Is Money the Biggest Motivator for People at the Workplace Essay

Numerous individuals accept that they are persuaded by exclusively procuring cash, yet this isn't completely obvious, in light of the fact that different variables like assortment of work environment and the should be acknowledged for the work they do. Inspiration is the arrangement of procedures that pushes an individual toward an objective. In this way, roused practices are willful decisions constrained by the individual worker. Components that influence work inspiration incorporate individual contrasts, work attributes, and hierarchical practices. Singular contrasts are the individual needs, qualities, and mentalities, interests and capacities that individuals bring to their employments. The should be acknowledged for the work they do might be reflected in the renown connected to their activity, and keeping in mind that the requirement for an assortment in the working environment might be fulfilled by a fascinating or fun activity. A factor, which impacts inspiration, is that each individual has a wide range of necessities. For instance a representative may like to chip away at their own as opposed to in an amicable group. So as to have great inspiration workers needs must be set up. This is appeared in how absence of inspiration approaches diminished exertion and absence of duty. A case of how employee’s needs could be fulfilled is through including them in conversations so they feel perceived and needed. A business could likewise set up conversations with the executives about objectives and working practices which would cause representatives to feel their opion checks and furthermore that their commitment is important.

Why Having a Large Vocabulary Is Good Essay Example

Why Having a Large Vocabulary Is Good Paper Your jargon tells the remainder of the world a great deal about you. It shows a person’s foundation, childhood, training, and even their tendencies. A huge jargon shows your inclination for language, yet in addition shows a decent, strong foundation in perusing. We will in general sum up individuals with wide vocabularies to be savvy, exceptionally instructed, and very much read. By this recognition alone, it is no big surprise that numerous individuals try to infuse enormous words and expand phrases into their discourse, just to show individuals how all around read they are. Obviously, it is not necessarily the case that individuals who gather a wide jargon do it just for the shallow explanation of flaunting. In any case, we can't deny that individuals who try to build up an exquisite method of talking by the utilization of a wide jargon will in general dazzle their audience members and crowd. Somebody with a wide jargon gives us that the individual is capable with words. It helps incredibly not just in giving a positive and scholarly impression of the speaker, yet permits the speaker to convey their thoughts all the more viably. At the point when you have a huge pool of words to look over, it simpler to choose a word which best fits a specific circumstance or is generally relevant for a specific crowd. The speaker can modify their words to suit the mood, since a wide jargon consistently accommodates an option on what word we wish to use to communicate our contemplations and emotions. A wide jargon is an amazing asset. It permits the owner thereof to impact its crowd, for example, the instance of a charming speaker, in any talk, crowd, meeting, or discussion. We will compose a custom paper test on Why Having a Large Vocabulary Is Good explicitly for you for just $16.38 $13.9/page Request now We will compose a custom article test on Why Having a Large Vocabulary Is Good explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer We will compose a custom article test on Why Having a Large Vocabulary Is Good explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer Somebody who is an authority of words will have the option to give a progressively compelling talk or introduction before any affiliation. A huge jargon is fundamental for an open speaker, however for an author, since it permits them to put down what they need to state from numerous points of view, with less propensity for question regarding their significance and understanding. It permits the speaker to offer compassion or to reprimand a subject or individual in a thoughtful manner, particularly if the audience is curious about with the words utilized. Having a wide jargon may effectsly affect an individual too, for example, when the holder thereof will in general be presumptuous and critical of individuals who don't have the equivalent huge jargon. It can give one the sentiment of prevalence and of being preferable taught or more intelligent over others, and accordingly they will in general estrange individuals whose jargon don't coordinate theirs. What individuals with a wide jargon should take not is that not every person is as blessed to have been presented to such writing and instruction, and that an absence of a wide jargon doesn't really show ignorance, but instead an absence of chance. Individuals with a huge jargon include a special set †the individuals who have had the chance to peruse or concentrate widely †and ought not utilize this blessing to isolate others who have not been as fortunate. Rather, they should utilize their jargon to tempt individuals to the universe of perusing and learning, and ought to be liberal about sharing the advantages of having a huge jargon. They should not spare a moment to share what they know, and should utilize their enormous jargon as an instrument in communicating as well as in helping other people to communicate also.

8 Tips for Building a Strong Brand, Not Just Another Website

8 Tips for Building a Strong Brand, Not Just Another Website Make Money Online Queries? Struggling To Get Traffic To Your Blog? Sign Up On (HBB) Forum Now!8 Tips for Building a Strong Brand, Not Just Another WebsiteUpdated On 26/07/2017Author : Pradeep KumarTopic : BloggingShort URL : https://hbb.me/2tUyQ0r CONNECT WITH HBB ON SOCIAL MEDIA Follow @HellBoundBlogHaving an appealing and efficient brand can make or break a company. Branding serves to represent what a company stands for and can drive up customer interest. Building a company’s reputation starts with establishing a brand that portrays its identity. We’ve listed eight steps you can take to structure a brand that will stand out amongst competitors’ marketing.1. Have your brand reflect who you areThe first step in building a strong brand is to make sure it represents who you are as a company. Design questionnaires that ask customers and employees what they believe you stand for. Consider how you want to be received by your audience. After pinpointing the perception, you hope to broadcast, work on creating thoughts, feelings, images, and experiences that center around your brand message. Strive to focus on your unique qualities which will serve as the basis for your brand definition. Once you have identified the brand image you hope to project, design all your marketing elements to reflect your message. Take into account how your writing style, color scheme, and logo design play a role in communicating your message.2. Know your audienceGathering and analyzing data about the market where your product or service will be offered is essential in building a strong brand. Knowing the spending habits, location and needs of your consumer will help you develop an appealing brand. Sites such as Google Analytics can tell you a lot about those who show interest in your sites. The tool reveals viewers demographic information and identifies what parts of your site are clicked on the most. It’s also advisable to take a look at comment threads on your site or others tha t are relevant to your topic. Pay attention to customers who may be talking about a particular solution to their needs. You can also administer surveys to gauge your audience’s interest. This can give you ideas about what your company should address. Building your brand around your audiences needs will help you gain a loyal following.3. Be consistent across all platformsOne way to ensure your brand is not forgotten in the minds of consumers is to stay consistent across all marketing platforms. Do not leave room for a variety of interpretations. Consider your brand when choosing a domain name by making sure it is memorable and fits the brand. Develop brand guidelines which specify which fonts are appropriate and how to correctly use logos, icons, and taglines in print and online. Make sure all employees have a guidebook to eliminate any confusion on how the brand should be presented. When posting on sites other than your main page, use a consistent tone and style so the consumer ca n easily comprehend what your brand entails.4. Know your competitionMonitoring business rivals and researching their brand is important as you seek to make your own mark in your industry. Conducting a competitive analysis makes you more informed on your market and opens your eyes to what others are doing and why. Learn your competitors strengths and weaknesses. If you see they lack in particular area, you can make sure to address the need to set yourself apart. Understand how competitors utilize their marketing message. In what way can you differentiate yourself to steer customers your way? Once you are well-informed on your competitors marketing tactics, you can build a strong brand that edges out the competition by making yourself unique.READ3 Simple Tips and Tricks for Future Blog Pros5. Seek to Build Long-term Relationships with your CustomersTo make your company a success, it is important to communicate your brand to build lasting relationships. Reach out to your customers freq uently. Send them informative newsletters if they are on your email list and make sure you post to your social media sites regularly. Engage with your customers by replying to their posts. Your goal is to be accessible to keep prospects interested in what you have to offer for a long period of time. Offer customer rewards which will help remind them of your brand. Make yourself a household name in the community by hosting events. Making your brand more visible in the community will help you acquire more loyal customers.6. Issue Content that is Helpful to your AudienceMake your brand recognizable in online communities by providing helpful commentary. Quickly respond to customer service questions to show you are committed to the success of your company. Utilize sites such as Twitter as a means to reach out to those in need of advice. Not only is this beneficial to your customer, but it also gives you a chance to market your brand as one that is accommodating when it comes to customers ’ needs.7. Identify how you are perceived in the marketplaceOne way to ensure your brand message is being received is by determining brand perceptions. First, you will want to find out how those in your organization view your brand. How do they believe your brand stands out from the competition? After identifying how they distinguish you from competitors, turn to your customers’ views. Issue surveys to see if consumers’ perception of your brand is consistent with what those in your organization believe it offers. If there is a consensus in how your message is absorbed, then you can conclude that you have been successful in communicating your brand image. However, if the consumer is receiving a portrayal of your organization that is not in line with what you hope to communicate, you will know you need to restructure parts of your branding. By analyzing consumer and employee perception, you will be able to strengthen your brand by altering it to ensure your intended message is c ommonly understood.8. Routinely Analyze and Refine Your BrandTo ensure you remain competitive in your market, you should periodically review your brand to determine its effectiveness. While consistency is important, it is okay to change your brand to ensure it is bringing the customer the intended experience. Your target audience’s preferences can change over time and have your brand reflect what most appeals to them are essential to its success.

