Issue Report on Captive Breeding and Reintroduction

Wildwood Trust is a venture arranged on the edge of the Forest of Blean, in Kent. Wildwood's point is to utilize the offices in the forest and creature assortment to ‘support down to earth protection ventures in the wild.' There are more than 300 creatures, huge numbers of which are jeopardized, partaking in preservation activities, and living in semi characteristic fenced in areas. The forest is overseen by coppice turn, a procedure that happens at regular intervals where trees, for example, silver birch and sweet chestnut are sliced to ground level and afterward shoots permitted to regrow. This is a fundamental living space for the hazel dormouse. The wood is an inside for hostage rearing and reintroduction for local jeopardized species, for example, hazel dormice and this model will be utilized in this report to clarify these issues. The Hazel Dormouse (Muscardinus avellanarius) The Hazel Dormouse is local to the field of Britain, overwhelmingly southern England (see figure 2), living in forest regions and situations wealthy in coppice. The mice are an arboreal species; spending most of their life in trees or shrubberies and just living on ground level during winter hibernation. The mice are viewed as a ‘flagship animal types' picked to speak to an ecological reason and raise support thusly profiting different species contained in the environment. The populaces of dormice were appeared to have vanished from seven districts in England by The UK Mammal Society Dormouse Survey in 1984. The decay has been brought about by human obliteration of their forest environment through turn of events, environmental change and weight from different species. Dark squirrels were brought into England and ate the nuts that the dormice benefited from while they slept. Climatic change caused hotter winters bringing about the early arousing of the dormice from hibernation, before the aging of their food, and wetter summers prevented the dormice from rummaging. Dormice are recorded on The World Conservation Union (IUCN) Red List of Threatened Species and are ensured by law, under Schedule 5 of the Wildlife and Countryside Act, 1981. This demonstration forestalls the slaughtering, harming, upsetting or catching of the dormouse. It likewise makes it unlawful to have or control the creature, harm its asylum and sell or purchase the dormice without a permit. Hostage rearing Hostage rearing is the generation of creatures in restriction under controlled conditions to be discharged into nature. This is significant for preservation of compromised species and is a case of ex situ (out of the normal environment) protection, yet it raises suggestions. Hostage reproducing has occurred at Wildwood for dormice as a major aspect of the national dormouse hostage rearing and reintroduction program. The dormice are housed in a walled in area made of a wooden casing and work covering. Dissimilar to different rodents theirs is a short rearing season having 1-2 little litters of 4-7 posterity. The youthful remain with the mother for 6 two months, making it improbable for more than one litter a year. In every fenced in area the home boxes are kept 1.5m off the ground with security from water and predators, water and food are held tight the side of the enclosure and the floor is secured with leaves and soil. After hibernation the nook is loaded up with parts of vegetation to give 3D space to the creatures to utilize. This gives the perfect conditions to rearing with no distressing food finding. One walled in area can hold up to three people either two females and one male or one rearing pair and their posterity, under one year old enough, and will be kept in similar groupings over winter. Grown-up guys must be set independently as they are regional and will battle. Where do the rearing mice originate from? In November home boxes are checked and, if authorization is conceded from Natural England, wild dormice weighing under 15g can be taken. As these mice are underweight they have less possibility of enduring winter hibernation and can be kept inside during this period in warmed home boxes. Other dormice are stranded or surrendered to save focuses and vets. The Common Dormouse Captive Breeders Group (CDCBG) picks which people breed and what number of are reared yearly, which additionally assists with forestalling inbreeding. The Paignton zoo studbook guardian gives every hostage conceived dormouse a stud book number, and their reproducer will dispense each mouse a nearby ID number. Hereditary qualities At the point when creatures duplicate qualities are passed from guardians to posterity. Hereditary variety is the characteristic contrasts of people, over a populace. A trademark that will give dormice a burden, for instance short teeth, could keep them from opening nuts, so if food was hard to find these mice would kick the bucket and longer teethed mice would flourish. This would make the quality for longer teeth become increasingly normal, which is the premise of characteristic choice. Regular determination, was a hypothesis of Charles Darwin, in which better adjusted creatures would have increasingly possibility of endurance, so getting progressively transcendent. Wildwood might want to save biodiversity which is the colossal variety found inside and among species and environments on Earth. Posterity that are made from similar arrangements of qualities will have comparable qualities to one another. Inbreeding is the reproducing of creatures that share a greater number of qualities than the normal populace, they are connected somehow or another. On the off chance that inbreeding happens the qualities of their young will originate from an exceptionally specific genetic stock, making specific qualities increasingly prevalent inside an animal categories. Inbreeding can prompt deformations and changes just as issues with resistant frameworks and an expansion in hereditary maladies. ‘Inbreeding will in general decrease the quantity of alleles in a populace', from source 1. A studbook for dormice was made in 2006 to monitor mice kept by individuals from the CDCBG. As far as possible inbreeding and continues reproducing to original or wild got creatures. Raisers can utilize the studbook to specifically raise, blending mice from various assortments and various families. This will prevent related mice from overwhelming the genetic stock making more beneficial mice and protecting hereditary assorted variety. Future improvements could incorporate implantation of undeveloped organisms and in vitro treatment (IVF) of the dormice. Specific reproducing could be improved and slowly bothersome qualities or shortcomings reared out. Cloning could be created. Hostage reproducing raises numerous moral, natural, social and financial issues. Moral issues. * There are different moral issues that need thought with respect to hostage reproducing. Creatures must be expelled from their common habitat and put into imprisonment for all intents and purposes bolting them up and numerous individuals feel that there ought not be any obstruction with nature along these lines even to keep away from termination. The facts could confirm that hereditary decent variety has just declined to where it is irreversible. * There could be a case for assurance to empower reproducing in the wild, by in situ strategies for preservation, inside the earth. In any case, hostage reproducing is utilized to hold species and improve numbers and is simpler to oversee. * Selective reproducing increments hereditary variety and produces more advantageous populaces additionally forestalling inbreeding. This diminishes deformations and transformations yet should people meddle with normal propagation? Inbreeding would here and there normally happen and if the populace was kept huge enough this would not regularly occur. Affordable Guests pay an extra charge at Wildwood and this cash goes towards the hostage reproducing plan. In any case, they don't see the program occurring as they would upset the dormice and meddle with hibernation and propagation. It may be the case that except if the program proceeds with inconclusively a great deal of venture might be lost if the numbers keep on declining. Condition Utilizing dormice from various assortments to raise may spread maladies to different populaces of dormice. Reintroduction Reintroduction is discharging hostage conceived creatures into a specific domain to which they were once local and where they will be liberated from human oversight. Typically these populaces experienced decay because of human mediation and will possibly succeed if the reason for the decrease has been survived. The reintroduction is viewed as fruitful if the creature has completely incorporated into the neighborhood populace and made due with no further guide or collaboration from people. Reintroduction ventures must follow rules set out by the IUCN and Wildwood has discharged dormice once more into their characteristic natural surroundings. They utilize a delicate discharge program, step by step utilizing less human intercession. Seven weeks before discharge the litters are wellbeing screened at the Zoological Society and discharged in the event that they finish the assessments. Reintroduction is constrained to once every year as models for appropriate destinations are broad and confused. The populace densities are under 10 grown-ups per hectare in their best surroundings. What does the wellbeing screening test for? The wellbeing screening happens to check the creatures don't have any sickness that could be passed onto wild populaces. Researchers test for: * pathogenic microscopic organisms * Tapeworms (cestodes) * Roundworms (strongyles) * Tubercolosis * Parasites The state of the dormice's jacket, skin, face, privates, feet and incisor teeth are checked and their weight ought to be between 18-24g for summer re-presentation. 8mm Pet-ID microchips are fitted in the dormice under sedative for distinguishing proof later on. Where is a dormouse discharged? A perfect site for the dormice†¦ would†¦ would not†¦ be an old wood with various layers of vegetation, as of now have a dormouse network (guys may execute new dormice) have heaps of undergrowth, have under 100 home boxes in the forest. have deciduous trees, Spot guys under 100m separated, as they are regional. have coppicing occurring routinely, Have related dormice close by to quit inbreeding have fruiting h

