Wednesday, October 30, 2019
Business IT AND SERVICES Essay Example | Topics and Well Written Essays - 2750 words
Business IT AND SERVICES - Essay Example Human Clouding is a concept that has emerged because of such kind of advances in information technology. Human Clouding refers to a situation whereby employees of an organization do not have a distinct working place. They only rely on the internet and tools of information technology to receive and send large volumes of data. This paper analyzes this concept of human clouding and its various models. When talking about the concept of cloud, people tend to talk about it, in terms of its technological nature, and the impact that it has had on how business personalities and people are able to access data, and communicate with each other (Rountree and Castrillo, 2013). Through an adoption of cloud computing technologies, business organizations are able to provide better flexibility to its employees, and they manage to change when, how, and where they work (Bellavista, 2010). However, cloud computing has not had a vigorous change on the manner in which people work, in a business organization. This is because people are still talking about employee relations in terms of their work place (Rountree and Castrillo, 2013). An individual’s place of work is equated with the business operation that an individual undertakes or is employed with (Bellavista, 2010). This is based on the misconception that the physical place of the business itself is the actual business itself. However, exp erienced and good business managers have the knowledge that a business organization does not consist of mortar, or bricks (Kaganer, Carmel, Hirscheim and Olsen, 2013). It consists of people, who are its employees. On this basis, a new concept of cloud has emerged, which is referred to as the human cloud. Under this concept, wherever place an employee chooses to work from, then that place is his or her work place. This concept further goes on to denote that the work force of an individual is the employer’s business organization. One of the major issues that emanates concerning
Monday, October 28, 2019
Student resources worksheet Essay Example for Free
Student resources worksheet Essay Student resources include a variety of helpful sites and tools that can be of assistance when completing assignments, connecting to other students, and searching for careers. Complete this table regarding student resources provided by the university. In the first column, identify where the resource can be found. In the second column, summarize each resource in at least one sentence. When you are finished with the matrix, answer the follow-up question in part B. Part A: Resources Scavenger Hunt. Student resource Where found Summary of the resource Syllabus In course materials in the main classroom Gives you a sense of what you will be doing day to day and from week to week Class Policies In the main classroom in materials Helps you understand what your instructor expects of you and how the class will run. University Library The Library tab on the top of the page. You may research everything here including careers to studying or even get help with a paper youre writing. University Academic Catalog. By clicking the program tab it will be listed as an option under my program Has the most current academic programsand policies and is updated once each month University Learning Goals Life Resource Center Under the program tab listed under services Life coaching, career coaching, counseling its free confidential support 24/7 Phoenix Career Services Under the career tab on the homepage Theses services helps you look up careers, compare income , education required, anda also the top employer Student Workshops. Listed underneath my classes when they are available You may not be doing so well in a class or you may just need some tips and advice on college classes well either way the student workshops are available for theses things and to everyone PhoenixConnect Under the phoenix connect tab The place where you can ask questions to other students and chat about almost anything . Technical Support phone number In the gray area on my classroom. Used just in case I run into trouble on the site or having problems with my computer I can call and get help and answer 24 7 Part B: Follow-Up Question Based on the resources in the table, what are the attendance, posting, and participation requirements for the university? You may only be absent one time in 9 weeks. Post at leasts 2 messages on two separate days to be in attendance . for participation students are to contribute 6 substantive messages each week in the main forum on three different days.
Saturday, October 26, 2019
how to care for hermit crab :: essays research papers
How to take care of Color. 1. Wash hands before handling      A. You don’t want her to get sick cause you are sick. 2. Always have salt water and fresh water available.      A. Salt water is that little pouch that I gave you. Add all of that to 2 cups HOT water. Shake in a closed bottle until all salt crystals are gone.      B. Use the tap water conditioner to remove chlorine †¦ DO NOT FOR GET! Hermit crabs can not have tap water it will kill them! 3. Never pull her out of shell      A. Duh! 4. Feed her in the night and leave food there all day.      A. Feed her anything that does not have milk or dairy. And no citrus even though some say you can feed them that †¦ I don’t think its healthy.      B. I usually feed her and Juicy carrots and peanuts.      C. Always cut up food so they have smaller pieces. 5. Use plastic wrap to keep in Humidity in the container.      A. Place the plastic wrap on the lid. During the day allow some air to come though and during the night cover completely. 6.Don’t place in direct sunlight.      A. Even thought the sun is a good source for heat. Its not good when paired with a heater. 7. Use the paper cups for water and food.      A. Because of the small area these work well.      B. Cut so that there is a depression on one side and the other sides are even. 8. Bath time!      A. After about 3 days you can give her a bath.      B. Use Conditioned tap water.      C. The best time is when she’s out and walking.      D. Fill a bowl with water only water. Take her and place her up side down( her claws touch the bottom) and count to 45 fast like 1..2..3. 9.Have fun.      A. Color is the most active right now due to the fact that Juicy is molting.      B. Be sure to play with her. In the small container she could get stressed.      C. You can allow others to take care of her. Be sure they are gentle. And have washed their hands.      D. Never allow anyone to tap the side of the container.