Global Trade Identify The Losers - 1626 Words

With the advancements in technology and innovation, the world appears to continue to grow smaller. With technology and innovative advancements, businesses have grown in local markets, as well as globally. An organization located in Taiwan seeking buyers and understanding the demands required can sell products all over the world. Multinational companies have been doing business in other countries for a century; however globalization has changed the picture for even smaller companies around the world. Smaller companies can also get their market share in the global economy. In this paper, globalization is defined, as well as identifying various challenges and opportunities associated with globalization. Defining Globalization Globalization is the distribution of products and services to nations around the world. Each nation s economy is integrated and interdependent upon each other. The Global Trade: Identify the Losers (2011) website states, American companies such as Apple create jobs in the United States but have also created jobs elsewhere. There are increasing job distribution overseas because of the number of applicants at a fraction of the salary. The Global Trade: Identify The Losers (2011) website highlights with globalization organizations can choose to source their manufacturing needs in other countries where labor is less costly. Technological and innovation advancements have permitted globalization to grow decreasing barriers to trade. Organizations canShow MoreRelatedUnit 2 Individual Project Mgmt 220 Aiu Online1365 Words   |  6 PagesInternational Trade Unit 2 Individual Project Presented in Partial Fulfillment Of the Requirements for the Class MGMT 220 Introduction to International Business By Marisa Canales AIU Online 14 January 2011 When I, Marisa think about international trade one country comes to mind; Japan because Japan manufactures cars or electronics for example for America but it needs from us metals like iron and copper. Without us trading back and forth with Japan both sides would be hurting economy. InRead MoreThe Falling Oil Prices Of 2014 : A Case Study1421 Words   |  6 Pageschanges in the exchange rate, oil exports as a percentage of country revenue, production and consumption levels (i.e. supply and demand), among other variables; these variables will be used as determinants of which countries are the net winners and net losers in the oil price decrease seen in 2014. The focus countries of the case study are the United States (U.S.), Russia, China, Japan, and select Organization of Petroleum Exporting Countries (OPEC). Oil Industry Historical Background The major shockRead MoreWho Have the Been the Main Winners and Losers from Globalisation?2973 Words   |  12 PagesWho have been the principal winners and losers from globalisation? Globalization affects everyone, whether intended, directly or otherwise; it has gradually increased its presence in our daily lives. In this essay, I will point out who are the ones benefited and the ones injured from it by breaking down the question in four broad aspects: economic, political, socio-cultural and environmental. Seemingly, I will analyse the causals for this particular outcomes and distributions that indicate thatRead MoreThe Uk Should Leave The European Union1593 Words   |  7 Pages Identify and analyse the major issues that divide those in favour of the Britain’s leaving the European Union and those who oppose it. Who do you expect to be the major gainers and losers? Be sure to explain why you see them as gaining or losing, using economic reasoning. You should suggest which of these gains and losses you think are likely to be most important. Throughout this essay I am going to be exploring the current issues surrounding the decision of whether or not theRead MoreHow Do Global Regulations Influence Businesses Operating Internationally? What Are The Major Obstacles?1328 Words   |  6 PagesChapter 4: 1. How do global regulations influence businesses operating internationally? What are the major obstacles to global regulation? The rationale for government regulation is to protect economic wellness and competition in the market. Without competition, organizations have the ability to exploit the market. Public concerns include unethical practices such as scams, price fixing, and false advertising. Social concerns include pollution, protecting historic or natural resources, workplaceRead MoreWinners and Losers in a Consumer Society Essay1681 Words   |  7 PagesEssay Plan: Outline who are the winners and losers in a consumer society. Introduction: Paragraph 1 Outline – short general explanation/ to give the main features or general idea of. Consumer society – Point out this essay is looking at consumer society. Who – highlight the essay is looking at who. The winners and losers - define this concept in the introduction as it is the main content phrase in the essay question. There are three parts include in the main body that discribeRead MoreNeoliberalism And Capitalism And Privatization Essay1930 Words   |  8 Pagespresented conflicting interpretations of the success of neoliberal policy and the degree to which it is responsible for the international financial crisis’s of the past. Prominent neoliberals such as Friedrich Hayek insisted that deregulation, free trade and privatization all contribute to the greatest prosperity for the greatest number. However, other prominent economists such as Joseph Stiglitz argue that neoliberalism produces a ‘market state’ which in turn engenders an environment of instabilityRead MoreMarketing Analysis : Global Supply Chain Essay1721 Words   |  7 PagesGlobal supply chain remains a highly contested theme and there have been many attempts to define the real winner and compet ition of market power in the literature. The participant network varies in size and scope, depending on the products involved, geographic dispersion of supply and demand, and customer service requirements. Martin Christopher (2011: 15) states that within global supply chains the real competition is not company against company but rather, supply chains against supply chains. ThisRead MoreImpact Of Globalization On The United States And Our Relations With Other Nations Essay2272 Words   |  10 Pagesoccurred since the 1990’s. Robertson identifies four significant events which have had the greatest effect on globalization. First off, political barriers to international trade between the United States and the rest of the world have quickly declined over the past couple of decades. There have been many trade agreements and treaties established since the 1990’s which have opened many doors for the United States. Some of these include the North American Free Trade Agreement along with the additionRead MoreThe Economic Integration And Industrialisation Essay1916 Words   |  8 Pagesworld, concepts that have only originated in the last 150 years, which can be characterised by their success in global economic integration and industrialisation (Nayyar 2013, pp. 41). Globalisation has led to an increasingly connected and global economy, contributing to these often polar areas of the world. The capitalist ideology has been a driving force in shifting economics to a global scale, and in pursuit of wealth and competition can be attributed to the inequalities and differences observed