The Origins of the Roman Festival Lupercalia

The Origins of the Roman Festival Lupercalia Lupercalia is one of the most antiquated of the Roman occasions (one of the feriae recorded on old schedules from even before the time Julius Caesar changed the schedule). Today is recognizable to us for two fundamental reasons: It is related with Valentines Day.It is the setting for Caesars refusal of the crown that was made undying by Shakespeare, in his ​Julius Caesar. This is significant in two different ways: the relationship of Julius Caesar and the Lupercalia gives us some knowledge into the last a very long time of Caesars life just as a glance at the Roman occasion. The name of the Lupercalia was discussed a great deal in the wake of the 2007 revelation of the unbelievable Lupercal caveâ -where, probably, the twins Romulus and Remus were nursed by a she-wolf. The Lupercalia might be the longest-enduring of the Roman agnostic celebrations. Some advanced Christian celebrations, similar to Christmas and Easter, took on components of before agnostic religions, however they are not basically Roman, agnostic occasions. Lupercalia may have begun at the hour of the establishing of Rome (generally 753 B.C.) or even previously. It finished around 1200 years after the fact, toward the finish of the fifth century A.D., in any event in the West, in spite of the fact that it proceeded in the East for an additional couple of hundreds of years. There might be numerous reasons why Lupercalia kept going so long, however most significant more likely than not been its wide intrigue. Why Is Lupercalia Associated With Valentine's Day? In the event that all you think about Lupercalia is that it was the foundation for Mark Antony to offer the crown to Caesar multiple times in Act I of Shakespeares Julius Caesar, you most likely wouldnt surmise that Lupercalia was related with Valentines Day. Other than Lupercalia, the large schedule occasion in Shakespeares disaster is the Ides of March, March 15. Despite the fact that researchers have contended that Shakespeare didn't expect to depict Lupercalia as the day preceding the death, it sure sounds that way. Cicero focuses to the risk to the Republic that Caesar introduced on this Lupercalia, as per J.A. North-a threat the professional killers tended to on that Ides. It was likewise, to cite Cicero (Philippic I3): that day on which, drenched with wine, covered with scents and exposed (Antony) set out to encourage the moaning individuals of Rome into servitude by offering Caesar the diadem that represented the kingship.Caesar at the Lupercalia, by J. A. North; The Journal of Roman Studies, Vol. 98 (2008), pp. 144-160 Sequentially, Lupercalia was an entire month before the Ides of March. Lupercalia was February 15 or February 13-15, a period either proximate to or covering present day Valentines Day. History of Lupercalia Lupercalia ordinarily begins with the establishing of Rome (generally, 753 B.C.), however might be an increasingly old import, originating from Greek Arcadia and respecting Lycaean Pan, the Roman Inuus or Faunus. [Lycaean is a word associated with the Greek for wolf as found in the term lycanthropy for werewolf.] Agnes Kirsopp Michaels says Lupercalia just returns to the fifth century B.C. Convention has the unbelievable twin siblings Romulus and Remus setting up the Lupercalia with 2â gentes, one for every sibling. Eachâ gensâ contributed individuals to the clerical school that played out the services, with Jupiters minister, theâ flamenâ dialis, in control, from in any event the time of Augustus. The religious school was called the Sodales Luperciâ and the ministers were known as Luperci. The first 2â gentesâ were the Fabii, in the interest of Remus, and the Quinctilii, for Romulus. Episodically, the Fabii were nearly destroyed, in 479. at Cremera (Veientine Wars) and the most celebrated individual from the Quinctilii has the qualification of being the Roman head at the awful fight at Teutoberg Forest (Varus and the Disaster at Teutoberg Wald). Afterward, Julius Caesar made a brief expansion to theâ gentesâ who could fill in as Luperci, the Julii. At the point when Mark Antony ran as a Luperci in 44 B.C., it was the first run through the Luperci Juliani had showed up at the Lupercalia and Antony was their pioneer. By September of that year, Antony was grumbling that the new gathering had been disbanded [J. A. North and Neil McLynn]. Albeit initially the Luperci must be privileged people, the Sodales Luperciâ came to incorporate equestrians, and afterward, the lower classes. Etymologically, Luperci, Lupercalia, and Lupercal all identify with the Latin for wolfâ lupus, as do different Latin words associated with massage parlors. The Latin for she-wolf was slang for prostitute. The legends state that Romulus and Remus were breast fed by a she-scoundrel. Servius, aâ 4th-centuryâ pagan observer on Vergil, says that it was in the Lupercal that Mars ravished and impregnated the twins mother. (Serviusâ ad. Aen. 1.273) The Performance The cavorting Sodales Luperciâ performed a yearly refinement of the city in the month for cleansing February. Since right off the bat in Roman history March was the beginning of the New Year, the time of February was an opportunity to dispose of the old and plan for the new. There were two phases to the occasions of the Lupercalia: The first was at the site where the twins Romulus and Remus were said to have been found being nursed by the she-wolf. This is the Lupercal. There, clerics yielded a goat and a canine whose blood they spread on the temples of the youngsters who might before long go dancing exposed around the Palatine (or sacrosanct way) otherwise known as the Luperci. The cover up of the conciliatory creatures was cut into strips for use as lashes by the Luperci after the essential galas and drinking.Following the dining experience, the subsequent stage started, with the Luperci going around stripped, kidding, and hitting ladies with their goatskin straps. Stripped or insufficiently clad celebration celebrants, the Luperci most likely ran about the territory of the Palatine settlement. Cicero [Phil. 2.34, 43; 3.5; 13.15] is resentful at aâ nudus,â unctus,â ebriusâ naked, oiled, alcoholic Antony filling in as Lupercus. We dont know why the Luperci were naked. Plutarch says it was for speed. While running, the Luperci struck those men or ladies they experienced with goatskin straps (or maybe aâ lagobolonâ throwing stick in the early years) following the initial occasion: a penance of goat or goat and pooch. On the off chance that the Luperci, in their run, surrounded the Palatine Hill, it would have been unimaginable for Caesar, who was at the rostra, to have seen the whole procedures from one spot. He could, notwithstanding, have seen the peak. The stripped Luperci began at the Lupercal, ran (any place they ran, Palatine Hill or somewhere else), and finished at the Comitium. The running of the Luperci was a display. Wiseman says Varro called the Luperci entertainers (ludii). The principal stone performance center in Rome was to have ignored the Lupercal. There is even a reference in Lactantius to the Luperci wearing sensational veils. Theory proliferates regarding the purpose behind the hitting with the straps orâ lagobola. Maybe the Luperci struck people to cut off any dangerous impact they were under, as Michaels proposes. That they may be under such an impact has to do with the way that one of the celebrations to respect the dead, the Parentalia, happened at about a similar time. In the event that the demonstration was to guarantee richness, it may be the case that the striking of the ladies was to speak to infiltration. Wiseman says that clearly, the spouses wouldnt have needed the Luperci really having sexual with their wives, however representative infiltration, broken skin, made by a bit of a ripeness image (goat), could be powerful. Striking ladies is thought to have been a fruitfulness measure, yet there was likewise a chosen sexual segment. The ladies may have uncovered their backs to the straps from the celebrations origin. As indicated by Wiseman (refering to Suet. Aug.), after 276 B.C., youthful wedded ladies (matronae) were urged to uncovered their bodies. Augustus precluded clean shaven youngsters from filling in as Luperci in light of their power, despite the fact that they were most likely not, at this point exposed. Some old style essayists allude to the Luperci as wearing goatskin undergarments by the first century B.C. Goats and the Lupercalia Goats are images of sexuality and fertility. Amaltheas goat horn overflowing with milk became theâ cornucopia. One of the most licentious of the divine beings was Pan/Faunus, spoke to as having horns and a caprine base half. Ovid (through whom we are predominantly acquainted with the occasions of the Lupercalia) names him as the lord of the Lupercalia. Prior to the run, the Luperci ministers played out their penances of goats or goats and canine, which Plutarch calls the foe of the wolf. This prompts one more of the issues researchers talk about, the way that theâ flamenâ dialisâ was present at the Lupercalia (Ovid Fasti 2. 267-452) in the hour of Augustus. This minister of Jupiter was prohibited to contact a pooch or goat and may have been taboo even to take a gander at a canine. Holleman recommends that Augustus included the nearness of theâ flamenâ dialisâ to a service at which he had before been missing. Another Augustan development may have been the goatskin on befo rehand stripped Luperci, which would have been a piece of an endeavor to make the function not too bad. Flogging Continuously century A.D. a portion of the components of sexuality had been expelled from the Lupercalia. Completely dressed ladies loosened up their hands to be whipped. Afterward, the portrayals show ladies embarrassed by lashing on account of men completely dressed and done running about. Self-flogging was a piece of the rituals of Cybele upon the arrival of blood dies sanguinis (March 16). Roman lashing could be lethal. Horace (Sat., I, iii) composes aboutâ horribileâ flagellum, yet the whip so utilized may have been a more unpleasant sort. Scourging turned into a typical practice in

