are of noble extraction). At the thirty-fourth line it is broken off by the entrance of Lear and his court, and without delay the King proceeds to his fatal division of the kingdom. William Dyce – King Lear and the Fool in the Storm (c. 1851) ? This tragedy illustrates another practice of Shakespeare's. King Lear has a secondary plot, that which concerns Glouchester and his two sons.To make the beginning of this plot quite clear, and to mark it off from the main action, Shakespeare gives it a separate exposition. ? In Hamlet, though the plot is single, there is a little group of characters possessing a certain independent interest, – Polonius, his son, and his daughter; and so the third scene is devoted wholly to them. B. The Conflict ? The construction of a Shaksepearean tragedy is based on the fight between two opposing sides i n the conflict. They are of almost equal strength and it is difficult to guess which of them is to win.They are victorious in turn, until the conflict reaches its climax. In some tragedies the opposing forces can be identified with opposing persons or groups. So it is in â€Å"Romeo and Juliet† and â€Å"Macbeth†. But it is not always so. The love of Othello may be said to contend with another force, as the love of Romeo does; but Othello cannot be said to contend with Iago as Romeo contends with the representatives of the hatred of the houses, or as Macbeth contends with Malcolm and Macduff. ? Thomas Stothard, The Meeting of Othello and Desdemona (c. 1799)Ups, downs and suspense ? ? ? There is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections. The sequence of events within the conflict, is also based on the principle of alternation. L et us call the two sides in the conflict A and B. All through the conflict we shall find a regular alternation of smaller advances and withdrawals; first A seeming to win some ground, and then the counteraction of B being shown.And since we always more or less decidedly prefer A to B or B to A, the result of this oscillating movement is a constant alternation of hope and fear, causing suspense. Dagnan-Bouveret Hamlet and the Gravediggers ? ? ? ? ? ? ? In Hamlet the conflict begins with the hero's feigning to be insane from disappointment in love, and we are shown his immediate success in convincing Polonius. Let us call this an advance of A. The next scene shows the King's great uneasiness about Hamlet's melancholy, and his skepticism as to Polonius's explanation of its cause: advance of B.Hamlet completely baffles Rosencrantz and Guildenstern, who have been sent to discover his secret, and he arranges for the test of the play scene: advance of A. But immediately before the play sce ne his soliloquy on suicide fills us with misgiving; and his words to Ophelia, overheard, so convince the King that love is not the cause of his nephew's strange behavior, that he determines to get rid of him by sending him to England: advance of B. The play scene proves a complete success: decided advance of A.Directly after it Hamlet spares the King at prayer, and in an interview with his mother kills Polonius, and so gives his enemy a perfect excuse for sending him away (to be executed): decided advance of B, a. s. o. This oscillating movement can be traced without difficulty in any of the tragedies. C. The Catastrophe ? The oscillating movement continues right up to the catastrophe. ? There is a critical point in the action, which proves also to be a turning point.It is critical sometimes in the sense that, until it is reached, the conflict is not, so to speak, clenched; one of the two sets of forces might subside, or a reconciliation might somehow be effected; while, as soon as it is reached, we feel this can no longer be. It is critical also because the advancing force has apparently asserted itself victoriously, gaining, if not all it could wish, still a very substantial advantage; whereas really it is on the point of turning downward toward its fall. This crisis, as a rule, comes somewhere near the middle of the play. ?Alexandre-Marie Colin. The Three Witches from â€Å"Macbeth,† 1827. This movement is most clear in Julius Caesar and Macbeth. In the former the fortunes of the conspiracy rise with vicissitudes up to the crisis of the assassination (III. i. ); they then sink with vicissitudes to the catastrophe, where Brutus and Cassius perish. In the latter, Macbeth, hurrying, in spite of much inward resistance, to the murder of Duncan, attains the crown, the upward movement being extraordinarily rapid, and the crisis arriving early: his cause then turns slowly downward, and soon hastens to ruin.In both these tragedies the simplicity of the const ructional effect depends on the fact that the contending forces may be identified with certain persons, and on the fact that the defeat of one side is the victory of the other. Octavius and Antony, Malcolm and Macduff, are left standing over the bodies of their foes. ? Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.Charles Kean and his wife as Macbeth and Lady Macbeth, in costumes aiming to be historically accurate (1858). ? This is not so in Romeo and Juliet and Hamlet, because here, although the hero perishes, the side opposed to him, being the more faulty or evil, cannot be allowed to triumph when he falls. Otherwise the type of construction is the same. The fortunes of Romeo and Juliet rise and culminate in their marriage (II. vi. ), and then begin to decline before the opposition of their houses, which, aided by accidents, produces a cat astrophe, but is thereupon converted into a remorseful reconciliation.Hamlet's cause reaches its zenith in the success of the play-scene (III. ii. ). Thereafter the reaction makes way, and he perishes through the plot of the King and Laertes. But they are not allowed to survive their success. Frederick Leighton – The Reconciliation of the Montagues and Capulets over the Dead Bodies of Romeo and Juliet, 1853-5 The Play Scene in Hamlet by Daniel Maclise (1806-70) ? http://elizabethan. org/compendium/home. html ? http://www. elizabethan-era. org. uk/elizabethan-england. htm ? http://www. britainexpress. com/History/Elizabethan_life. htm