Laetoli - 3.5 Million Year Old Hominin Footprints

Laetoli is the name of an archaeological site in northern Tanzania, where the footprints of three hominins--ancient human ancestors and most likely Australopithecus afarensis--were preserved in the ash fall of a volcanic eruption some 3.63-3.85 million years ago. They represent the oldest hominin footprints yet discovered on the planet.   The Laetoli footprints were discovered in 1976, eroding out of a gully of the Nagarusi river, by team members from Mary Leakeys expedition to the main Laetoli site. Local Environment Laetoli lies in the eastern branch of the Great Rift Valley of eastern Africa, near the Serengeti Plain and not far from Olduvai Gorge. Three and a half million years ago, the region was a mosaic of different ecotones: montane forests, dry and moist woodlands, wooded and unwooded grasslands, all within about 50 km (31 miles) of the footprints. Most Australopithecine sites are located within such regions--places with a wide variety of plants and animals nearby. The ash was wet when the hominins walked through it, and their soft print impressions have given scholars in-depth information about the soft tissue and gait of Australopithecines not available from skeletal material. The hominin prints are not the only footprints preserved in the wet ashfall: animals walking through the wet ash included elephants, giraffes, rhinoceroses and a wide variety of extinct mammals. In all there are 16 sites with footprints in Laetoli, the largest of which has 18,000 footprints, representing 17 different families of animals within an area of about 800 square meters (8100 square feet). Laetoli Footprint Descriptions The Laetoli hominin footprints are arranged in two 27.5 meter (89 foot) long trails, created in moist volcanic ash which later hardened because of desiccation and chemical change. Three hominin individuals are represented, called G1, G2, and G3. Apparently, G1 and G2 walked side by side, and G3 followed along behind, stepping on some but not all of the 31 footprints of G2. Based on known ratios of the length of a bipedal foot versus hip height, G1, represented by 38 footprints, was the shortest individual of the three, estimated at 1.26 meters (4.1 feet) or less in height. Individuals G2 and G3 were larger--G3 was estimated at 1.4 m (4.6 ft) tall. G2s steps were too obscured by G3s to estimate his/her height. Of the two tracks, G1s footprints are the best preserved; the track with footprints of both G2/G3 proved difficult to read, since they overlapped. A recent study (Bennett 2016) has allowed scholars to identify G3s steps apart from G2 more clearly, and reassess the hominin heights--G1 at 1.3 m (4.2 ft), G3 at 1.53 m (5 ft). Who Made Them? At least two sets of the footprints have been definitely linked to A. afarensis, because, like the fossils of afarensis, the Laetoli footprints do not indicate an opposable great toe. Further, the only hominin associated with Laetoli area at the time is A. afarensis. Some scholars have ventured to argue that the footprints are from an adult male and female (G2 and G3) and a child (G1); others say they were two males and a female. Three dimensional imaging of the tracks reported in 2016 (Bennett et al.) suggests that G1s foot had a different shape and depth of heel, a different hallux abduction and a different definition of the toes. They suggest three possible reasons; G1 is a different hominin from the other two; G1 walked at a different time from G2 and G3 when the ash was sufficiently different in texture, producing differently shaped impressions; or, the differences are a result of foot size / sexual dimorphism. In other words, G1 may have been, as others have argued, a child or a small woman of the same species. While there is some ongoing debate, most researchers believe that the Laetoli footprints show that our Australopithecine ancestors were fully bipedal, and walked in a modern manner, heel first, then toe. Although a recent study (Raichlen et al. 2008) suggests that the speed at which the footprints were made might affect the kind of gait required to make the marks; a later experimental study also led by Raichlen (2010) provides additional support for bipedalism at Laetoli. The Sadiman Volcano and Laetoli The volcanic tuff in which the footprints were made (called the Footprint Tuff or Tuff 7 at Laetoli) is a 12-15 centimeter (4.7-6 inches) thick layer of ash which fell on this region from the eruption of a nearby volcano. The hominins and a wide variety of other animals survived the eruption--their footprints in the muddy ash prove that--but which volcano erupted has not been determined. Until relatively recently, the source of the volcanic tuff was thought to be the Sadiman volcano. Sadiman, located about 20 km (14.4 mi) southeast of Laetoli, is now dormant, but was active between 4.8 and 3.3 million years ago. A recent examination of outflows from Sadiman (Zaitsev et al 2011) showed that the geology of Sadiman does not fit perfectly with the tuff at Laetoli. In 2015, Zaitsev and colleagues confirmed that it was not Sadiman and suggested that the presence of nephelinite in Tuff 7 points to the nearby Mosonic volcano, but admit that there is not conclusive proof as of yet. Preservation Issues At the time of excavation, the footprints were buried between a few cm to 27 cm (11 in) deep. After excavation, they were reburied to preserve them, but the seeds of an acacia tree was buried within the soil and several acacias grew in the region to heights of over two meters before researchers noticed. Investigation showed that although those acacia roots did disturb some of the footprints, burying the footprints was overall a good strategy and did protect much of the trackway. A new conservation technique was begun in 1994 consisting of application of a herbicide to kill all the trees and brush, the placement of biobarrier mesh to inhibit root growth and then a layer of lava boulders. A monitoring trench was installed to keep an eye on the subsurface integrity. See Agnew and colleagues for additional information on the preservation activities. Sources This glossary entry is a part of the About.com guide to Lower Paleolithic, and the Dictionary of Archaeology. Agnew N, and Demas M. 1998. Preserving the Laetoli foodprints. Scientific American 279(44-55). Barboni D. 2014. Vegetation of Northern Tanzania during the Plio-Pleistocene: A synthesis of the paleobotanical evidences from Laetoli, Olduvai, and Peninj hominin sites. Quaternary International 322–323:264-276. Bennett MR, Harris JWK, Richmond BG, Braun DR, Mbua E, Kiura P, Olago D, Kibunjia M, Omuombo C, Behrensmeyer AK et al. 2009. Early Hominin Foot Morphology Based on 1.5-Million-Year-Old Footprints from Ileret, Kenya. Science 323:1197-1201. Bennett MR, Reynolds SC, Morse SA, and Budka M. 2016. Laetoli’s lost tracks: 3D generated mean shape and missing footprints. Scientific Reports 6:21916. Crompton RH, Pataky TC, Savage R, DAoà »t K, Bennett MR, Day MH, Bates K, Morse S, and Sellers WI. 2012. Human-like external function of the foot, and fully upright gait, confirmed in the 3.66 million year old Laetoli hominin footprints by topographic statistics, experimental footprint-formation and computer simulation. Journal of The Royal Society Interface 9(69):707-719. Feibel CS, Agnew N, Latimer B, Demas M, Marshall F, Waane SAC, and Schmid P. 1995. The Laetoli Hominid footprints--A preliminary report on the conservation and scientific restudy. Evolutionary Anthropology 4(5):149-154. Johanson DC, and White TD. 1979. A systematic assessment of early African hominids. Science 203(4378):321-330. Kimbel WH, Lockwood CA, Ward CV, Leakey MG, Rak Y, and Johanson DC. 2006. Was Australopithecus anamensis ancestral to A. afarensis? A case of anagenesis in the hominin fossil record. Journal of Human Evolution 51:134-152. Leakey MD, and Hay RL. 1979. Pliocene footprints in the Laetolil Beds at Laetoli, northern Tanzania. Nature 278(5702):317-323. Raichlen DA, Gordon AD, Harcourt-Smith WEH, Foster AD, and Haas WR, Jr. 2010. Laetoli Footprints Preserve Earliest Direct Evidence of Human-Like Bipedal Biomechanics. PLoS ONE 5(3):e9769. Raichlen DA, Pontzer H, and Sockol MD. 2008. The Laetoli footprints and early hominin locomotor kinematics. Journal of Human Evolution 54(1):112-117. Su DF, and Harrison T. 2015. The paleoecology of the Upper Laetolil Beds, Laetoli Tanzania: A review and synthesis. Journal of African Earth Sciences 101:405-419. Tuttle RH, Webb DM, and Baksh M. 1991. Laetoli toes and Australopithecus afarensis. Human Evolution 6(3):193-200. Zaitsev AN, Spratt J, Sharygin VV, Wenzel T, Zaitseva OA, and Markl G. 2015. Mineralogy of the Laetolil Footprint Tuff: A comparison with possible volcanic sources from the Crater Highlands and Gregory Rift. Journal of African Earth Sciences 111:214-221. Zaitsev AN, Wenzel T, Spratt J, Williams TC, Strekopytov S, Sharygin VV, Petrov SV, Golovina TA, Zaitseva EO, and Markl G. 2011. Was Sadiman volcano a source for the Laetoli Footprint Tuff? Journal of Human Evolution 61(1):121-124.