Thursday, October 24, 2019
The Moon :: essays research papers
The moon      The moon is the only natural satellite of Earth. The moon orbits the Earth from 384,400 km and has an average speed of 3700 km per hour. It has a diameter of 3476 km, which is about  ¼ that of the Earth and has a mass of 7.35e22 kg. The moon is the second brightest object in the sky after the sun. The gravitational forces between the Earth and the moon cause some interesting effects; tides are the most obvious. The moon has no atmosphere, but there is evidence by the United States Department of Defense Clementine spacecraft shows that there maybe water ice in some deep craters near the moon's North and South Pole that are permanently shaded. Most of the moon's surface is covered with regolith, which is a mixture of fine dust and rocky debris produced by meteor impact. There are two types of terrain on the moon. One is the heavily cratered and very old highlands. The other is the relatively smooth and younger craters that were flooded with molten lava. Throughout the 19th and 20th centuries, visual exploration through powerful telescopes has yielded a fairly comprehensive picture of the visible side of the moon. The hitherto unseen far side of the moon was first revealed to the world in October 1959 through photographs made by the Soviet Lunik III spacecraft. These photographs showed that the far side of the moon is similar to the near side except that large lunar maria are absent. Craters are now known to cover the entire moon, ranging in size from huge, ringed maria to those of microscopic size. The entire moon has about 3 trillion craters larger than about 1 m in diameter. The moon shows different phases as it moves along its orbit around the earth. Half the moon is always in sunlight, just as half the earth has day while the other half has night. The phases of the moon depend on how much of the sunlit half can be seen at any one time. In the new moon, the face is completely in shadow. About a week later, the moon is in first quarter, resembling a half-circle; another week later, the full moon shows its fully lighted surface; a week afterward, in its last quarter, the moon appears as a half-circle again. The entire cycle is repeated each lunar month, which is approximately 29.
Wednesday, October 23, 2019
Poetic Drama /Verse Drama of Modern age Essay
Eliot’s plays attempt to revitalize verse drama and usually treat the same themes as in his poetry. They include Murder in the Cathedral (1935), dealing with the final hours of Thomas ÃÆ' Becket; The Family Reunion (1939); The Cocktail Party (1950); The Confidential Clerk (1954); and The Elder Statesman (1959)..(1) Indeed, Eliot hoped that the study and critical reception of early modern verse drama would shape the production of modernist verse drama. In the 1924 essay â€Å"Four Elizabethan Dramatists,†Eliot calls for the study of Elizabethan drama to have a â€Å"revolutionary influence on the future of drama.†(2) Yet, in his later writings as a verse dramatist, Eliot always keeps an arm’s length between himself and the early modern dramatic poets, especially Shakespeare, whom he saw as his strongest precursors in the development of a modernist English verse drama. In the 1951 piece â€Å"Poetry and Drama,†on the matter of verse style in his ow n first major poetic drama, Murder in the Cathedral, Eliot writes, â€Å"As for the versification, I was only aware at this stage that the essential was to avoid any echo of Shakespeare.†¦ Therefore what I kept in mind was the versification of Everyman.†(3) Elsewhere, he is keenly aware of the challenges of writing verse drama for a modernist theatre: â€Å"The difficulty of the author is also the difficulty of the audience. Both have to be trained; both need to be conscious of many things which neither an Elizabethan dramatist, nor an Elizabethan audience, had any need to know.†(4) Eliot finds his whip for training his [p. 105] audience and himself, as dramatist, less in the examples Shakespeare and his contemporaries provide than in the works their medieval predecessors left behind. This essay examines Eliot’s status as a medieval modernist. The periodicity of Eliot’s Middle Ages, problematic as it is, represents the convergence of his animus against modernity and liberalism with his desire for a religiosity that is not marginal, fragmented, and â€Å"compartmentalized†but rather central to the activity of everyday life in a culture and society best characterized by the words unity, integration, and orderâ€â€the ideological language of conservatism. In part, the concept of Eliot as â€Å"medieval modernist†is indebted to Michael T. Saler’s work on visua l modernism, the English avant-garde, and the London Underground transport system. What Saler describes in terms of medieval modernism is very much a stance or attitude towards the relationship between aesthetic production (imagination) and the utility of consumption (reception) grounded in a social functionalism thought to have its origins in the medieval. I should be quick to point out that Saler is rather ambivalent on the point with regard to Eliot himself: â€Å"While T. S. Eliot might be called a medieval modernist because of his admiration for the organic and spiritual community of the Middle Ages together with his â€Å"impersonal†conception of art, his elitist and formalist views isolate him from several of the central terms of the tradition as I have defined it.Eliot’s ambivalence towards the early modern and repeated turns to the medieval evidence a contradiction between Eliot’s life-long desire for a clearly articulated unity, integration, and order in all aspects of everyday life, including writing and religion, and his fetishization of an early modern period he imagines in terms of anarchy, disorder, and decay. Eliot repeatedly mystifies the early modern period. In his introduction