The Cinema †More Than a Social Phenomenon. Film History Essay

The Cinema – More Than a Social Phenomenon. Film History Essay Free Online Research Papers The Cinema More Than a Social Phenomenon. Film History Essay Going to cinema is more than a social phenomenon; a simple technology has been able to culminate art forms culturally shaping society. The cinema experience draws upon such a wide intersection of factors it has become a complex subject of extensive and varying fascinations. Personal idiosyncrasies, preferences and appreciations form differing types of allure of the silver screen as discussed in 5 insights into cinema going. Frank O’Hara’s poem â€Å"To the Film Industry in Crisis† , is an ode to not only film, but O’Hara’s love of film. Illustriously and affectionately, O’Hara emphasises particular aspects he loves about cinema, while employing near sarcastic tones to convey a simultaneous sense of ambivalence. In the first stanza of the poem, he establishes a hierarchy of his love for other art forms, â€Å"Not you†¦nor you experimental theatre†¦nor you promenading Grand Opera, obvious as an ear (though you are close to my heart), but you, Motion Picture Industry, it’s you I love† . Interestingly, he ironically shows that despite an appreciation for the ‘high arts’ of theatre and opera, it is the cinema that he ultimately appreciates. The ironic use of the capitalised words of ‘Motion Picture Industry’ is a recognition of it as the antithesis of ‘high arts’ of opera and theatre. This follows and builds up to the second stanza, as he recollects a flurry of classic and favourite film moments and actors, almost like the canon of the cinephile. The style and flow of the poem resembles ranting as O’Hara’s memory unfolds with a flow of cinema knowledge. This is perhaps an insight into the minds of cinephiles in a sense of overcome by moments which are recalled almost as though they were personal experiences. The poem ties up with a mildly sarcastic tone in the ode to the actors â€Å"Long may you illumine space with your marvellous appearances, delays and enunciations, and may the money of the world glitteringly cover you as you rest after a long day under the klieg lights† . With this poem, we gain a sense of the overwhelming sense of pleasure derived from the culture of obsession with the cinema, actors and actresses. It is perhaps so overwhelming that any doubts about its commercialism or authenticity have been accepted, as seen thro ugh O’Hara’s sarcastic tone. Richard Hugo’s â€Å"The Real West Marginal Way† in a chapter titled the White Line, Hugo recollects childhood memories of 1930s of visiting the George Shrigley’s White Center Theatre. Hugo nostalgically describes his theatre, or â€Å"paradise†, in vivid detail where he recalls the beginnings of his fondness for the cinema. There was a white line in the cinema where he and other children were not allowed to cross as not to disturb the adults watching the film. Hugo draws an analogy to his favourite film of all time â€Å"Man On A Tightrope† directed by Elia Kazan, which tells the simple story of a circus led by Cernik to escape their government and cross the border. The border and white line serve as a parallel metaphor as the division between the â€Å"world of imagination† from the â€Å"world of serious organisational adult responsibility† . He applies Cernik’s journey to that of his own circumstance, â€Å"For poets the film should be special. Like Cernik, poets cross that border, often at some risk, to reach the land where usual moral judgements are suspended†. The suspension of judgement is an important freedom on Hugo’s side of the white line where the children are ignored by an overpowering loudspeaker and simply allowed to the freedom to talk. Hugo’s love for this film becomes apparent in his own idiosyncrasies. He describes how people’s reaction to â€Å"Man on A Tightrope† become a factor in his judgement of people’s characters, â€Å"If you don’t like it, chances are I wouldn’t like you† . This makes the suggestion that art, or in this case cinema, is inextricably linked to character and individuals. For one who loves and knows â€Å"Man on A Tightrope†, Hugo describes the strange feeling of still being mystified by how the film unravels despite knowing and being able to recall entire scenes. The strongest and most lasting impression of Hugo’s article is the realisation of how he longs for the feeling of being completely submerged in a film that he once felt as a child behind the white line. It is a feeling he can only appreciate in retrospect as he deals with the growing responsibility of age. In the introduction of Jean-Claude Carriere’s â€Å"The Secret Language of Film† , translated by Jeremy Leggatt, Carriere draws an analogy between modern cinema going and that of the first uses of the technology in Africa by the French colonial administrators. In the early 1920s, film shows were held the purpose of was not only to entertain, but also to â€Å"demonstrate to and subject African populations the unassailable supremacy of the white nations† . Invited to these shows were African notables and religious leaders, who, in despite of their religious beliefs which forbade them to depict the human face and form, attended entire shows with their eyes shut. Carriere draws his crucial parallel, â€Å"Sometimes I think we ourselves are not very different from those African Muslims when we go to see a film†¦Unlike them, we keep our eyes open in the dark, or we think we do† . Carriere is referring to our own set of habits and behaviours which ‘blinds’ us from being fully aware of what we are exposed to. â€Å"We refuse to see, or else we see something else. There is in every film a region of shadow, a stockpile of the not seen.