How I Learned Me My Writing - 1226 Words

Throughout my whole life, I really struggled with writing. Every time the English teacher gave the class an assignment to write an essay, I was always felt terrified because I never saw any improvements in my writing whenever I got my essays back from the teacher. However, I wanted to change that this year. Writing 101 has been a very interesting class this year, especially since the theme of the class was â€Å"tai chi on paper†. In this class, I learned many techniques that helped me improve my writing like I learned how to take time and revise my writing a lot before I turned in my final draft to my professor. One thing I really liked about my writing class this year was the fact that Professor Olufs had the class read each other’s essays. I think that was a huge step for me because I was always embarrassed by how I wrote my essays. But through this process of writing, it had taught me that it is very important to have your peers or your instructor to revise your essay before you turn it in. It honestly made a huge improvement in my writing because it is a great way to see what they think about your essay. Sometimes they can offer some good ideas on how to improve. Since it’s from a different perspective they are easily able to point my mistakes. Having someone revise your essay is a great technique to do even if you revised it yourself. For instance, in my essay #4 which was about on â€Å"how do you learn a new skill relating it to tai chi† I revised it so many times before IShow MoreRelatedMy First Time Making A Career Goal1516 Words   |  7 Pages2015 Lesson Learned To me, this semester has gone by pretty fast and during this semester, I learned so much in this course in a short period of time. I learned how to study different methods of writing and writing in different purposes. I also learned different things just by having online discussions and most importantly, I learned how to improve my writing skills and how this course changed my perception of English and apply it in the future. I have gained so much knowledge about writing in this classRead MoreWriting, Writing And Writing993 Words   |  4 PagesWriting In biology has taught me a lot about scientific writing and just writing in general. From this class I feel as if my writing skills have drastically improved over the semester, making me a more proficient writer. I used to consider the task of writing appalling and demanding as it would take me hours to complete, but now at the conclusion of the semester that is not the case. Each project give me a new set of valuable skills that I wi ll be able to use far into my future career, helping meRead MoreSignificant Improvement : Things That I Have Learned From English 10101105 Words   |  5 PagesThings that I have Learned from English 1010 Have I improved from when the class started to now? Or have I remained the same or worse have I become a worse writer and reader? These are questions that need to be answered by a self-reflection and evaluation. One must always set goals and analyze their growth or the lack thereof. The analysis of progress helps show how far one has come, and it also helps the rate of improvement accelerate. Throughout this semester, I have improved my writing, readingRead MoreGraduation Speech : My Writing Skills943 Words   |  4 PagesThroughout the course of DE, I have truly learned a lot and my writing skills have truly improved tremendously. Taking this class has helped me become a better writer and has helped my grammar grow extremely. 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I had grown as a writer compared to when I first walked into English 1100, I had some writing experience but not much my grammar lacked and I was the queen of sentence fragments. Throughout the semester during English