Joe Magnarelli at Smalls Jazz Club

Joe Magnarelli at Smalls Jazz Club Free Online Research Papers On Thursday, February thirteenth, I went to a club execution at Smalls Jazz Club on 183 W. tenth Street to hear Joe Magnarelli on trumpet play a set with a piano player, bassist, and percussionist. The set kept going longer than an hour and was valued by an enormous crowd packed into the small cellar room. The tunes performed were Mr. Mags, Waltz for Aunt Marie, Ruby’s Weekend, You’ve Change, and Home Changed. My general impression was that the gathering, especially Joe Magnarelli, was incredible yet that I experienced difficulty understanding what was happening in the music. The style of the gathering was more current than what we have concentrated in class, so I didn't have the foggiest idea how to arrange it or comprehend it completely. I noticed, in any case, that they utilized a contemporary rendition of the exemplary New Orleans style by utilizing organized at this point extemporized contrast that was more conflicting and rough than that from the mid twentieth century. As far as the outfit, Joe Magnarelli was plainly the pioneer of the gathering, as he remained before the other three individuals and consistently took the first and last performances of each piece. The other three players, be that as it may, each had their chan ce at taking performances, in spite of the fact that the musician plainly had a greater number of performances than the bassist and percussionist. I accepted that this assignment of performances happened on the grounds that the bass and percussion contained the beat segment, which naturally doesn't give numerous performances, while the piano and trumpet were the tune players. The gathering, generally, switched back and forth between quicker, energetic tunes and more slow, creamier tunes. It was during the peppy melodies that I saw the utilization of the New Orleans antithesis. I quickly, nonetheless, took an inclination to the more slow pieces. I felt that the quick melodies were too â€Å"busy† sounding (New Orleans style gone insane), with each musician’s part sounding so not the same as the rest that any cohesiveness inside the gathering was difficult to delineate. I additionally felt that the parity in the peppy numbers was a little percussion-overwhelming, where the clanking of the hihat penetrated through the remainder of the gathering, in this manner diverting the audience from different parts. Moreover, it was more diligently to choose tunes and subjects in the quicker tunes than it was in the more slow melodies, so I would in general comprehend the types of the more slow tunes better. I especially valued the subsequent melody, â€Å"Waltz for Aunt Marie.† It was a heartfelt tune that permitted Joe Magnarelli to feature his smooth, delicate tone on the trumpet, which was a wonderful difference to his brassier tone utilized in the quicker tunes. One piece of the melody that struck me was its tag: Magnarelli took an unaccompanied performance mostly comprising of a climbing scale and afterward finished with the gathering on the tonic of the key of the piece. This closure shocked me, for I for the most part expect a jazz number to end on a flighty note-i.e., anything other than the tonic. I truly valued that aberrance from standard jazz practice, where a little old style impact was a decent touch to the piece. I addressed Joe Magnarelli after the set to praise on his presentation, especially on his wonderful sound in the more slow tunes. I at that point asked him how it felt to make such lovely minutes while his crowd talked away to such a degree, that the individuals couldn't have valued the refined state of mind of the melody. I asked him this in light of the fact that during the delightful finish of â€Å"Waltz for Aunt Marie,† I experienced difficulty concentrating on the music due to all the clamor around me, along these lines rendering me very unsettled. I referenced to him that I am an old style artist, so I expect total quietness when I perform or go to a show, and I solicited him what he thought from the distinction in convention between the two kinds of music. He reacted that he minds just that his crowd makes some great memories, so he wouldn't like to show up too butt-centric about the clamor level in the club. I inquired as to whether he could ever tell a group of peopl e in put calm down if the individuals were excessively uproarious, and he said no, that jazz makes a more loosened up environment than traditional music and that commotion level is something jazz performers should just arrangement with. He was so overall quite giving of his time that I was truly excited to converse with him. He even requested my name, and when I said Laura, he referenced the tune â€Å"Laura† and said he would play it for me in the event that I at any point came to hear him once more. I was truly moved by his thoughtfulness; it made the entire night advantageous. It additionally caused me to comprehend the affection that exists inside jazz, where the artists play and ad lib from their souls and love the music regardless of any encompassing conditions. Now and then I don't have that equivalent impression about traditional music. I can't assist with feeling, in any case, that it isn't right to regard jazz as ambient melodies, for example, a significant number of the crowd individuals at Smalls did that night. Maybe individuals go to Smalls for its air and not really for the music itself. I am not against the air that a little, comfortable, jazz club makes; in any case, I feel the music should consistently start things out and that that standard should hold for both traditional music and jazz. Research Papers on Joe Magnarelli at Smalls Jazz ClubThe Fifth HorsemanHip-Hop is ArtThe Hockey GameWhere Wild and West MeetNever Been Kicked Out of a Place This Nice19 Century Society: A Deeply Divided EraIncorporating Risk and Uncertainty Factor in CapitalThe Spring and AutumnEffects of Television Violence on ChildrenQuebec and Canada

Verb Voice Examples

Verb Voice Examples Verb Voice Verbs in English have voice, which refers to the relationship between the subject of the sentence and the verb. Examples of Verb Voice: There are two verb voices in English: Active Voice-when the subject of the sentence the person or thing doing the action of the verb or in the state expressed by the verb. This is the voice with which we are most familiar-the subject performs the action of the sentence. Passive Voice-when the subject of the sentence is being acted upon. The subject of the sentence is not performing the action. Instead, it is receiving the action. Most writers do not use passive voice. Passive voice should only be used when you need to emphasize the thing that is being acted upon. To write a sentence in the passive voice, you must use an auxiliary verb, or "helping" verb. Examples of sentences written in active voice: 1) Joseph threw the ball through the neighbor's window. 2) Alyssa drank the last bottle of water. 3) Katie read the library book. 4) Pamela walks her dog Bucky. 5) The class watched a movie about frogs. Examples of the same sentences written in passive voice: 1) The ball was thrown through the neighbor's window by Joseph. 2) The last bottle of water was drunk by Alyssa. 3) The library book was read by Katie. 4) Bucky is walked by Pamela. 5) A movie about frogs was watched by the class.