to G. Wilson Knight’s The Wheel of Fire, Eliot gives voice to a vision of the early modern past as a period of phantasmagoric peril, uncertainty, even unknowability: â€Å"But with Shakespeare, we seem to be moving in an air of Cimmerian darkness. The conditions of his life, the conditions under which dramatic art was then possible, seem even more remote from us than those of Dante Verse drama is any drama written as verse to be spoken; another possible general term is poetic drama. For a very long period verse drama was the dominant form of drama in Europe (and was also important in non-European cultures). Greek tragedy and Racine’s plays are written in verse, as is almost all of Shakespeare’s drama, and Goethe’s Faust. Verse drama is particularly associated with the seriousness of tragedy, providing an artistic reason to write in this form, as well as the practical one that verse lines are easier for the actors to memorize exactly. In the second half of the twentieth century verse drama fell almost completely out of fashion with dramatists writing in English (the plays of Christopher Fry and T. S. Eliot being possibly the end of a long tradition). As Eliot sank ever more deeply into his Anglo-Catholic schtick and he no longer had Pound around to cut the fat and grain filler out of his work, he turned to writing verse drama. He wanted to reach people. He probably wanted to be Shakespeare. Murder in the Cathedral was the first of these verse dramas, and the only one I can even begin to tolerate. The title is intended to evoke a whodunnit; it may be a ponderous Eliotian attempt at a â€Å"witticism†. The joke, such as it is, is that the murderee is Archbishop St. Thomas à Becket, the killers are some of Henry II’s knights, and the scene of the crime is Canterbury Cathedral, anno domini 1170. If you happened to be hanging around Canterbury in 1935, this was a big win because Canterbury Cathedral is where the thing was first performed. (If you were hanging around Canterbury in 1170, call me; we should talk). The background: King Henry II’s wanted to gain influence over the Church in England. He appointed Becket as Archbishop of Canterbury to that end because Becket was his boy. Once in office, Becket’s loyalty shifted to the Church. The two came into conflict over the practice of trying clergy in ecclesiastical courts for civil offenses, and Becket fled to France. While in France he continued to defy Henry, going so far as to excommunicate some of Henry’s more loyal bishops. At the beginning of the play, Becket returns from his seven-year exile in France. He goes straight to Canterbury, arriving in time for Act I. Four Tempters tempt him. Meanwhile, Henry has put on his John Stanfa hat and made an offhand remark to some of his knights about how convenient it would be if Becket weren’t around any more. The knights draw the obvious conclusion about what he means, and they depart for Canterbury. When they arrive, Becket explains that he is loyal to a higher power than the king. They reply that they aren’t, and they kill him at the altar. The bloodshed is followed by a flourish of self-exculpatory forensic rhetoric from the knights: They argue persuasively that they’ve done the right thing, but not too persuasively because the author doesn’t agree. Exeunt knights; some priests pray at each other and asperse the audience; good night, good night. Historically, Henry disavowed the whole thing, the knights fell into disgra ce, and Becket was canonized. The whole thing suffers from Late Eliot Syndrome: No tack is left unsledgehammered. He lectures us about his points rather than demonstrating or illustrating them, and the writing is often less than inspired. Still, it’s better than his other verse dramas: The form and the language are at least appropriate to the material, and the material holds up under the weight of the Message. Eliot later attempted to pile similar Messages onto midcentury English bourgeois melodrama -in verse! It didn’t work. At the height of his powers, Eliot might have done something really interesting with Murder in the Cathedral. Christopher Fry, who has died, aged 97, was, with TS Eliot, the leading figure in the revival of poetic drama that took place in Britain in the late 1940s. His most popular play, The Lady’s Not For Burning, ran for nine months in the West End in 1949. But although Fry was a sacrificial victim of the theatrical revolution of 1956, he bore his fall from fashion with the stoic grace of a Christian humanist and increasingly turned his attention to writing epic films, most notably Ben Hur (1959). The Lady remains Fry’s most popular play: the leading role of Thomas Mendip has attracted actors as various as Richard Chamberlain, Derek Jacobi and Kenneth Branagh. Today, one is struck by the way in which Fry’s euphuistic language – at one point, the hero describes himself as a â€Å"perambulating vegetable patched with inconsequential hair†– overtakes the dramatic action. But in a postwar theatre that had little room for realism, Fry’s medieval setting, rich verbal conceits and self-puncturing irony delighted audiences, and the play became the flagship for the revival of poetic drama. At the same time, Eliot’s The Cocktail Party enjoyed a West End vogue, and a new movement was born. Though less of a public theorist than Eliot, Fry still believed passionately in the validity of poetic drama. As he wrote in the magazine, Adam: â€Å"In prose, we convey the eccentricity of things, in poetry their concentricity, the sense of relationship between them: a belief that all things express the same identity and are all contained in one discipline of revelation.