Effects of Legal Framework Woolworth Limited

Question: How legal frameworks affects Woolworth limited. Answer: Introduction This report examines the management of Woolworth Limited Company Australia. The aim of the report is to study the various legal frameworks and policies and observe how they influence operation of the company. The report will also examine some of the international policies that affect the business at a global level Woolworth Limited Background Woolworth Limited is one of Australias biggest retail company regarding revenue and the second largest in New Zealand. It boasts of being the biggest liquor retailer in Australia and also offers gaming and hotel services. With its headquarters based in Sydney Australia, Woolworth runs about 961 stores in Australia alone and boasts of 111,000 employees who are stationed in various stores and distribution centers to run its operations. Globally the number of staff working for this organization stands at 193,000 according to Woolworth annual report of 2016 Its products are mainly sold in supermarkets, hotels, and pubs. In supermarkets, it operates under the Woolworth brand while in liquor stores it supplies Dan Murphys and BWS. In hotels and pubs, Woolworth Limited operates under the ALH Group (Australian Leisure and Hospitality Group). The group is believed to own over 10,000 poker machines in Australia which bring in over $1.2 billion regarding revenue each year. In summary, Woolworths ranks amongst the top food retailers in the world and approximately 31% of market share in Australia(See appendix 1) Changes in the market structure have pushed organizations to think outside the box when it comes to developing strategies that will lead the company to profitability. One of the main factor that affects and determines which strategy is to be used is the external environment. According to Hollensen (2007) the strategy adopted by Woolworth limited is aimed at achieving higher profitability and growth while at the same time minimizing operational losses. In addition the analysis further indicates that Woolworth just like other global companies is susceptible to environmental factors that might affect its operations and profitability in the long run (Kotler Armstrong, 2010). Competition Policy Review Woolworth has been making a difference in terms of profit margins in the recent past, but the introduction of major amendments in the competition policy which seeks to introduce major micro-economic reforms threatens the growth of this organization. Some of the major concerns that Woolworth has raised concern over and will affect the profit margin of the company includes the amendments in the Consumer and Competition Act of 2010 that will create a leeway for misuse of market power provisions. Changes in this clause may negatively affect the performance of Woolworth in the already volatile market. For instance the amendment of clause that would see non prohibition on price discrimination introduced into the competition policy has been welcomed by main players in the grocery sector as this would give and a better opportunity to increase their sales revenue. In addition an amendment that would see greater flexibility in the notification process for collective bargaining by upcoming businesses has also been highly welcomed by players in the grocer sector. Despite this there those amendments that have raised concern in the circles of management at Woolworth with regard to the competition policy. One of such amendment has been the extension of section 45 of the Competition and Consumer Act to cover what is reffered tto as concerted practices.If implemented this will have a negative effect on competition and in worst cases be harmful to the consumers who are at the receiving end. Another detrimental reform that may negatively affect woolworths perfomannce would be the introduction of the infamous effect-test Competition Policy Agenda Woolworth is operating in a market that is highly volatile and any changes to the competition policy may equally affect the performance of the business. The Australian government has moved to introduce various amendments in the competition policy some which have further favoured the business while others have been seen as a threat to the operation of the business. Woolworth as a retail industry in Australia has been one of the leading retail store in the industry. The firm has achieved a significant level of the market share and exponential growth across the Australian retail industry One of the main factors that has drove Woolworth into profitability especially in the Australian retail industry is the ability to operate multiple stores thus having the advantage of being spread over a larger geographical area as compared to its competitors. It commands about 31% of the market share in the Australian market alone (Kotler, et al,2009) Woolworth is also famous of their high food safety standard which has seen it attract more customers in the recent past. Safe and fresh products are always an attractive bargain for customers and this has further pushed up sales in major Woolworth outlets in Australia. In addition the prices of Woolworth products are affordable and this has attracted more customers to shop at their convenient stores (Johnson, Whittington,and Scholes, 2009),. Woolworth is also offering value for money to its clients. For instance, their products are fresh and hygienically prepared for the end consumer. This includes fruits and vegetables and other grocery products. The firm has gone ahead to partner with best farmers in Australia and its environs to supply them with fresh farm produce (Cadle, Paul, and Turner.2010). Legal Factors As Woolworth boasts of higher profit margins environmental factors continue to affect the productivity of the company in the Australian market. A closer look at its operations data show that the wine making business and its petrol investment have direct effect to the environment and thus having negatively affected its operations Legal factors has also played a role in affected the profitability of the company. Policies such as carborn tax that have been introduced by the government in Australia have seen companies such as Woolworth counting their losses. Other policies recently introduced such as the adoption of fair price policies have had similar effects on the profitability of the company (Wether and Otter, 2014). Political factors .Any political lobbying that may lead to the amendment of trade policies within the Australian economy may adversely affect the profitability of Woolworth in this market. Changes to local or national laws that do not support favorable working environment may in turn affect companies that are to operate under this new political dispensation (Starlin,2003). This might have serious implications on this firms in terms of profitability. In the recent years the Australian government has launched a series of laws that seem to negate fair competition in the market. This policies have seen to target specific companies within the retail industry and in the long run this companies have recorded losses. This companies include Woolworth. Their argument has been that Woolworth and other companies are enjoying monopoly and market dominance hence the need to amend the law to favor other players Economic .Factors that affect economy such as the rate of inflation and the weakening of the Australian dollars have been observed as serious economic factors that may bring a company to its ground. Trade regulations have also been seen as a threat to profitability of many businesses. A look at Australian retail market reveals that a deep in the market conditions as a result of bad economy has eventually throne the retail market into disarray. This has in turn negatively affected the productivity of market players such as Woolworth. Weakening of the Australian dollar and high inflation rates has further worsened the situation ((Woolworth Annual Report,2016) Technological advancement has also been seen as a key driver of the economy. Global companies like Woolworth have taken advantage of this tool and they are raking millions of profits due to efficiency and cost effectiveness that has been achieved as a result of technology. For instace looking at the Australian market, Woolworth has adopted the use of technology. Use of green refrigeration technology is just but a few of the many places where technology has been adopted in this company. However this tool has its fair share of trouble since it comes with disadvantages that may affect the productivity of the organization (Arthur, 2009). Cross-cultural practices and social factors should also be considered by company that is seeking to penetrate the market that it operates in. In Australia social factors are influencing consumer pattern. With this in mind companies need to invest heavily on the social and cultural practices of the consumers in order to push their products to potential consumers. Woolworth will have to develop ties with the local community through engagement and corporate social responsibility to increase customer base (Burt. Starlin,2003). An in-depth analysis of Woolworths limited has been conducted with an aim to assess the important strategies that have been in put in place to drive productivity. The result of the analysis has shown that Woolworth has specifically focused its strategies to control the market share in the Australian retail industry while at the same time attaining double growth in its operations. It is evident that the growth being experience in the firm is as a result of its strong commitment towards delivering high quality products to its customers while at the same time valuing its employees. The analysis of the macro environment facing Australian retail industry has had a direct impact on Woolworth as a firm operating within this market. Political conditions, social trends, changing demographic patterns and competitive business environment have all negatively affected the profit margin and overall growth of Woolworth.(McDonald and Wilson,2011). Conclusion According to the analysis, the Australia retail industry is flooded with companies offering similar products at almost the same price as Woolworth. Other retail stores have moved an edge further to cut the prices of their products so as to attract more customers to their stores. This move can adversely affect the profit margin of Woolworth especially if the competitors are offering high-quality products at a lower price. Woolworth needs to come up with a strategy to mitigate market price-wars that may arise as a result of this. For starters, they should avoid paying attention to the price competition and focus more on improving service delivery thus having an extra edge over their major competitors. They can also plan to buy out the upcoming new players in the market to reduce the level of competition Finally, the Australian retail market is a volatile market. Therefore Woolworth will be required to be in constant consultation with market observers in order to come up with strategies that will see the company sail through constant changes in the environment they operate in. This therefore will require strategies that are flexible and can accommodate sudden changes brought about by external environment(Porter, 2010). Economic indicators should also act as a red flag for the company when crafting up strategies that would see the company maximize their profit. Changes in the legal frame work will also have an effect on the operation of such firms and as a result this companies should always be on their feet thinking of how to maximize profit and minimize loss irrespective of these eventualities References Albaum, G. Duerr, E.2008. International Marketing and Export Management. Sixth Edition Albaum, G. Duerr, E.2008. International Marketing and Export Management. Sixth EditionPrentice Hall. Arthur, W. B.2009. The Nature of Technology. New York: Free Press. p.28. ISBN978-14165-4405-0. Burt, D. Starlin, S.2003: World Class Supply Management, Eighth Edition Cadle, J., Paul, D. and Turner, P.2010. Business Analysis Techniques, 72 Essential Tools for Success, BCS The Chartered Institute for IT. Feenberg, A. 2001. Transforming Technology. New York: Oxford University Press. Hollensen, S. 2007. Global Marketing. (4th Ed.) Prentice Hall. Johnson, G., Whittington, R. and Scholes, K. 2009, Exploring Corporate Strategy withMyStrategyLab,Financial Times/Prentice Hall. Kotler, P. Armstrong, G. 2010. Principles of Marketing. (13th Ed.). Pearson. Kotler, P., Keller, K.L., Brady, M., Goodman, M., and Hansen, T.2009. Marketing Management, Pearson Education. McDonald, M. and Wilson, H. (2011), Marketing Plans: How to Prepare Them, How to UseThem, 7th Edition, John Wiley Porter . E. 2010. Competitive Strategy: Techniques for Analyzing Industries and Competitors. Voiculet, A., Belu, N., Elena, P., Rizea, C. L. 2010. The impact of external environment on organizational development strategy. Constantin Brancoveanu University. MPRA Paper No.26303, Retrieved from: https://mpra.ub.uni-muenchen.de/26303/. Woolworth Annual Report, 2016 Woolworth Annual Report, 2016