Back-Channel Signal Definition and Examples

.In conversation, a back-channel signal is a noise, gesture, expression, or word used by a listener to indicate that he or she is paying attention to a speaker. According to H.M. Rosenfeld (1978), the most common back-channel signals are head movements, brief vocalizations, glances, and facial expressions, often in combination. Examples and Observations Fabienne: I was looking at myself in the mirror.Butch Coolidge: Uh-huh?Fabienne: I wish I had a pot.Butch Coolidge: You were lookin in the mirror and you wish you had some pot?Fabienne: A pot. A pot belly. Pot bellies are sexy.(Pulp Fiction, 1994)We .. show we are listening and do not wish to interrupt by giving back-channel signals, such as yes, uh-huh, mhm, and other very short comments. These do not constitute turns or attempts to take the floor. On the contrary, they are indications that we expect the speaker to continue.(R. Macaulay, The Social Art: Language and Its Uses. Oxford University Press, 2006)Karen Pelly: Brent might learn a little lesson if his security camera got stolen.Hank Yarbo: Yeah.Karen Pelly: By someone.Hank Yarbo: Hmm.Karen Pelly: Someone he trusts.Hank Yarbo: Yeah, I suppose.Karen Pelly: Someone he would never suspect.Hank Yarbo: Yeah.Karen Pelly: Plot the cameras motion and approach from a blind spot. You could pull it off.(Security Cam, Corner Gas, 2004) Facial Expressions and Head Movements The face plays an important role in the communication process. A smile can express happiness, be a polite greeting, or be a back-channel signal. Some facial expressions are linked to the syntax structure of the utterance: eyebrows may raise on an accent and on nonsyntactically marked questions. Gaze and head movements are also part of the communicative process. (J. Cassell, Embodied Conversational Agents. MIT Press, 2000)And here Mrs. Aleshine nodded vigorously, not being willing to interrupt this entrancing story.(Frank R. Stockton, The Casting Away of Mrs. Lecks and Mrs. Aleshine, 1892) A Group Process Turn-taking and suppressing signals are given by the current speaker; they are used to defend the right to continue speaking on the same subject or with the same level of emphasis. ​Back-channel signals are communication acts by others, such as a person agreeing or disagreeing with the speaker. The types of signal and the rate at which they are used relate to the underlying group process, particularly the group regulatory forces. Meyers and Brashers (1999) found that groups use a form of participation reward system; those who are co-operating with the group receive helping communication behaviors and those in competition are received with communication-blocking behavior. (Stephen Emmitt and Christopher Gorse, Construction Communication. Blackwell, 2003)

The Divine Comedy Illustrates Dante Pilgrim’S Heroic Journey

The Divine Comedy illustrates Dante Pilgrim’s heroic journey that is commonly displayed in numerous other epic poems of his time. However, Dante cannot begin his journey through his starting place in Hell, which is where his beloved Virgil comes into the text. Inspired by Virgil’s writings, especially the Aeneid, Dante willingly accepts to follow Virgil on a journey into an unknown world. Dante as a character develops his personality as he nears Heaven, which makes him consider Virgil to be less of a guide and sees them as independent individuals. Another intriguing perspective is that Dante is trying to reach Heaven, yet he allows Virgil, a shade residing in Hell, to lead him on his journey towards enlightenment. The spiritual changes†¦show more content†¦Dante endorses Virgil for his success as a poet, through which he mimics the writing style of Virgil. Virgil was not chosen as a guide for Dante because he was the right person for the job; instead, he was ch osen because he is the right guide for Dante. Dante feels comfortable around Virgil, as he has trust in his idol. Virgil admits to Dante that he is a pagan, but he had no choice to reach Heaven as he says, â€Å"And if they lived before Christianity, they did not worship God in fitting ways; and of such spirits I myself am one. For these defects, and for no other evil, we now are lost and punished just with this†¦Ã¢â‚¬  (Inferno. IV. 37-42). Thus, Virgil did no evil to earn his spot in Hell because he did not have the opportunity to show his love for God during his time on Earth. Dante does not judge Virgil due to his lack of love for God but pledges to follow him in their journey. Dante’s acceptance of Virgil is the first key piece that ignites their ongoing relationship. Dante shows the promising faith and trust he has for Virgil. Virgil is a wise man who shows Dante valuable life lessons throughout Hell and up until they reach Heaven. Not only is Virgil wise, but is also a trustworthy guide that attempts to protect Dante at all costs. On the trip through Hell, Virgil explains the sin committed in each circle and sub-ring to teach Dante what to avoid when he returns to the above world. The lessons Virgil teaches Dante is only beneficial if he listens to everythingShow MoreRelatedThe Sonnet Form: William Shakespeare6305 Words   |  26 Pagessuccessive rhymed lines that are equal in length. A heroic couplet is a pair of rhyming lines in iambic pentameter. In Shakespeare’s plays, characters often speak a heroic couplet before exiting, as in these lines from Hamlet: â€Å"The time is out of joint: O cursed spite, / That ever I was born to set it right!† Quatrain: A four-line stanza. The most common form of English verse, the quatrain has many variants. One of the most important is the heroic quatrain, written in iambic pentameter with an ABAB

Rap up the Violence free essay sample

Money is often an issue for teens so they turn to committing crimes to obtain the things they see rapper wearing. In The Music of Violence by John Lingua , it says, many law-enforcement agents say the rap scene stokes gang life, gunplay and bloodletting. The article also says that the makers of the videos and the music insist culture doesnt cause crime, It only documents It. Rap music and videos became popular in the asss, and as history has shown violence was running rampant way before rap hit the scene. In todays society gangs are almost the norm.Low income families sometimes rely on the income that is created by gang violence in order to survive. It is a misconception that young people look up or condone the behavior on rap videos, when really its that they relate to It. In Brent Staples article The Hip-Hop Media he states that female rapper I-II Kim went to Jail for not cooperating with the police. When asked about an incident Involving members of her record label All Kim, according to The Hip-Hop Media, misremembered the events of shootout that took happened at the popular radio station Hot 97 . On the streets not snitching is like an unspoken code. It is not necessarily admiration these teenagers feel, but maybe a sense of being able to relate. Rap music is taking the blame for everything. In the article Study Raps Rap Vided It says that young girls try to emulate what they see on rap videos. Fashion magazines ,TV, and movies have Just as much of a negative affect on young girls as rap music. Many girls today are harming their selves in order to look like the celebrities. The images that Brittany Spears, Lindsey Loan, and Paris Hilton portray are Just as harmful as the lyrics in some rap songs. In the song Ignorant Sit by paper Jay Z he raps Surface the movie did more than Surface the rapper to me. Still that mint the blame for all the sit that happened to me . Are you say what Im spitting, Is worse than these celebrants showing their kitten, are you kidding? Lets stop the bulletin till we all without sin, lets quit the pulpit-Ins. If we are going to hold one form of entertainment responsible for our youths actions and values we should hold them all responsible. The Capital Journal article Hip-Hops Rap Sheet hit the nail on the head by saying rap is a scapegoat for a bigger problem.There are many different kinds of rap music. Some of it is not meant for the immature mind, It is the parents responsibility to determine the maturity level of todays to covet what they see. If rap videos and violent games are all teenagers see, that becomes the role model. With guidance teenagers will distinguish what is reality and what is parameterized for entertainment value. When raising children parents have a responsibility to plant the seed, water the seed, and nurture that seed until it has matured.If good morals and values are instilled in teenagers by the parents rap sic can have the value it is meant to have, entertainment. Belgrade, Squeamish. Youth Violence Regencies. Com. 15 Par. 2008. In this article the author Squeamish Belgrade, Jar. Is states that the term black on black violence, has been change by the media to a more generic term youth violence. as a new approach toward old problem, rather than blaming wayward marginalia communities. He is saying in laymans terms he is saying that this problem has spread from the urban common unities to the suburban communities.Carter, Shawn. Ignorant SSH*T. By Jay Z. Race. Novo. 2007. Ignorant SSH*T. Deaf Jam Recordings, November 2007. This song is talking about people hating Lousy) on Jay Z because of his popularity and success. It also tells how the media says that rap music has a negative affect on the youth. Jay Z states that some movies had more of an affect on him than some rap songs. Also how celebrates do negative things and the media glorifies it Dotting, Randy Study Raps Rap Videos. Healthful News Reporter. 6 Mar. 2006. 25 Par. 008. This articles talks about how Rap music has a negative affect on teenage girls. It tells that girls who watch a high percent of rap videos are ore likely to get in trouble and to contract Studs than girls who watch little or no rap videos. Hip-Hops Rap Sheet. Capital Journal Online. 24 Jan. 2008. 25 Par. 2008 . This editorial is talking about condemning Gangster Rap. It also talks on that may rap music is a scapegoat for a bigger problem in society. How prohibiting Rap music it may create a bigger problem.This editorial hit home because it is written in a newspaper that is close to home, Topeka. Hopkins, Joe C. Gangster Rap. Pasadena Journal. 31 Cot. 2003. 15 Par. 2008. The editorial is talking about Black on Black crime. How the US was so upset when a white police officer slammed a young black man on the hood of a car, no one gets upset with the daily killings in the big cities of young black men by other black men. It also talks about how some rapper promote their image as thugs or pimps. Lingua, John. The Music of violence. palmettos. Mom. 11 June 2007. 23 Par. 2008 . This article talks about how rap videos that are shot in neighborhoods has a negative affect on that neighborhood. How shooting in low income communities only fed in to the stereotype about urban street violence. Micrometer, John H. How Hip- Hop Hold Blacks Back. City Journal. 10 June 2003. 25 Par. 2008. This editorial is manly about how Rap evolved from fun loving dance music to gangster music. It also talks about how black teenagers, mostly male, live their live according to the lyrics in rap music.Reed, William. Rap, Records, Revenues, and Refrain. The Washington Informer. 3 May 207. 15 Par. 2008. This editorial is about how more than a decade after C. Dolores Tucker complained about the offence language in rap music the language is still there. In this article the controversy is weather rap music is part of the First Amendment. Staples, Brent. The Hip-Hop Media- a World Where Really addressing the imprisonment of the rapper Ill Kim for misremembering fact surrounding a case involving members of her rap label.The article does not say that rap music causes violence among teenagers it talk more about one rapper in particular, Ill Kim Staples, Brent. How Hip Hop Music Lost. New York Mimes. 12 May 2005. 25 Par. 2008. This article talks about how the rap music is not only causing violence among teenagers, but that rappers themselves are dying because of so called beefing. Beefing is when two rappers or rap group make song that speak actively about another rapper ore group.