†For a period in the late 1940s and early 50s, Fry helped to revive English verse drama, to which he brought colour, movement and a stoic gaiety. How many of his plays will survive, only time can tell. But, at his best, he brought an undeniable, spiritual elan to the drab world of postwar British theatre. He certainly deserves to be remembered as something more than the inspiration for Margaret Thatcher’s famous remark, â€Å"The lady’s not for turning†. For many centuries from the Greeks onwards verse was, throughout Europe, the natural and almost exclusive medium for the composition and presentation of dramatic works with any pretensions to  «seriousness » or the status of  «art ». Western drama’s twin origins, in the Greek Festivals and in the rituals of the medieval church, naturally predisposed it to the use of verse. For tragedy verse long remained the only  «proper » vehicle. In comedy the use of prose became increasingly common – giving rise, for example, to such interesting cases as Ariosto’s I suppositi, written in prose in 1509 and reworked twenty years later in verse. (La cassaria also exists in both prose and verse). Shakespeare’s use of prose in comic scenes, especially those of  «low life », and for effective contrast in certain scenes of the tragedies and history plays, shows an increasing awareness of the possibilities of the medium and perhaps already contains an implicit association between prose and  «realism ». Verse continued to be the dominant medium of tragedy throughout the seventeenth century – even domestic tragedies such as A Yorkshire Tragedy (Anon., 1608) or Thomas Heywood’s A Woman Killed With Kindness (1603) were composed in blank verse. For all the continuing use of verse it is hard to escape the feeling that by the end of the seventeenth century it had largely ceased to be a genuinely living medium for dramatists. Increasingly the prevailing idioms of dramatic verse became decidedly literary, owing more to the work of earlier dramatists than to any real relationship with the language of its own time. By 1731 George Lillo’s The London Merchant, or The History of George Barnwell, for all its clumsiness and limitations, in its presentation of a middle-class tragedy in generally effective prose archieved a theatrical liveliness and plausibility largely absent from contemporary verse tragedies – from Addison’s Ca to (1713), Thomson’s Sophonisba (1730) and Agamemnon (1738), or Johnson’s Irene (1749). The example of Racine was vital to such plays, but it was not one that proved very fertile. Lillo was praised in France by Diderot and Marmontel, in Germany by Lessing and Goethe. It is not unreasonable to see Lillo’s work as an early and clumsy anticipation of Ibsen’s. The London Merchant constitutes one indication of the effective  «death » of verse drama. Others are not far to seek. In France, Houdar de La Motte was also writing prose tragedies in the 1720’s, and Stendhal, in the 1820’s was insistent that prose was now the only possible medium for a viable tragedy. Ibsen largely abandoned verse after Peer Gynt (1867), in favour of prose plays more directly and realistically concerned with contemporary issues. A well-known letter to Lucie Wolf (25 May 1883) proclaims that  «Verse has been most injurious to the art of drama†¦ It is improbable that verse will be employed to any extent worth mentioning in the drama of the immediate future since the aims of the dramatists of the future are almost certain to be incompatible with it ». Against the background of such a pattern of development, later dramatic works in verse have often seemed eccentric or academic; this should not blind us, however, to the considerable achievements of modern verse drama and to the importance of the testimony they bear to an idea of drama often radically different from the prevailing modern conceptions. A genre which has given rise to some of the most interesting work of D’Annunzio and Hofmannsthal, Yeats and Eliot, is surely not a negligible one. In the English context, the verse dramas of the Romantics and the Victorians already constituted a kind of  «revival » part of a conscious effort to bring poetry back to the theatre. For the Romantics there was still a potential audience with some sense that verse was the proper medium for tragedy. The theatrical inexperience of the poets, however, made them ill-equipped for real dramatic achievement. The efforts of Wordsworth (The Borderers), 1795-6), Coleridge (eg. Remorse, 1813), and Keats (Otho the Great, 1819) remain of only antiquarian interest, judged as works for the theatre, though all have much to tell about their makers, and the Borderers, at least, is a work of considerable poetic substance. Perhaps slightly more praise might be extended to some of Byron’s verse dramas (eg. Manfred, 1817; Marino Faliero, 1820; Sardanapalus, 1821) and Shelley’s Cenci (1818) contains some scenes of considerable power. For most of the English romantics, however, the sha dow of Shakespeare proved oppressive; admiration, or rather reverence, for his example produced in their own work a poetic and theatrical idiom lacking all freshness and contemporaneity. It was in the work of other lands and languages that the example of Shakespeare could work more positively. In Germany, for example, there emerged a rich new tradition of verse drama in the works of Lessing (eg. Nathan Der Weise, 1779), Goethe, Schiller, Werner, Kleist (notably in Penthesilea, 1808, and Der Prinz von Homburg, 1821) and others. In Italy the early plays of Manzoni (Il Conte di Carmagnola, 1820; Adelchi, 1822) provided en example which only a few poet-dramatists endeavoured to follow, while others -such as Niccolini – were more concerned with an attempt to revive Greek models of tragedy. (In Italy verse drama could often not escape from the shadow of the operatic tradition). In America too, verse drama was being attempted by dramatists such as John Howard Payne (eg. Brutus, 1818), Robert Mongomery Bird (The Gladiator, 1831) and, a work of some quality, George Henry Boker’s Francesca da Rimini (1855). In 1827-8 the English