The Inspector doesnt lead Eric Essay Example For Students

The Inspector doesnt lead Eric Essay Eva Smith is a name given to a person who cannot be identified, like the American: Jon Doe. The character Eva Smith could represent any person of low social, or financial standings, in Britain, the Inspector may not be talking about the same person every time. During each persons own interrogation, the Inspector uses a photograph to show each character the so-called Eva Smith that they had some part in killing. Whether the photograph was the same one every time is, again, open to interpretation. When the Inspector drops in on the Birling family, he is very dominant to start with. He is a very big and overbearing man, his clothes are in proper order (keeping to police regulations no doubt!), you can see he is a person of high morals and when he starts to speak Mr. Birling is not as in control as he thinks he is. We will write a custom essay on The Inspector doesnt lead Eric specifically for you for only $16.38 $13.9/page Order now Throughout the play the Inspector slowly starts to work out who was directly involved in the girls suicide, though he doesnt show it he is mentally putting together the clues to find an answer: who is the most guilty? The Inspector uses a technique based on the saying: if you give someone enough rope they will hang themselves, this means that if you (as the Inspector) lead a person on long enough they will eventually admit to their crimes. He uses this a lot in each of the characters interrogation. When the Inspector talks to Mr. Birling he uses a very dominant tone, no sympathy or anything because at the start Mr. Birling denies everything and cant admit that he had some part in Evas suicide. Mr. Birling gets very frustrated with the Inspector, as he is no longer in complete control. The Inspector starts to get angry with Mr. Birling when he says She had a lot to say, far to much, she had to go the Inspector sees this as a threat to society as he s suppressing freedom of speech. Mr. Birling is scared that he might loose his knighthood opportunity and his flawless reputation will be scarred because of the ordeal, and his cool calm in control faà ¯Ã‚ ¿Ã‚ ½ade is shattered. Eventually Mr. Birling confesses, and feels guilt for what he did. You must look as if to intimidate him, but dont show it, try to outsmart him and teach him. The Inspector uses sarcastic wit to lead Mr. Birling more and to eventually confess to his crime. Next, the Inspector talks to Sheila Birling. The Inspector is not harsh to Sheila as he was to Mr. Birling, he acts more like a councellor to Sheila because he knows that Sheila is sorry about what she did and is making her feel more guilty by admitting her part in the crime. After Sheila comes her fianc, Gerald. The Inspector uses a tone similar to the one used when speaking to Sheila. He uses is sympathetic and uses a councellors approach to the interrogation. The Inspector tries not to meddle as much as he does with Mr. Birling, because he knows that what he is saying could wreck Gerald and Sheilas relationship apart. When speaking to Mrs. Birling the Inspector, again, uses the same dominant and demanding tone as he used whilst talking to Mr. Birling. When Mrs. Birling doesnt know what the Inspector is going to say, she starts off by saying that; Weve done a great deal of useful work in helping deserving cases but then she is made to eat her words when the Inspector starts to tell Mrs. Birling her involvement in the case. .udea300394f2ae693dbf9cf50159bf107 , .udea300394f2ae693dbf9cf50159bf107 .postImageUrl , .udea300394f2ae693dbf9cf50159bf107 .centered-text-area { min-height: 80px; position: relative; } .udea300394f2ae693dbf9cf50159bf107 , .udea300394f2ae693dbf9cf50159bf107:hover , .udea300394f2ae693dbf9cf50159bf107:visited , .udea300394f2ae693dbf9cf50159bf107:active { border:0!important; } .udea300394f2ae693dbf9cf50159bf107 .clearfix:after { content: ""; display: table; clear: both; } .udea300394f2ae693dbf9cf50159bf107 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .udea300394f2ae693dbf9cf50159bf107:active , .udea300394f2ae693dbf9cf50159bf107:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .udea300394f2ae693dbf9cf50159bf107 .centered-text-area { width: 100%; position: relative ; } .udea300394f2ae693dbf9cf50159bf107 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .udea300394f2ae693dbf9cf50159bf107 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .udea300394f2ae693dbf9cf50159bf107 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .udea300394f2ae693dbf9cf50159bf107:hover .ctaButton { background-color: #34495E!important; } .udea300394f2ae693dbf9cf50159bf107 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .udea300394f2ae693dbf9cf50159bf107 .udea300394f2ae693dbf9cf50159bf107-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .udea300394f2ae693dbf9cf50159bf107:after { content: ""; display: block; clear: both; } READ: Ghosts EssayBecause of her lack of responsibility in the matter, the Inspector gets very frustrated with Mrs. Birling, this is the only time we see him frustrated in the play, you must use the frustration in moderation throughout the play, as this is the only time the Inspector shows real emotion. The Inspector finally backs Mrs. Birling into a corner and thinks he has got her, but, she starts to blame the ordeal on other people so that her slate would be clean, she even blames her family. The last person the Inspector talks to is Eric Birling. The Inspector doesnt lead Eric on as much as the other characters, because he more or less admits to the whole thing without the Inspector hardly saying a thing. As the Inspector sees it, Eric drinks because of his guilt and if the Inspector lead him on any more then he would have another suicide case on his hands. Mr. Birling becomes very angry with Eric when he is confessing (because he stole the money), but the Inspector stops Mr. Birling because all he wants to hear is the truth, he doesnt care about how much trouble Eric is in with his father. When the Inspector arrives on the scene he immediately makes a dramatic impact on the quiet and peaceful scene. Your costume will include a dark suit of the period, with a bow tie and a brown coloured trench coat over the top. You will wear a hat, take it off when you arrive on the scene and then put it back on when leaving. You will act coolly and calmly throughout the play, adding touches of emotion during your last monologue.  I hope that you enjoy playing the role of the Inspector in our fine play, and we look forward to any contributions that you make to the dramatic effect of the play, thank you.

The drug war essays

The drug war essays Everyday someone is thrown in state prison for anywhere from 3 years to life for the "illegal" use of the drug known as marijuana. It has come down to it that thousands of pounds of marijuana are smuggled over the border of Mexico and into the United States. Regardless of the fight or struggle of people to insure the so said safety of our younger generations from the use of these drugs more and more comes into the Unites States. The use of the herbal drug marijuana becomes increasingly wide-spread. It's esteemated that over half of the kindergarden class of 2001 will have used marijuana at least once by the age of 18. While the goverment becomes increasingly concerned with the escalating use of marijuana, it isn't the only thing escalating. The goverment spends well over 100,000 dollars on the "drug war" each year. While our nations funds decrease from the war against hippies the facts are dismissed. Although marijunan is considered highly bad it isn't in the least damaging. Marijuana is used as an aid in eating and was at one point issued to aids patients. With the complete banning of marijuana people with aids flood to Canada or die from choaking on their own vomit. Many people look at this controversial issue and wonder why. Why not legalize marijuana for the use of aids patients? Why not save another life? Frankly why not legalize for everyone. The sell alone would pay for the drug war. ...