† It is our habitual reception of film that contorts our reception, or perhaps even composition, of films. What is interesting about this is that, unlike other art forms, we are forced to see the same images at the same speed; â€Å"We are travelling on the same train† , so to speak. There is an element that forms appreciation of film in such a wide range of aspects despite being part of the audience entity . Due to the nature of cinema, we have a certain freedom to receive only the aspects of a film that we want, however it is this freedom that allows us to blind ourselves. The Rustle of Language by Roland Barthes , translated by Richard Howard, is an insightful article into the behavioural patterns of the act of ‘cinema going’. Barthes likens the â€Å"cinema situation† to a process of a hypnotic state, as he describes why being at the cinema is by its own character, special. He describes this due to our fascination with cinema in two distinct ways. We experience this hypnotic states through both a narcissistic body, which â€Å"gazes, lost† at the cinema images, and a â€Å"perverse body† , which fascinates itself with the act of going, sitting in, and leaving the cinema. Barthes primarily concerns himself with the latter. Barthes suggests that the conditions of hypnosis, â€Å"vacancy, want of occupation, lethargy† resemble that of the reasons we often go to the cinema â€Å"idleness, leisure, free time†. The cinema situation is â€Å"pre-hypnotic† . The darkness of the cinema acts as a â€Å"twilight reverie† , in which we explore our body’s anonymous freedom in an â€Å"urban dark†. Our state of hypnosis continues as we resonate with the ‘vibrations’ of the projector light’s ‘dancing cone’, which exists both ‘motionless and dancing’. However, the most interesting feature of Barthe’s analogy is his fascination with leaving the cinema. The pleasures of the perverse body as distanced with that of the narcissistic body is what most draws Barthes to the cinema. This â€Å"bliss of discretion† he describes can be interpreted as the surreal feeling of leaving the cinema as if being woken up, due to th e change in physical, environmental and emotional changes. Barthe’s concept ‘blissful discretion’ as we re-enter our own lives, often leaves us wanting for more. In â€Å"The Manchurian Candidate† by Greil Marcus , a book dedicated to the analysis of the 1962 film â€Å"The Manchurian Candidate† directed by John Frankenheimer, it explores how the film is immersed in American culture. Marcus delves into the intricacies of the film with an obvious passion, as he anecdotally and nostalgically gives his impressions of his first viewings of the film. This notion of first impression, or rather an impression sufficing the statement â€Å"Greatest movie I ever saw†, for Marcus, is an â€Å"overwhelming† sensation in which â€Å"The momentum of the film† will leave you ignorant of its flaws until viewed in retrospect. The difference between â€Å"Then and now†, particularly because his analytical inquisition into the film, becomes apparent in his opening description of â€Å"this 1962 black and white film made up of†¦HitchcockWellesBody Snatchers† , quite contrary to the â€Å"gift of art† felt during his first impressions. Seeing the film for the second time with his friend, Marcus anecdotally describes the immediate but brief discussion of their impressions of the film â€Å" ‘Greatest Movie I ever saw’ he said flatly, as if he didn’t want to talk about it, and he didn’t. He said what he said stunned with bitterness, as if he shouldn’t have had to see this thing, †¦as if the whole experience had been, somehow, a gift, the gift of art, and also unfair† . This sense of unfairness upon being presented with â€Å"the gift of art†, and just quickly taken away, is a familiar emotion in movie going which Marcus suggests is more than withdrawal symptom. The complex and conflicting feelings of â€Å"stunned with bitterness†, â€Å"both true and false† is a reflection into the meanings of art. As described earlier this first impression is an overwhelming sense of flawlessness, which is an interpretation as to the meaning of art; a certain flawlessness due to its truth to its own existence. This therefore allows for the coexistence of conflict. Perhaps this unfairness derives from the sense that our lives are filled with conflict although hardly resembling the flawlessness of art. The piece is written criticising the film in light of retrospect as seen in the first paragraph. This unfairness, perhaps is the idea that the first impression, or impressions, allows us to view and appreciate films in a way which cannot be recreated upon subsequent cinema experiences. The fascination with film going is often extended far beyond the moving pictures shown in a dark room. It can also be the dark room. It can be the void we feel when we are removed from our state of fascination. Our cinema habits, possibly depending on how, and how much we love cinema, can overflow into our lives. In its own sense, it is an experience almost as wholly as being, which is why it the feeling still astounds us. Research Papers on The Cinema - More Than a Social Phenomenon. 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Not Only in French