troupe made its famous visit to Paris, performing, amongst other works, all four of Shakespeare’s major tragedies. The impact was enormous. One of those most affected and impressed was the young Victor Hugo. In Hugo’s plays, much influenced by Shakespeare, romanticism found far more effective expression in verse drama than it had ever found in England. In plays such as Hernani (1830), Le roi s’amuse (1832), Ruy Blas (1838) and Les Burgraves (1843), Hugo creates a verse idiom of immense vigour which articulates visions of concentrated and extreme human emotion. At his best Hugo’s discrimination of character, if crude, is also striking. Other succesful versedramas later in the century included Francois Coppà ©e’s Severo Torelli (1883) Les Jacobites (1885) and Pour la couronne (1895), as well as Edmond Rostand’s Cyrano de Bergerac (1897). Certainly it is in the work of French and German poets (in plays by Hebbel, Grillparzer and Grabbe as well as those of the poets mentioned earlier) and in the early verse plays of Ibsen notably Brand (1866) and Peer Gynt (1867) – that something li ke the full potential of verse drama is expressed. In England nothing of similar power exists in the nineteenth century. The plays of James Sheridan Knowles (1784-1862) – such as William Tell (1825) and The Love Chase (1837) – provided effective roles for the great actor-manager Macready, but have little now to offer. Macready also acted in Lytton’s The Lady of Lyons (1838) and Richelieu (1839), both of which had considerable theatrical success, and are not entirely without enduring merits. Poets such as Tennyson (eg. Queen Mary, 1876; Harold, 1876; Becket, 1879) and Browning (eg. Strafford, 1837; A Blot in the Scutcheon, 1843) also wrote for the theatre but displayed very little sense of the genuinely theatrical (Tennyson assumed that he could leave it to Irving to  «fit »Ã‚ Becket for the stage). Other poets wrote closet dramas never intended for performance – Sir Henry Taylor’s enormous Philip Van Artevelde (1834) is an archetypal example of the genre, a work which, its author readily confessed  «was not intended for the stage » and was  «properly an Historical Romance, cast in dramatic and rythmical form ». Much the same might be said of two later and finer works: Swinburne’s Bothwell (1874) of which Edmund Gosse rightly observes that  «in bulk [it] o ne of the five-act Jidai-Mono or classic plays of eighteenth-century Japan, and it could only be performed, like an oriental drama, on successive nights », and The Dynasts (19038) of Thomas Hardy, the text of which occupies some 600 pages and which is described in its subtitle as  «An Epic-Drama of the War of Napoleon in Three Parts, Nineteen Acts, and One Hundred and Thirty Scenes ». The requirements and possibilities of practical theatre have clearly been left far behind; the divorce of the poet from the performers seems complete. Yet there were others who sought to maintain the relationship between poetry and theatre. The plays of Stephen Phillips, for example (eg. Herod, 1901; Ulysses, 1902; Paolo and Francesca, 1902; The King, 1912) have neither the psychological perception of Swinburne nor the historical insight of Hardy, but they did hold the stage with considerable success. Phillips had plenty of theatrical experience, having been an actor in the theatrical company of his cousin, Frank Benson. Phillips’ verse plays were produced by Beerbohm Tree, and they display a sophisticated command of theatrical effect and a wide-ranging, if almost wholly derivative, verse rhetoric which has, very occasionally, genuinely poetic moments. Elsewhere in the early years of the century there is to be found worthwhile work by a multitude of minor figures. Lawrence Binyon’s Attila (1907) and Ayuli (1923); Gordon Bottomley’s King Lear’s Wife (1915) and Gruach (1923); John Masefield’s Good Friday (1917), Esther (1922) and Tristan and Isolt (1927); John Drinkwater’s Cophetua (1911) and Rebellion (1914); Arthur Symons’ The Death of Agrippina and Cleopatra in Judea (1916); T.Sturge Moore’s Daimonissa (1930) – are all of interest and substance, but none can be said to make an overwhelming case for the genre, and all are, in varying degrees unable to escape from the long shadow of Shakespeare, especially as reinterpreted by the nineteenth- century. Under fresh influences – French Symbolism and Japanese Noh theatre in particular – verse drama began to explore new possibilities. Gordon Bottomley’s later works – such as Fire at Callart (1939) showed an awareness of the possibilities offered by the model of the Noh. Yeats, of course, had more fully explored such possibilities in works such as At the Hawks’ Well, The Only Jealousy of Emer, The Dreaming of the Bones and Calvary (composed c.1915-20), insofar as they were the means of liberation from the obligations of a naturalistic theatre. Verse, music, ritual and dance were woven into a complementary whole. (Irish successors to yeats include Austin Clarke, whose verse plays have been performed by the Abbey Theatre, the Cambridge festival Theatre and others). In later plays such as The Herne’s Egg (1935) and Purgatory (1938) evolves a personal and convincing idiom (both verbally and theatrically) for verse drama. These are superficially simp le, but metaphysically profound works, both verbally exciting and theatrically striking. Elsewhere in Europe, the work of Gabriele D’Annunzio (eg. La città morta, 1898; Francesca da Rimini, 1901; La figlia di Iorio, 1904) and Hugo von Hofmannsthal (eg. Jedermann, 1912; Das grosse Salzburger Welttheater, 1922) was bearing eloquent testimony to the continuing potential of the genre. In France Claudel was creating a series of verse plays upon religious and philosophical themes, whose intense lyricism and startling imagery for long went without full appreciation (eg. Partage de midi, 1906; Le pain dur, 