The Making of a Business Magnate Essay Example | Topics and Well Written Essays - 750 words

The Making of a Business Magnate - Essay Example Every person perhaps has a childhood dream. However, such a dream does not always assure one’s success or failure in life. There are so many factors that affect what will really become of a person. Nevertheless, one cannot deny the fact that a childhood dream will always have some influence on a person’s future as discovered in this individual’s journey in life. At around the age of nine, this man wanted to become a businessman, a financial analyst, banker or perhaps an investor. In this author’s opinion, this dream is common to the Chinese so that it has been an easy choice to have at such a tender age. There are so many successful Chinese businessmen around the globe so it was also easy to have popular models for the child to look up to. Perhaps the most influential person in this person’s life is Henry Chow, the former chief executive officer of IBM Greater China Group. He is a popular and respected figure in modern technology and business, a com bination this man wants to employ in his own career. Currently, the dream of becoming a successful businessman has not changed much and that is the reason for the perseverance in this person’s life, to pursue his education in America. In addition, though, this person also wants to run his own business in the future. As a member of the Chinese race, it is a brand for this man to be hard-working and determined. Chinese are known to have high tolerance towards difficulties. Perhaps one of the reasons for the success of most businessmen is their ability to work from early morning until late in the night. In addition, they are also thrifty. They can be able to multiply their wealth by making wise investments instead of spending all their hard-earned money on things that may benefit them but will not really be productive enough to increase their fortune. Five years from now, it is this author’s desire to add to the list of being branded as a determined and hard-working Chine se the characteristics as being tested, reliable, successful and creative banker and businessman. As mentioned in the story of Who Owns the Icehouse? a tested reliability is important in business. This is greatly agreed upon because its truth and importance is not only applicable in the business industry but also in other professions. Anyhow, it is this man’s dream to be known as a reliable person because he believes that whatever endeavor he is going to indulge in; will carry such a characteristic. For instance, it is known that Apple gadgets are most preferred by customers even if they are more expensive than other brands because they are known for the quality of the brand. In addition, this person also would like to be listed among the most successful persons not only in China but also in the world. However, it is desired that the success will not only spring from being hard-working, determined and reliable but also from being creative. Indeed innovation is not a new thing in the business industry but it is a factor that greatly affects business and which separates or identifies an individual or a business from the others. Ten years from now, this man is going to be on the cover of one of America’s popular magazines, Forbes. The article will detail how an unknown Chinese broke into the limelight with his highly creative inventions. The innovation will be the highlight of the article because that is the most important thing that matters to this man.     

No fast food Essay Example | Topics and Well Written Essays - 500 words

No fast food - Essay Example Eating no fast food has various benefits such as reducing body weight and consuming improved nutrition just to mention a few. However, many medical experts see reducing health risks as the major advantage of consuming no fast foods. Unlike fast food that medical practitioners associate with development of deadly ailments like high blood pressure, obesity, and heart diseases, no fast foods are well prepared thus promote a healthy life. Most of them do not contain saturated fats that ends up depositing in the blood vessels inform of cholesterols. Consumption of no fast foods that are healthy prevents obesity and leads to a healthy improved nutrition that reduces chances of developing chronic health conditions.Fast foods have a number of benefits though the most evident merit of fast food is the element of saving time. There is nothing that is as important as getting a ready meal especially in the modern fast-spaced life whereby everybody is busy with work. Despite the extreme praises t hat fresh foods get from chefs, people end up finding themselves taking fast foods like pizzas and burgers after a busy day that makes one feel exhausted and hungry. Preparing one’s meal might be a difficult and time-consuming task especially if the necessary ingredients are not readily available. This aspect makes consuming fast food get extra score compared to cooking meals for a busy person. The main disadvantage of no fast food is the issue of inconvenience and the amount of time that is consumed during their preparation

Distribution of Power within the Political Community

Distribution of Power within the Political Community In Max Webers Distribution of Power within the Political Community, he discusses three concepts: class, status and parties. Weber begins by arguing power is the fate of men that try to grasp their will, even against that of others within the same society. He discusses two types of power: economic and social. Economic being the ability to determine what is to be done with materials and commodities, regarding production, consumption, etc. Social power overlaps with economic power, but also includes legal and political power. This concept, however according to Max Weber means, the way in which social honor is distributed in a community between typical groups participating in this distribution.(247). Therefore, the distribution of power within a community is based on three important aspects: class, status, and parties. This paper will summarize Webers main points; include a comparison of ideas with an author previously discussed in lecture, and my interpretation of what Max Weber is argu ing in his 1914 excerpt. Sociologist Max Weber first begins his article by discussing class. When identifying class there are three points Weber outlines. These points consist of 1) a specific casual ingredient of peoples fate (in terms of living conditions, materialistic possessions to see the level of power and wealth one has) among various actors, 2)is based on economic interests and wealth, and 3) is represented under the conditions of the labour market. Therefore, class situation ultimately signifies a situation where people are found with the same characteristics in regards to class. According to Weber, in society, there are two types of people, property owners and property-less. Quite apparent would be the fact that property owners are of course privileged, while the property-less live day-to-day trying to sell their services in the market. Wages and skill level are dependent on the service being provided. This depends on communal action (oriented on basis of shared belief or affiliation). In oppositi on, societal action deals with adjusting ones interests-not to sense a shared purpose, but to recognize shared interests. In order for either action to occur, everyone has to be familiar with the differences between wealth and opportunity, but must be seen as a result of property distribution and economic power. In the excerpt it says something along the lines of class antagonism is a simple state of affairs that has frequently been decisive for the role of class situation has played in formation of political parties. The second aspect Weber argues is status. Status, according to him means communities, unlike class. Status is defined as the likelihood that your fate is determined by social honor, also known as prestige. The common link of status group is a similar life style which is established based on wealth and income. According to Weber, there are social restrictions that are reflected in prestige-marriage patterns and residence. Rituals are a big deal within a caste. Members are prohibited from having any contact with any other group that is considered lower than that of their own-especially when the differences are ethnic. In caste structure, ethnic distinctions have become functional distinctions within the political association.(253) Weber also touches upon social stratification, which according to him, goes hand in hand with a monopolization of ideal and material goods or opportunities (253) Of course those stratified above others are more privileged and oppose the distribution of power that is regulated through the labour market and based on wealth. When economic stratification barely changes, changes regarding status tend to increase. Thirdly, Max Weber discusses parties. Parties as said by him are organized power. They are a mixture of both class (economic order) and status (social order). Parties aim to influence social action and aim to enforce their goals within both a legal and political realm. A party is never just associated with a class situation or status. A party puts in a great effort in order to achieve political control, and it all depends on how a community is classified-by status or class. Though this paper is about Max Weber, it is important to compare sociologists to one another based on their concepts and ideas. One author discussed in lecture was Karl Marx. Marx and Webers theories are not quite different from one another. Marx also believed that classes refer to economy but in a different sense. Marx saw class as being connected with means of production, in contrast Weber linked class to the factors previously discussed: prestige, wealth, and most importantly power. Both men had agreed that the more skills one has, the higher there wage is. Weber however, supposed that the differences in peoples wages suggested ones material conditions, hence why there are different types of social action. Also, Marx saw the divisions of class as an important source in society in regards to social conflict unlike Weber. In his article, Distribution of Power within a Political Community, one may accept as true what Max Weber had to say. In order for a political party to be formed, one must be wealthy, therefore prestigious, and ultimately have the power to dominate. Though one may face obstacles due to the fact that there are others competing for the same position who share the same status, or class, also known as communal action. Weber does an excellent job in distinguishing the differences among class and status, though when mixed may influence the formation of a political party. Unlike other authors discussed in lecture, Max Weber, I have found to be the easiest to comprehend and definitely agree with.