KFC sot in China free essay sample

Tthe company owns and franchises more than 15,500 outlets in more than 100 countries (great diversification, expanding rapidly in high growth areas (i. e. China) By 2006, KFC had 1,700 restaurants in China, more than tripling in five years. Profit and sales figures saw increases of over 25 percent for some quarters, while comparable figures domestically were 1 and 2 percent. KFC significantly outsold McDonalds in China, and by 2006, KFC was opening a new Chinese outlet every 22 hours. Yum! s boss David Novak told Business Week (October 30, 2006) that he hoped to eventually have as many KFC restaurants in China as in the United States. There is no one else in China expanding at this level with the returns we are generating, he told the magazine. Thus while the U. S. market had continued to slumber for KFC in the years it had been run by Tricon/Yum! , overseas KFC was a powerful force. 300 new outlets opening over the next three to five years. We will write a custom essay sample on KFC sot in China or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The chicken chain, which already has 760 outlets in the UK, says it is doing good business during the recession as people are drawn to cheaper food successful innovations instituted in the companys international operations, was seen as a way for KFC to enter new markets. Delivery, drive-through, carryout, and supermarket kiosks were up and running. Other outlets in testing were mall and office-building snack shops, mobile trailer units, satellite units, and self-contained kiosks designed for universities, stadiums, airports, and amusement parks (KFC growing into more contemporary role) By 2002, Tricon had developed 1,375 multibrand stores. Tricon changed its name in 2002 to Yum! Brands, and it acquired two more restaurant chains, the seafood restaurants Long John Silvers, and the hamburger and root-beer chain AW. This opened up some more possibilities for multibranded stores. OLD FAVORITES, SAME LOCATIONS The use of multiple-branding whereby several restaurant chains operate at the same location is an attempt to draw more customers by offering a large number of items from which to choose. Chains that engage in multiple-branding can better absorb fixed operating costs, such as rent. Pepsico, owner of Taco Bell, KFC and Pizza Hut, has started co-branding where youll see a Taco Bell kiosk in a KFC store Weaknesses: Company not seeing Return on Assets with significant diversification into new product lines to capture new markets (drain of capital expenditure was not worth it) From YUM Brand Website: (Investor Relations) 75% of consumers eat less fried chicken due to health concerns 22% of consumers eat less KFC because they consider us too expensive 50% of consumers say that KFC is not on- the- go External: Opportunities: The world economy will grow 3. 1% in 2010, the IMF forecast in October, but the emerging market economies are expected to expand at a 5% rate. Diet foods dont work in the quick-service, or fast food, industry (Survey)-Majority of KFC’s menu is very unhealthy Value price meals are in,,,†more bang for your buck† (could see more value price meals/combos in the future for KFC) LARGER PORTIONS DO WORK – cost more but taste about the same as the regular models in an effort to attract more adults (survey) –another trend KFC could captailize on in gaining market share OLD FAVORITES, NEW LOCATIONS This trend will continue as increased competition and saturated markets cause fast food companies to become more creative in selecting their locations. (i. e.KFC’s moving into various big box retail stores) – KFC has been doing this to some degree, move into more various business, (i. e. Rona, Lowes’, Sport stadiums, etc.) Consumers in emerging markets demonstrate a greater propensity than those in developed markets to believe that international brands are of better quality than local brands, with only 30 percent of developing market respondents indicating that local brands are just as good as those internationally manufactured,† Emerging Market Context: KFC is considered the superior fast food chain among consumers in Egypt, South Africa and Asia/ â€Å"Global brands have a strong  functional foundation, as well as established marketing programmes, and local manufacturers may have a battle on their hands to catch up with the perceived quality of large global products (Americans) 18-29 year age segment lead in fast food eating at least once per week, almost 60% of this age group (U. S. market research survey) (Americans) 73% of Americans say they eat junk food because it is due to convenience (more locations, easier for consumers to access) (U. S. Market research Survey). The commodity analysis hold rating indicates that chicken should stay the same price over the short term Threats:  overall, fast-food chicken was no longer an expanding area, and at home (North America), KFC was stuck in flat or 2 to 3 percent sales growth While the financial services industries are fairly robust in many emerging market economies, bankers remain reluctant to lend (recent economic recession, financial industry hurting) Emerging Market. However, this doesn’t necessarily translate into purchasing behaviour, as almost 60 percent of these same consumers said they are more likely to buy a local brand over an international product if both are of equal price Not surprisingly, global fast food giant McDonald’s was seen as the preferred quick serve restaurant by most consumers surveyed in emerging markets High employee turnover in fast food business, Sometimes as much as 200%, these employees are the backbone of these companies, and with this amount of turnover, very costly to franchisee and/or companies to consistently retrain . High turnover due to many students working there for part time work , also very low pay Minimum wage is constantly increasing, especially in develop countries, hurts the bottom line (Americans) 66% of adults eat out once per week, however only 41% of adults eat fast food once per week (u. s. market research survey) chicken feed cost is substantial and can fluctuate over type

Hammer-Headed Bat Facts (Big-Lipped Bat)