1918; Le Soulier de satin, 1928-9). Other French twentieth-century verse-dramas include works by Char, Cà ©saire and Cocteau, but the poetic qualities which characterise much that has been most striking in modern French drama have more generally found expression in prose plays rather than verse plays – as, for example, in the work of Giradoux, Anouilh, Beckett, Ionesco and Vian. In Spain, Lorca mixes verse and prose in his plays. In Britain the 1930’s saw a new generation of poets whose experiments did much to broaden the range – in terms both of form and content – of verse drama. The Dog Beneath the Skin (1936) and The Ascent of F.6 (1937) were collaborations by W.H. Auden and Christopher Isherwood which brought a fresh wit and intellectuality, a new radicalism of social comment and contemporary relevance, to the genre. T.S.Eliot’s plays – notably Murder in the Cathedral (1935) and The Family Reunion (1939) offered persuasive instances of how verse might, for the dramatist, be the means by which one could  «get at the permanent and universal » rather than the merely ephemeral and naturalistic. Murder in the Cathedral was written for performance in Canterbury Cathedral, while The Family Reunion was composed for the commercial theatre. The idioms of the two plays are, therefore, necessarily very different; taken together the two offer a promise not wholly fulfilled by Eliot’s later plays, such as The Cocktail Party (1950), The Confidential Clerk (1953) and The Elder Statesman (1958). In these later plays the verse lacks the confidence to be genuinely poetic – the linguistic intensity of the pre-war plays gives way to something far more prosaic. Murder in the Cathedral is, in part, striking for its mixture of verse forms and idioms; the Auden and Isherwood collaborations drew on the techniques of the music hall, the pantomime and the revue. From the 1930’s onwards verse dramas have continued to be composed in Britain (and America), many of them works of considerable distinction. Most have been composed for performance outside the commercial theatre – for churches and cathedrals, for universities or drama schools, or for some theatrical groups devoted to verse drama. In London, for example, the Mercury Theatre in Notting Hill Gate, holding no more than 150, was opened by Ashley Dukes in 1933 and was home to E.Martin Browne’s Pilgrim Players. Browne was central to the revival of verse drama in the middle years of the century. He directed all of Eliot’s plays, including the first performance of Murder in the Cathedral. In the 1940’s he directed, at the Mercury, several important verse plays – both religious (eg. Ronald Duncan’s This Way to the Tomb, 1945; Anne Ridler’s The Shadow Factory, 1945) and comic (eg. Christopher Fry’s A Phoenix too Frequent, 1946; Dona gh MacDonagh’s Happy as Larry, 1947). Browne was also associated with the remarkable religious plays by Charles Williams (eg.Thomas Cranmer of Canterbury, 1936; Seed of Adam, 1937; The House of the Octopus, 1945). Indeed, the variety of the verse drama produced in these years was very considerable. It includes the grave beauty of Williams’ plays and the fantastic gaiety of Happy as Larry, its language informed at every turn by the ballads of Dublin and the idiosyncrasies of colloquial  «Irish ». In the plays of Christopher Fry there is a substantial body of work characterised, at its best, by both a vivacity (even exuberance) of language and a well-developed theatricality. Plays such as The Lady’s Not for Burning (1948)), Venus Observed (1950), A Sleep of Prisoners (1951) and Curtmantle (1961) display a considerable range. Fry can be funny and moving, dazzling and beautiful. He can also be verbose and sentimental. Immensely successful – critically and commercially – at the beginning of his career, Fry’s reputation has suffered since. His best plays are both intelligent and entertaining, and will surely continue to find admirers. There is much that is rewarding, too, in the work of Ronald Duncan – in Our Lady’s Tumbler (195 0), which has some fine choric writing, or in Don Juan (1953); Stephen Spender’s Trial of a Judge (1938) is an intriguing experiment, with some highly effective moments. Louis MacNeice’s The Dark Tower (1946) is a rich and mysterious  «radio parable play » in verse. The tradition of verse drama has continued to attract writers, and they have continued to produce interesting plays; such plays have, however, largely been seen (or read) only by specialised audiences. Few have found their way on to the commercial stage. Robert Gittings’ Out of this Wood (1955); Jonathan Griffin’s The Hidden King (1955); John Heath-Stubbs’ Helen in Egypt, (1958); Patric Dickinson’s A Durable Fire (1962) the list might be extended considerably. More recent years have seen the production (or publication) of significant verse plays by, amongst others, Peter Dale (The Cell, 1975; Sephe, 1981), Tony Harrison (eg. The Misanthrope, 1973; Phaedra Britannica, 1975; The Oresteia, 1981; The Trackers of Oxyrhynchus, 1990), Seamus Heaney (The Cure at Troy, 1990) and Francis Warner (eg. Moving Reflections, 1982; Living Creation, 1985; Byzantium, 1990). In America the tradition begun in the nineteenth century and continued by dramatists such as Josephine Preston Peabody (eg. Marlowe, 1901) and William Vaughn Moody (eg. The FireBringer, 1904), has had such later practitioners as Percy Mackaye (The Mystery of Hamlet, 1949), Maxwell Anderson (eg. Elizabeth the Queen, 1930; Winterset, 1935), Richard Eberhart (eg. The Visionary Farms, 1952; The Mad Musician, 1962) and Archibald MacLeish (eg. J.B., 1958; Herakles, 1967). Modern verse-drama has extended the formal possibilities of the genre far beyond the traditions of blank-verse tragedy. A wide range of verse forms, of free-verse, and of experiments derived from the techniques of revue and music-hall have played their