The Restrictive Only / Not Only in French There are two common French equivalents for the restrictive only in English: seulement and ne... que. These two terms mean essentially the same thing, but seulement is an adverb of quantity while ne... que is a negative adverb, so theyre used a bit differently Seulement: Only The simplest way to say only in French is with the adverb seulement, which can qualify a noun, verb, or clause.Jai seulement un livre.I have only one book. Il voit seulement les films à ©trangers.He only sees foreign movies. Note how the placement of seulement can change the meaning: Jai lu seulement deux pages pour te faire plaisir.I read only two pages to please you. (You didnt want  me to read more.) Jai lu deux pages seulement pour te faire plaisir.I read two pages only to please you. (I didnt feel like reading, but I did it for you.) Il veut seulement travailler la banque.He only wants to work at the bank. (He doesnt want to invest there). Il veut travailler seulement la banque.He wants to work only at the bank. (He doesnt want to work at the store). Ne... Que: Only in the Negative An equally common but slightly more complicated way to say only is with ne... que, which is used similarly to other negative adverbs: ne goes in front of the verb and que  usually follows it.Je nai quun livre.I have only one book.Il ne voit que les films à ©trangers.He sees only foreign movies.As with seulement, you can change the meaning by placing que directly in front of the word you want to qualify.Je nai lu que deux pages pour te faire plaisir.I read only two pages to please you.Je nai lu deux pages que pour te faire plaisir.I read two pages only to please you.Il ne veut que travailler la banque.He only wants to work at the bank.Il ne veut travailler qu la banque.He wants to work only at the bank.Note that indefinite and partitive articles do not change to de after ne... que, the way they do after other negative adverbs:Je nai quun livre.I have only one book.Il ne veut que des idà ©es.He only wants ideas, Hes just looking for some ideas. Negation: Not Only To say not only, you can negate ne... que into ne... pas que, which can stand alone or be followed by additional information: Je nai pas que 3 livres (jai 2 stylos aussi).I dont have only 3 books (I have 2 pens too)Il ny a pas que le travail (il faut vivre aussi).Work isnt all there is; Theres more [to life] than just work.Il nà ©tait pas quen retard....He wasnt just late (theres more to it than that). Seulement​ Seulement has two negatives. The first one, ne... pas seulement is pretty much interchangeable with ne... pas que.Je nai pas seulement 3 livres...I dont have only 3 books ...Il ny a pas seulement le travail....Work isnt all there is...Il nà ©tait pas seulement en retard....He wasnt just late... Non-Seulement The other negative,  non seulement, cannot be used in a stand-alone clause; it must be balanced with something like aussi, mais encore, etc.Il y a non seulement le travail  ; il faut vivre aussi.Work isnt all there is; you have to live too. Non seulement jai 3 livres, mais aussi 2 stylos.I dont have only 3 books, I have 2 pens too.Non seulement il à ©tait en retard, mais encore il à ©tait ivre.He was not only late, but drunk (too). Not only was he late, he was (also) drunk.

DB SC bus139 Assignment Example | Topics and Well Written Essays - 750 words

DB SC bus139 - Assignment Example On the contrary this form of business method helps to achieve economies of scale where funds can be allocated as per requirements. I feel that every business has the desire to expand across wide areas and in order to meet such an objective franchising is the best possible solution. The major advantage of this method is to have control on capital and operate across the globe without much of intervention. It can be stated that franchisees are able to provide a large customer base along with some exceptional talent which cannot be accessed by a business that has its wholly owned subsidiary. High level of consistency and quality are maintained by franchisees as they are bound within an agreement. This in turn increases the scope for success of the new business. On the contrary the major disadvantage of the method is that expertise and skills of a firm needs to be shared by all the franchisees. There can even be an issue with timely payment of fees and royalties by franchisees which would disrupt the relationship between franchisor and franchisee and ultimately have an impact on the business (Longenecker, Palich & Hoy 94-99). In order to avoid such a situation the best possible measure is to set forth an agreement with all possible terms and conditions and then I would prefer to have limited number of franchisees who can be easily controlled. I was working as an employee with a renowned organization located in United States known as Kraft Foods. The industry in which the company operates is highly competitive with large number of players. However Kraft Foods has been able to establish its unique position in the market due to high product quality and innovative food items which it brings forth for its customers. Food and Beverage industrial sector is a segment that needs constant monitoring as any new move made by competitor can result into loss of market share. While I was working in this organization, I observed a good management situation in which top