Hammer-Headed Bat Facts (Big-Lipped Bat) The hammer-headed bat is a real animal, and its scientific name (Hypsignathus monstrosus) references its monstrous appearance. Indeed, websites and social media describe the hammer-headed bats appearance as the spitting image of a devil and even claim that its a cryptid known as the Jersey Devil. Despite its fearsome attributes, however, this bat is a mild-mannered fruit-eater. Nevertheless, you shouldnt get too close, because its one of three species of African fruit bat believed to carry the Ebola virus. Fast Facts: Hammer-Headed Bat Scientific Name: Hypsignathus monstrosusCommon Names: Hammer-headed bat, hammerhead bat, big-lipped batBasic Animal Group: MammalSize: Wingspan 27.0-38.2  inches; Body 7.7-11.2  inchesWeight: 7.7-15.9 ouncesLifespan: 30 yearsDiet: HerbivoreHabitat: Equatorial AfricaPopulation: UnknownConservation Status: Least Concern Description The hammer-headed bat is a type of megabat and the largest bat native to Africa. Both males and females are grayish brown, with brown ears and flight membranes, and tufts of white fur at the base of the ears. An adult bat ranges from 7.7 to 11.2 in body length, with a wingspan of 27.0 to 38.2  in. Males range in weight from 8.0 to 15.9  oz, while females weigh 7.7 to 13.3  oz. Male hammer-headed bats are larger than females and look so different from their mates that it would be easy to think they belonged to a different species. Only the males have large, elongated heads. Female hammer-headed bats have the fox-faced appearance common to most fruit bats. This hammer-headed bat looks unnaturally large because it is closer to the camera than its handler. Per Se, Flickr The hammer-headed bat is sometimes confused with Wahlbergs epauletted fruit bat (Epomophorus wahlbergi), which belongs to the same family but is smaller. Wahlbergs epauletted fruit bat (Epomophorus wahlbergi) also has a hammer-head face. Michele DAmico supersky77 / Getty Images Habitat and Distribution Hammer-headed bats occur across equatorial Africa at elevations below 1800 m (5900 ft). They favor humid habitats, including rivers, swamps, mangroves, and palm forests. Hammer-headed bat distribution map. Chermundy Diet Hammer-headed bats are frugivores, which means their diet consists entirely of fruit. While figs are their favored food, they also eat bananas, mangoes, and guavas. The bat has a longer intestine than that of an insectivorous species, allowing it to absorb more protein from its food. There is a sole report of a bat eating a chicken, but no carnivorous activity has been substantiated. The bats are preyed upon by humans and birds of prey. They are also susceptible to severe parasite infestations. Hammer-headed bats are prone to infection by mites and Hepatocystis carpenteri, a protozoan that affects the liver. The species is a suspected reservoir for the Ebola virus, but as of 2017, only antibodies against the virus (not the virus itself) have been found in the animals. Whether or not the bats can transmit Ebola infection to humans is unknown. Behavior During the day, the bats roost in trees, relying on their coloration to camouflage them from predators. They pick and eat fruit at night. One reason large bats such as the hammer-headed bat are nocturnal is because their bodies generate considerable heat when they are flying. Being active at night helps keep the animals from overheating. Reproduction and Offspring Breeding takes place during dry seasons for some populations and at any time of the year for others. Most members of this bat species reproduce via lek mating. In this type of mating, males gather in groups of 25 to 130 individuals to perform a mating ritual consisting of wing flapping and loud honking. Females fly through the group to evaluate potential mates. When a females selection is made, she lands beside a male and mating occurs. In some hammer-headed bat populations, males perform their display to attract females, but do not form groups. Females usually give birth to one offspring. The time required for gestation and weaning is unclear, but females are known to mature more quickly than males. Females reach sexual maturity at 6 months of age. It takes males a full year to develop their hammer-head faces and about 18 months before they reach maturity. The bat has a life expectancy of thirty years in the wild. Conservation Status The conservation status of the hammer-headed bat was last evaluated in 2016. The bat is categorized as least concern. Although the animal is hunted as bush meat, it occupies a large geographic range and the overall population has not experienced a rapid decline. Sources Bradbury, J. W. Lek Mating Behavior in the Hammer-headed Bat. Zeitschrift fà ¼r Tierpsychologie 45 (3): 225–255, 1977. doi:10.1111/j.1439-0310.1977.tb02120.xDeusen, M. van, H. Carnivorous Habits of Hypsignathus monstrosus. J. Mammal. 49 (2): 335–336, 1968. doi:10.2307/1378006Langevin, P. and R. Barclay. Hypsignathus monstrosus. Mammalian Species 357: 1–4, 1990. doi:10.2307/3504110Nowak, M., R.  Walkers Bats of the World. Johns Hopkins University Press. pp.  63–64, 1994.Tanshi, I. Hypsignathus monstrosus. The IUCN Red List of Threatened Species. 2016: e.T10734A115098825. doi:10.2305/IUCN.UK.2016-3.RLTS.T10734A21999919.en

Organization development Essay Example | Topics and Well Written Essays - 250 words - 5

Organization development - Essay Example 1. Improve the mode of communication to help the management understand better the needs of the junior staff. When there is streamlined communication between the management and the employees, no party feels side-lined resulting in a morale boost 2. Create a platform where the outsiders who were helping in retreat training can make reports and give recommendations on their observations so as to help iron out any arising issues affecting the teams. 3. Eliminate slothfulness through the introduction of performance contracts where individuals take responsibilities of their work, hence avoid such scenarios where the manager can joke around with the other workers instead of working with his team. Improvement of the channels of communication where every employee stands equal chance as the management in contributions of ideas will help create a serene environment for both the management and employees. This also will create a good will-power from the management that in turn will help improve the performance of both the managers and also employees. Having well-defined retreat structures where all teams are involved in team building exercises will help in ironing out any differences between workers and fellow and even managers. This will also help instructors feel free and give their best without having the fear of

IMC Mix of the reformation (www.reformation.com) Essay

IMC Mix of the reformation (www.reformation.com) - Essay Example Reformation integrated marketing communications strategy has blended a variety of marketing innovation to enhance the promotion of their products to the consumers. Reformation integrated marketing communications strategy has integrated various promotion ideas in their website, thus engineering an eye catching web page. This has a positive influence on how the customers value Reformation products. Integrated marketing communications improved customers’ experience while shopping for commodities online. The integrated marketing communications set up informs and attracts existing and prospective customers into checking out the various product wares Reformation is offering. The purpose of integrated marketing communications is to communicate the right information to the right customers at a specific time (Caywood, PP. 323). Reformation has modified their online adverts into sections that appeal to different customers differently. The sections are divided in the form of gender, accessories and the different type of the clothing wares. Each of the sections is further differentiated to offer the customers with a wide variety of choices to compare and choose. Reformation has integrated social media in their marketing strategy thus forming a network for communication with the customers. Social media enables Reformation to get feedback from the customers about their reactions and opinions about their products. Social media gives consumers the chance to ask questions about any product they want to learn more about from the company. Reformation integrated marketing communications strategy has also incorporated a blog as a means of enhancing communication impact. The blog is mainly for creating an interactive online means to bond with different individuals in matters relating directly or indirectly to their products. The blog communicates on general things that are related to Reformation products. The blog initiates a topic on fashion related trends and other

Postmodernism, Hyperreality and the Hegemony of Spectacle in New Hollywood Essay Example for Free