part in the evolution of new and striking theatrical forms. Why have so many writers continued to be attracted to verse drama when, as Peter Dale observes, his chances of seeing his work performed are generally very slight? If, like Ibsen after Peter Gynt, the dramatist’s aim is to write  «the genuine, plain language spoken in real life » (letter of 25 May 1883 quoted above) he will not, presumably, be attracted to verse as a likely medium. If, on the other hand, he feels with Yeats that the post-Ibsen prose of Shaw’s plays was devoid of  «all emotional implication », or if he shares the sentiments expressed by T.S.Eliot in his 1950 lecture on  «Poetry and Drama », it is more than probable that he will feel it necessary to turn to verse: It seems to me that beyond the nameable, classifiable emotions and motives of our conscious life when directed towards action – the part of like which prose drama is wholly adequate to express – there is a fringe of indefinite extent, of feeling which we can only detect, so to speak, out of the corner of the eye and can never completely focus †¦ This peculiar range of sensibility can be expressed by dramatic poetry, at its moments of greatest intensity. At such moments we touch the border of those feelings which only music can express. We can never emulate music, because to arrive at the condition of music would be the annihilation of poetry, and especially of dramatic poetry. Never the less, I have before my eyes a kind of mirage of the perfection of verse drama, which would be a design of human action and words, such as to present at once the two aspects of dramatic and musical order †¦ To go as far in this direction as possible to go, without losing tha t contact with the ordinary everyday world with which drama must come to terms, seems to me the proper aim of dramatic poetry. Such thoughts enable us to see modern verse drama as much more than that reaction against naturalism as which it has often been depicted. At its best verse drama is too positive an aspiration for it to be adequately understood merely as a reaction to the dominant idiom of the time. Much of what is best and most attractive in European theatre of the last 40 years might be described as post-naturalist, rather than merely anti-naturalist; verse-drama has made, and should continue to make, important and distinctive contributions to post-naturalism. According to Francis Fergussan, a poetic drama is a drama in which you â€Å"feel†the characters are poetry and were poetry before they began to speak. Thus poetry and drama are inseparable. The playwright has to create a pattern to justify the poetic quality of the play and his poetry performs a double function. First, it is an action itself, so it must do what it says. Secondly, it makes explicit what is really happening. Eliot in his plays has solved the problem regarding language, content and versification. In the twentieth century, the inter-war period was an age suited to the poetic drama. There was a revival and some of the poets like W. B. Yeats and T. S. Eliot tried their hands in writing of poetic plays. This was a reaction against prose plays of G. B. Shaw, Galsworthy and others because these plays showed a certain lack of emotional touch with the moral issue of the age. W. B. Yeats did not like this harsh criticism of the liberal idea of the nineteenth century at the hands of dramatists like G. B. Shaw. So he thought the drama of ideas was a failure to grasp the reality of the age. On the other hand, the drama of entertainment (artificial comedy) was becoming dry and uninteresting. It was under these circumstances that the modern playwrights like T. S. Eliot, J.M. Synge, W. B. Yeats, W. H. Auden, Stephen Spendor and so on have made the revival the poetic drama possible. The Choruses. A striking feature of â€Å"Murder in the Cathedral†is Eliot’s use of poetic choruses like the choruses in ancient Greek drama. The producer must decide the method which will project most effectively in the theatre these recurring choral passages, spoken by the Women of Canterbury. There are eight poetic rhapsodies or choruses, comprising approximately one fifth of the text. The poetry in the choruses invites all the imaginative enrichment which light, music and dance can give it. The chorus commenced in Greek drama, originally as a group of singers or chanters. Later, a Greek playwright called Thespis introduced an actor on the stage who held a dialogue with the leader of the chorus. Playwrights like Aeschylus and Sophocles added a second and a third actor to interact with the chorus. Finally, the chorus took on the role of participants in the action and interpreters of what is happening on stage. Eliot has based â€Å"Murder in the Cathedral†on the form of classic Greek tragedy. He uses the chorus to enhance the dramatic effect, to take part in the action of the play, and to perform the roles of observer and commentator. His chorus women represent the common people, who lead a life of hard work and struggles, no matter who rules. It is only their faith in God that gives them the strength to endure. These women are uneducated, country folk, who live close to the earth. As a result, they are in tune with the changing seasons and the moods of nature. At present, they have an intuition of death and evil. They fear that the new year, instead of bringing new hope, will bring greater suffering. The three priests have three different reactions to Becket’s arrival. The first reacts with the fear of a calamity.The second is a little bold and says that there can hardly be any peace between a king who is busy in intrigue and an archbishop who is an equally proud, self-righteous man. The third priest feels that the wheel of time always move ahead, for good or evil. He believes that a wise man, who cannot change the course of the wheel, lets it move at its own pace.
Tuesday, October 22, 2019
Ameritech Case Study Essays
Ameritech Case Study Essays Ameritech Case Study Essay Ameritech Case Study Essay Synthesis: America is an American company which decided to outsource their manufacturing division to the Philippines in order to reduce labor cost and restore of their competitive edge due to their rival companies outsourcing from other Asian countries as well. Bill Dawson was assigned as the plant manager and a Filipino DULLS MBA Graduate was hired to be his assistant. The purpose of his assistant was to bridge the gap of culture. However, the assistant is a Mainline while the workforce is Sebaceous; this resulted in another sub-culture gap. Productivity of the plant was decreasing over time and Bills decisions are antagonistic in the point of view of the workforce. The result of this is consistent employee turnovers and ever decreasing productivity. Point of View: Bill Dawson point of view shall be taken. He is the main person in charge of the plant and has all the authority to make actions for the good or the bad of the plant. Statement of the Problem: 1. What actions must Bill Dawson take in order to achieve satisfactory productivity 2. What motivational method should Bill implement to stimulate positive response from his Filipino employees? Statement of the Objectives: 1. To evaluate his current resources and decide what needs to be changed and reorganized. 2. Develop a motivational system plan that will value employee welfare and inspire them to be more productive. Areas of Consideration: 1. Filipino Cuban Culture As stated in the case, the local employees are not disciplined. It was observed that employees take extended breaks, chat endlessly and engage in non-work activities. These result in a lot of wasted time and low productivity. Most of the employees are females and had not previously worked in a manufacturing environment. America Way The America is obsessed with efficiency and quality-oriented production techniques. Needless to say, it can be assumed that they follow hardcore mainstream Miguel is a Mainline and Sebaceous see him as too urban, too serious, too self- centered and they do not trust him. Also, it is important to note the double standard treatment that Miguel displays towards the Sebaceous and Bill Dawson. Miguel is very respectful to Bill but the opposite towards the workers. 4. Bill Dawson Managerial Upbringing and his Perception of Filipino Culture Bill is the son of a tobacco farmer. He is highly intelligent but never attended college. He worked his way up to get a high management position using his experience and street smarts. He is known to be firm but fair and dresses casually. He is also somewhat large and looked intimidating. The problem of Bill is that he did not make a concrete effort in understanding Filipino culture in his preparation for his assignment. He merely relied on his uncles stories and the country shared love for basketball. 5. Millet being fired Millet frequently Jokes, teases and asks personal questions to Bill during training sessions. Bill was not happy about Millets behavior which is why he decided to fire her. It was evident that after she was fired, the mood of the employees especially belonging in the same department with her changed. Employees are less cheerful however, productivity slightly improved. Discussion of Framework: l. Organizational Culture Types One of the frameworks applied for the case is the model of Deckhands, Farley and Webster on Organizational Culture Types. The model shows four culture types which are: Clan, Hierarchy, Autocracy, and Market. Each culture label includes assumptions relating to: dominant, organizational attributes, leadership styles, organizational bonding mechanisms and overall strategic emphasis (Recalls, 2005, p. 73) II. Multilateral Expectancy Theory Multilateral Expectancy Theory is also applicable for this case. This theory focuses on achieving goals that are for the benefit of the community. This theory, commonly use the we approach. In addition, the application of th e theory to the case would motivate and encourage the workers to participate in the decision making and cooperate in solving the companys problem. It focuses on group efficacy which would generally apply to Americans female employees. It also highlights Organizational Citizenship Behavior (COB) wherein the person would be motivated to not only focus on his work but also to help his colleagues to the benefit of the company. Employees of America need to be encouraged to collaboratively aim for their purpose of reaching their productivity goal. However, the application of this theory also acknowledges that there are other goals that are needed to be set such as nonofficial elements of the company. With this, Balanced Scorecard can also be seed as a tool in measuring the financial goals as well as the nonofficial goals that are important to the company. Also the Value Chain framework for productivity can be applied by America in the sense that they have to effectively convert their inputs into viable outputs. Alternative Courses of Action: A. Create an action plan with the following steps: 1. Understand and embrace the local culture 2. Implement a motivational incentive scheme 3. With the newly motivated employees, improve the productivity of the plant PROS: 1. Workers will become adjusted to their boss 2. Motivated employees tend to be more productive 3. Workers will be back to their cheerful behaviors but at the same time have improved over their performance CONS: 1. It might be difficult for Bill Dawson to adjust since he is accustomed to the America Way 2. Employees may be skeptical on his new behavior and may perceive it as an act B. Retain the current set-up but find a way for the employees to respect top management. Bill can replace Miguel with a Cuban mediator so that he may effectively implement his new plans for the company. 1. Less adjustment for Bill Dawson and for the employees 2. Smooth flow of operations with an apparent concern for employees from the Management CONS: 1. Miguel will lose his Job 2. There is no assurance that the new Cuban mediator will gain the support of the existing employees 3. Improvement of productivity is not assured. C. Close operations in Cube and look for another Asian country like China for their labor force since it has not been working for America. 1. The company will cut its losses and move on 1. Loss in investment for the company due to another relocation of the plant 2. There is no guarantee that the same scenario will not reoccur in another Asian country
Monday, October 21, 2019
Financial accounting Essays
Financial accounting Essays Financial accounting Essay Financial accounting Essay Then the group members critically discussed on how the assignment can be done through the given guideline. Accordingly, we select the base year 2012 and the past four years financial statements. This is important for identification of major changes in trends, and relationships and the investigation of the reasons underlying those changes. Information extracted from the financial statements that can facilitate the conclusion of the analysis was gathered and noted. While it used is historical, our intent is clearly to arrive at recommendations and forecasts for the future rather than provide a picture of the past. The performance of pick n pay is assessed by analyzing of profitability, liquidity, efficiency gearing ratios, and cash flow statement. In this way financial condition of the firm is stated and the segmental analysis on profitability and efficiency conducted for the selected five consecutive years. Based on the outlined and stated statement we have explained the future prospects of the pick n pay for its internal and external financial users such as : Creditors, investors, customers,suppliers and employees. Finally, from the financial statements of the Shoplifter for the year selected as the same for pick n pay financial ratio analysis have been done. Accordingly, the two companies financial performance were compared and summarized. And also, our prospect attention and recommendation of the two businesses were concluded The financial analysis is the selection, evaluation and interpretation of financial data. According to this, from the pick n pay selected years financial statements we analyze uncial data with the respective measurement types of ratio analysis to evaluate the firms overall performance and activities of business operation as follows Notes for calculation of financial ratios are annexed to this report.
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