Postmodernism, Hyperreality and the Hegemony of Spectacle in New Hollywood Essay After the screening of The Matrix on its first release, a dear cousin of mine, film connoisseur and avid fan of classical movies, spontaneously made the following comment: â€Å"This is an entirely new cinema to me! † If anything, The Matrix is a clear marker of cultural change. A film with state-of-the-art production values like this is bound to elicit in us the belated realization of how slow our response has been to the cultural products of an entirely transformed film industry, that of New Hollywood. My cousin’s casual and unwitting remark reflects the embarrassment felt by both professional critic and layman alike in coping with contemporary movies, especially when we still tend to approach New Hollywood products with the standards of the Old Hollywood cinema. Because of our adherence to tradition, we still tend to look for those classical values of â€Å"development†, â€Å"coherence† and â€Å"unity† in narratives only to find with disappointment that narrative plots become thinner, that characters are reduced to one-dimensional stereotypes and that action is carried through by loosely-linked sequences, built around spectacular stunts, dazzling stars and special effects. Narrative complexity is sacrificed on the altar of spectacle† (Buckland 166) as today’s blockbusters turn out to be nothing but calculated exercises in profit-making, all high-concept, high-gloss and pure show. Similar cries of warning about the loss of narrative integrity to cinematic spectacle have been voiced at different periods, usually at times of crisis or change in the history of the American cinema. One could cite, for example, Bazin’s disdain at the â€Å"displacement of classicism† by the baroque style, marking the end of the pure phase of classical cinema. His coined term, â€Å"superwestern, †designates the â€Å"emergence of a new kind of western† (Kramer 290), that, according to Bazin, â€Å"would be ashamed to be just itself, and looks for some additional interest to justify its existence—an aesthetic, sociological, moral, psychological, political, or erotic interest† (150-1). Similarly, in 1957 Manny Farber, taking his cue from Bazin’s superwestern, laments the â€Å"disappearance of this [classical] roduction system and the closing of action-oriented neighborhood theaters in the 1950s†. He claims that directors like Howard Hawks â€Å"who had flourished in ‘a factory of unpretentious picture-making’ were pushed towards artistic self-consciousness, thematic seriousness, and big-budget spectacle â€Å"(Kramer 293, emphasis added). A decade later, Pauline Kael too expresses her fears at the disintegration of filmic narrative which she attributes to the abrasion of traditional film production in general. She laments not only the emphasis on â€Å"technique† â€Å"purely visual content,† and â€Å"open-ended, elaborate interpretations† of the experimental and innovative art film of the New American Cinema, but as Kramer puts it, she was equally critical of the experiences facilitated by Hollywood’s mainstream releases. The lack of concern for coherent storytelling on the part of producers and directors in charge of the volatile and overblown process of filmmaking was matched by the audience’s enthusiastic response to spectacular attractions and shock effects, irrespective of their degree of narrative motivation. 296) Voices of dissatisfaction were heard at another major turn in the history of Hollywood, that is in the late 1970s, when the â€Å"unprecedented box-office success of Jaws (1975) and Star Wars (1977), signaled Hollywood’s aesthetic, cultural and industrial re-orientation towards movies with more emphasis on special effects and cin ematic spectacle† (Kramer 301). Unlike the classical movies produced on the assembly line under the studio regime (films that respected narrative integrity and refined story ideas into the classical three-act of exposition, complication and resolution), the products of New Hollywood, says critic Richard Schickel, seem â€Å"to have lost or abandoned the art of narrative. [Filmmakers] are generally not refining stories at all, they are spicing up ‘concepts’ (as they like to call them), refining gimmicks, making sure there are no complexities to fur our tongue when it comes time to spread the word of mouth†(3). Contemporary cinema has come to depend so much on shrewd marketing and advertising strategies that its pictures, as Mark Crispin Miller points out, â€Å"like TV ads, aspire to a total ‘look’ and seem more designed than directed† (49). The difficulty that critics nowadays face with films like The Matrix and the new situation in Hollywood, is not only unlike the layman’s inability to assess â€Å"any recent Hollywood film as a discreet textual artifact that is either ‘better’ or ‘worse’ than the artifact produced under the studio regime,† Cook and Bernink note (99). It has also to do with regarding â€Å"the textual form of recent Hollywood as expressive of changed production circumstances that lead to a different kind of textual artifact†(ibid. ). In other words, as we move on in our globalized, high-tech age, it is becoming increasingly difficult to regard any single movie as a self-contained, autonomous text. On the contrary, as Eileen Meehan contends, it has become imperative to look upon any New Hollywood mainstream release â€Å"always and simultaneously as text and commodity, intertext and product line† (31). In order to revise our critical standards and respond effectively to the new status of the contemporary Hollywood movie, we need to grasp the dramatic changes that the American film industry has undergone in the post-classical period, which started right after World War II and culminated to a point of radical transformation in the post-1975 period, which has eventually come to best warrant the term New Hollywood. These changes have been lucidly described in a number of historiographic studies (Ray 1985, Balio 1985, 1990, Schatz 1983, 1993, Gomery 1986, Bernardoni 1991, Corrigan 1991, Hillier 1992, Wasko 1994, Kramer 1998, Neale and Smith 1998, Cook and Bernink 1999) which collectively shed ample light on the completely new situation defining New Hollywood. What has drastically changed is both the ways movies are made and the ways in which Hollywood has been doing business. After the government’s dismantling of the â€Å"vertically-integrated† studio system, the industry turned to producing and selling motion pictures on a film-by-film basis, resulting in the shift of power from studio heads to deal-makers (agents), in the rise of independent producers/directors, and in a more competitive and fragmented movie marketplace (Schatz 9). To the rise of TV and the emergence of other competing media technologies (VCRs, Cable and Satellite TV) Hollywood responded with a re-orientation towards blockbuster movies, â€Å"these high-cost, high-tech, high-stakes, multi-purpose entertainment machines that breed music videos and soundtrack albums, TV series and videocassettes, video games and theme park rides, novelizations and comic books† (Schatz 9). Despite the â€Å"increasingly fragmented but ever more expanding entertainment industry – with its demographics and target audiences, its diversified multimedia conglomerates, its global(ized) markets and new delivery systems†, the calculated blockbuster, as New Hollywood’s feature film, remains the driving force of the industry (ibid. ). This is testified by the monumental success of the blockbuster at the box-office. Schatz cites Variety’s commissioned study of the industry’s all-time commercial hits, in which only 2 movies of the classical period appear to have reached the top, whereas â€Å"90 of the top 100 hits have been produced since 1970, and all of the top 20 since Jaws in 1975†(9). The big-budget, all-star, spectacular hits of the late fifties and early sixties (such as The Ten Commandments, Ben Hur, Cleopatra, or Dr. Zhivago) have some sizable profits to show for (all in the vicinity of $25-to $50 million). By the standards of their age, they were considered colossal box-office successes; however, by today’s standards they seem quite puny contestants to the post-75 era of super-blockbusters which generate record-setting grosses, well beyond the $100 million barrier (always in constant dollars). And such a figure applies only to theatrical rentals, which accounts just for a percentage of the total revenue of a movie which also finds outlets in ancillary markets. he industry’s spectacular growth and expansion (its horizontal integration) is to a great extent owing to the take-over of the majors (Paramount, Fox, Columbia, MCA/Universal) by huge media empires (Warner/Time Communications, Murdoch’s News Corporations, Sony, Matsushita, respectively) forming multimedia conglomerates with diverse interests in the domestic and the global market, with holdings in movies, TV production, cable, records, book and magazine publications, video games, theme parks, consumer electron ics (both software and hardware). These huge corporations provide financial muscle for the multi-million production budgets of the blockbusters (since the production costs have themselves sky-rocketed), but also market muscle for promotion. Marketing and advertising strategies have been the key to the unprecedented success of the New Hollywood movie since Jaws: through pre-selling, usually cashing in on the popularity of a novel published prior to production, a movie becomes a media â€Å"event† by heavy advertising on prime-time TV and the press, as well as by the massive simultaneous release in thousands of mall-based multiplex theaters. Calculated blockbuster productions are carefully designed to ensure the greatest potential profit not only through extended theatrical rental (sequels, re-issues, remakes, director’s cut), but also though capitalization in ancillary markets: soon the movie will come out on videocassette, audio-cassette, novel, computer game, and the increasingly popular since the mid-nineties, DVD, let alone an extended market career through by-products ranging from the CD movie soundtrack to T-shirts and toys, which contribute to the impressive surge in profits. It becomes obvious thus why contemporary movies cannot be conceived of as individual entities and cannot be separately examined from their economic intertext that renders them part (or rather the driving belt) of a larger entertainment machine and advertising campaign. Expensive blockbusters, which in the early days of the post-classical period were the exception and now, as Schatz states, have become the rule, â€Å"are the central output of modern Hollywood. But what, aside from costs, are their dominant characteristics? How are they able to attract, engage and entertain millions of people? asks Warren Buckland (166). The blockbuster syndrome has also changed the movies’ mode of address. Designed around a main idea, what is called â€Å"high concept†, a blockbuster becomes increasingly plot-driven, increasingly visceral, kinetic, fast-paced, increasingly reliant on special effects, increasingly â€Å"fantastic† (and thus apolitical), and increasingly targeted at younger audiences. And significantly enough, the lack of complex characters or plot [as for example] in Star Wars opens the film to other possibilities, notably its amalgamation of genre conventions and its elaborate play of cinematic references. But while these movies enjoy a great popularity among younger audiences, as their huge box-office success indicates, the loss of narrative integrity to spectacle, and the sense of escapism and triviality usually associated with high-gloss, star glamour and dumb show, has driven most academics or old-cinema cinephiles to summarily shun or dismiss blockbusters as merely calculated exercises in shameless profiteering. Warren Buckland thinks that these arguments about the loss of narrative potential in the contemporary feature film are overstated and attempts to reverse the â€Å"unhelpful and hostile evaluative stance† (167) of the critics towards the blockbuster. Focusing on a typical action-adventure blockbuster, Spielberg’s Raiders of the Lost Arc heproposes adopting an analytical and descriptive approach to these films, an approach dubbed by Bordwell and Thompson â€Å"historical oetics. † Part of the argument he makes is that â€Å"historical poetics† can account for the popularity of movies with such a broad appeal (and allows us to take them seriously as aesthetic, cultural objects) â€Å"especially because movies are examined in terms of their individuality, including their response to their historical moment, in which style and composition respond to the historical questions posed in the culture in which the film is made† (168-169). In other words, the issue is not so much about the so-called death of narrative—because narrative is still alive and well—but the emergence of a new kind of narrative, whose meaning is conveyed not through traditional narration but by emphasis on spectacle and the visual impact of the pictures which provide additional narrative pleasure and have changed the patterns of viewer response. Thus Buckland’s concluding remark that â€Å"it is perhaps time to stop condemning the New Hollywood blockbuster and to start, instead, to understand it,† carries more merit than we have been ready to admit. My intention in this essay is to extend the argument about the narrative/ spectacle issue in the direction suggested by Buckland, but within a wider, cultural perspective. The supremacy of the visual and the spectacular over traditional narration in the textual form of contemporary movies is not only expressive of the changed production values and the text’s signifying practices; it is also reflective of the changed cultural patterns and lifestyle habits in postmodernity. Classical cinema favored traditional storytelling because it provided a univocal interpretation of life and reflected a uniformity in entertainment habits: cinema was the predominant form of entertainment, as â€Å"the movies attracted 83 cents of every U. S. dollar spent on recreation† (Ray 26). Its nineties counterpart, with its emphasis on the sensational and the spectacular, on episodic action and generic diversification, is a postmodern cinema entertaining the possibility of multiple signification and the hyperreality of the visual, subject to an increasing commodified experience. As Anne Friedberg puts it, â€Å"today the culture industry takes on different forms: Domestic electronics (fax, modems, cable television) follow the interactive model of dialogic telephone communications. The personal computer turns the home user into a desktop publisher, the microwave turns every cook into an instant gourmet, the Walkman transforms each listener into a radio programmer. Both production and reception have been individualized; the culture industry no longer speaks in a univocal, monolithic voice. 189) This proliferation of entertainment venues offered to the individual points to a general malaise often regarded as the central feature of postmodernism, what Featherstone terms â€Å"the fragmentation and overproduction of culture—the key-feature of consumer culture† (76). As Jameson says, â€Å"in postmodern culture, ‘culture’ itself has become a product in its own right; the market has become a substitute for itself and fully as much a commodity as any of the items it includes within itself† (1991 x). In the â€Å"cultural logics of late capitalism,† Jameson’s code-phrase for postmodernity, what is commodified is not simply the image, which has acquired central role in contemporary culture but lived experience itself. As Guy Debord diagnoses in The Society of the Spectacle, â€Å"everything that was lived directly has moved away into a representation (1983 np). Baudrillard, as Friedberg notes, also talks about â€Å"the same phenomenon—representation of the thing replacing the thing—and extends it into a mise-en- abime of the ‘hyperreal,’ where signs refer only to signs. Hyperreality is not just an inverted relation of sign and signifier, but one of receding reference, a deterrence operation in the signifying chain†(178). A part in this process of the commodification of the sign and the derealization of the real has been played by media technologies, especially electronics, as Vivian Sobchack points out: The postmodern and electronic â€Å"instant† constitutes a form of absolute presence (one abstracted from the continuity that gives meaning to the system past/present/future) and changes the nature of the space it occupies. Without the temporal emphases of historical consciousness and personal history, space becomes abstract, ungrounded, flat—a site for play and display rather than an invested situation in which action â€Å"counts† rather than computes. Such a superficial space can no longer hold the spectator/ user’s interest, but has to stimulate it constantly in the same way a video game does. Its flatness—a function of its lack of temporal thickness and bodily investment—has to attract spectator interest at the surface. In an important sense, electronic space disembodies.

Dont Know Essay -- essays research papers

Everyone knows that it is illegal to consume alcohol until the age of 21. Many people are In agreement with this legal restriction. Some would even say that it needs to be raised. Why is 21 the "magical" age that makes one intelligent and mature enough to consume alcohol? Surely, some adults abuse alcohol and some teenagers would be perfectly able to drink responsibly. Many have asked the question, should the drinking age be lowered from age twenty-one to age eighteen. The national drinking age for men and woman should remain at age twenty-one. Before 1982 there was no national conformity in the laws dealing with alcohol consumption legal age. Each state had different laws and regulations set on the drinking age. In the mid-1980's this changed. "The drinking age was set by federal law in the mid-1980's mostly because of pressure from Mothers against Drunk Driving (MADD)" (Dogan 1). This gave conformity throughout the nation with a national drinking law.?????????? ????????????????????????? Today there are many arguments put forth to justify attempts to lower the drinking age. One of the most prevalent arguments for the drinking age heard is, "if were old enough to be sent to war and die we are old enough to drink alcohol" (Heffernan 1). This argument has an underlined fallacy. When an eighteen-year-old youth is drafted into the military he is subjected to many months of rigorous training and preparation for his duties as a solider. Not only is he ...

Trifles Susan Glaspell Irony Symbolism Theme

Elizabeth NolanNovember 24, 2012 English essay Favorite Play â€Å"Trifles†, a play by Susan Gaspell, is a story of women banding together to protect one another in a male dominated society. The play is titled â€Å"Trifles† because women’s concerns were often considered mere trifles, and not worth the thought and time of men. The use of theme, symbolism, and irony are the reasons why this play is so appealing, especially to women. â€Å"Trifles† contains themes of female identity, revenge, and protection.The protagonists of the play are women, but they are not known by their first names. They are only called by their husbands’ name. It is only when they speak of Mrs. Wright before her marriage that she is called Minnie. The men believe that the women are small-minded and assume the identities of their husbands. Minnie Wright was a vibrant, outgoing young lady. After her marriage to John Wright, the light in her dimmed until she was nothing but a sh ell of her former self.He took away her self worth, making her life with him unbearable. This is the reason she snapped and murdered her husband. Mrs. Hale and Mrs. Peters discover evidence that the men could not. They approached the house as a home instead of a crime scene. The women identified with Mrs. Wright after piecing the story together and decided to keep the evidence that would convict her to themselves. By protecting her, they are standing up for women everywhere. Mrs.Wrights pet canary is a symbol of herself. She had once been a beautiful girl with a nice singing voice, but her marriage to John Wright was like a cage. She was secluded from others and treated poorly by him. The bird was her only source of happiness in her cold, lonely life. When john strangled the bird, he killed the last part of Mrs. Wright that was Minnie Foster. He had taken away her only comfort in life, and this is why she decided to strangle him with the rope.

The Effects of European Imperialism on South Africa Essay

The county of South Africa is an economically flourishing country and probably the most advanced country on the continent of Africa. However the entire continent of Africa is probably the most undeveloped part of the world. Why is South Africa so different from the rest of its continent? Karen Politis Virk explains that it is because of South Africa’s developed economy and diverse population (Virk 40). South Africa has three main ethnic groups: African, Afrikaners, and the mixed race. The Afrikaners and mixed races have many roots to Europe and Asia giving the nation even more diversity and a culture melting pot. This set the nation apart from the rest of the African nation in which the majority of the residents are of native African†¦show more content†¦Gold was discovered in Transvaal and Britain wanted to â€Å"help† Transvaal after the discovery. Transvaal was not economically strong enough to handle the new industry. Diamonds were also discovered in the Or ange Free State a few years earlier that Britain had wanted to help with (Lester 52). At first, Britain sent immigrants to Transvaal called uitlanders to help the Transvaal people, also known as the Boers, handle the new resource they had acquired (Oxford 111). Eventually, the uitlanders outnumbered the Boers. Transvaal tried to make the uitlanders equal to the Boers, but knew that if they were to do this, the Boers would lose their nation and Britain would take control. The British declared and ultimatum to make uitlanders equal to Boers. Transvaal rejected the ultimatum and declared one of their own: to evacuate British troops from Transvaal within the next two days. When the British ignored this ultimatum, Transvaal joined with their ally, The Orange Free State, and declared war on Britain in October 1889 (Lester 43). The South African War was a war of firsts. It was the first war to have known concentration camps (van Heningan, Tool for Modernisation 2). The phrase concentratio n camp automatically signals World War II and Nazis. However these camps were notShow MoreRelatedEssay on Imperialism1578 Words   |  7 Pages Imperialism Imperialism Throughout time more powerful countries have extended their influence over weaker countries and then colonized those countries to expand their own power. Imperialism causes the stronger countries to grow and become nations or even empires. There are many examples throughout European history of nations enveloping weaker countries and increasing their own wealth and power to form strong nation-states and even empires. Through imperialism one culture is invading anotherRead MoreImperialism and South Africa1440 Words   |  6 PagesImperialism’s Effect on South Africa Imperialism was a movement that affected all parts of the world, beginning as early as the 19th century. 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