The Italian Wars :: History

The Italian Wars Italy was the background for outside powers between the French invasion of 1494 and the accession of Francis 1 in 1515 for different reasons. Between these years, the States of Italy were invaded on a number occasions by armies from France, Spain and other countries. At this time, the Italian States were very vulnerable; there were conflicts in Italy itself, they had out of date military equipment and Italy had insecure frontiers and unreliable allies – â€Å"That Italy failed to organise herself against invaders was due to the selfish policies.† This gave outside powers reason to use Italy as their battleground. Italy was a very wealthy country, showing this wealth, a Florentine Historian, Guicciardini said â€Å"Italy has never enjoyed such prosperity or known so favourable a situation† Also, because the Pope lived in Italy, it gave enemies more incentive to fight in Italy as opposed to any other country. Another reason for Italy being the battleground was that foreign powers felt they had dynastic claims to certain states and therefore felt obliged to fight for them. I feel the most important reason why outside powers chose Italy to fight in was basically because they ‘could.’ Italy was divided, unstable and disunited; there were even civil disputes e.g. when Venice and its neighbour Ferrara went to war. It was hard to keep foreign powers out of their country because they weren’t working together; each state was not strong enough to protect Italy on its own. The Papacy also didn’t help in keeping enemies out – â€Å"there was always scope for dissension between them (Orsini and Colonna); and while they remained armed before the very eyes of the pontiff, they kept the papacy weak and insecure.† Also, it was playing its usual game of self interest. Pope Leo X in 1513 set about promoting the interests of himself and his family. He was prepared to negotiate for French aid to further his ambitions – this lead to more foreign powers (especially France), being able to easily use Italy as the main battleground. It can be disputed that the most important reason for Italy being the battle ground was that it was wealthy, but I feel that even though it was wealthy, there were certainly other wealthy states which could have been the battleground, had Italy not been such an easy target, with certain assets other countries did not have. This leads me to the next important reason why Italy was the battle ground; wealth.

Drama and Play

————————————————- DRAMA Origin of Greek tragedy and comedy Drama, in the western world, begins with ancient Greece, where the two major forms of drama †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. tragedy and comedy †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. were an aspect of religious ritual. Greek tragedy is believed to have begun in the sixth century B. C. with Thespis who introduced the first actor on the stage. The first dramatic dialogue lies in the conversation of this actor with leader of the satiric chorus. The dramatic element was subsequently added by Aeschylus in the fifth century B. C. and later by Sophocles of the same period.They added a second and third actor on the stage respectively. Euripides, a contemporary of Sophocles, used drama as a medium for dealing with the problems of human existence. As the Greek drama developed, the chorus was detached from the main action. Of these ancient Geek trage dies, thirty-two plays are now extant †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. seven by Sophocles, and eighteen by Euripides. Greek comedy originated from the humorous side of the Dionysian rites. A actual feature was the singing procession, or comos. Their song along with a kind of mummery or play-acting developed into comedy. Greek comedy passed through three stages †¦Ã¢â‚¬ ¦..Old Comedy, Middle Comedy, and New Comedy. The Old comedy was the comedy of political and personal satire. The satirical plays of Aristophanes were directed against Euripides. The Middle comedy was a transition from this to the comedy of social life and manners. The satire became impersonal. In the New Comedy, the love intrigue became the dominant theme. The best known writer of the New Comedy was Menander who died in the third century B. C. His plays are now extant in Latin translations by Plautus and Terence. Drama and in Rome The Romans wrote comedies and tragedies in the manner laid down by the Greeks.The characters were mostly stock figures like the comic slave, the braggart soldier, the proud cook, the young lover, the hunch-back, the cuckold and so on. The outstanding writers were Plautus (200 B. C. ) and Terence (150 B. C. ). Twenty plays of Plautus are now extant, including the â€Å"Menaechmi†, from which Shakespeare took the plot for â€Å"The Two Gentlemen of Verona†. Only six plays of Terence are extant. The most important writer of Roman tragedy was Seneca, who was a statesman and philosopher in the Stoic School. His ten plays are translated into English during the Elizabethan period. Drama in EnglandLike other countries, the drama in England had its origin in the services of the church. In the Middle Ages, the services of the church used to be in Latin, and the Bible was therefore, beyond the comprehension of the common people. The clergymen started illustrating Biblical stories by dump shows in order to bring the religious doctrines within the comprehension of the laym en. They were enacted within the church and the actors were all clergymen and monks. In due course, dialogue, first in Latin, then in the vernacular, was introduced and thus the ritualistic representations in the church developed into full-fledged drama.Subsequently the place inside the church was found inadequate and so the representations were transferred to the churchyards. When this also proved insufficient, the drama passed from the church to the street, from the clergymen to the laymen. The mystery and miracle plays The Mystery and Miracle plays mark an advancement in the development of the medieval religious drama. The Mysteries dealt with themes taken from the Bible, whereas Miracle plays dealt with the lives of saints. The institution of the festival of Corpus Christi by Pope Urban IV in 1264 gave an impetus to the growth of these plays.Until the thirteenth century Miracle plays were annually performed at several important towns like Chester, York, Coventry, and Lancaster. Curiously enough, these religious plays combined serious theme with farce, buffoonery, and coarse humour. Devil and Vice were depicted in a funny manner. The Devil was represented as a hideous monster, hairy and shaggy with horns, hoofs and a tail. Vice appeared in a fantastic, variegated dress carrying a wooden dagger and indulging in mad tumultuous pranks and jokes. He continued to have a comic role in English drama for long.This sort of medieval religious drama reached its highest point of development in the fifteenth and sixteenth centuries. The â€Å"cycles† presenting a series of plays containing a story of the creation of the world were popular in England in the thirteenth, fourteenth, and fifteenth centuries. Of these, four cycles †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Chester comprising twenty-five plays, York comprising forty-eight plays, Wakefield comprising thirty-five plays, and Coventry comprising forty-two †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ have been preserved. Monks and scholars generally wrote the plays. Their settings were elaborate.Heaven was presented in an awe-inspiring manner while Hell was presented as a dragon’s mouth. Theatrical effects were obtained by several devices as trap doors, pulleys, and the beating of drums. The aim of these was to instruct an entertain people. The Moralities and Interludes The end of the fifteenth century witnessed a parting between the serious and comic elements in these plays. The serious part of the story was treated separately in plays called â€Å"Morality Plays†. The comic or the lighter side was presented in â€Å"Interludes†.In the Morality Plays religious instruction was substituted by moral teaching and biblical figures were substituted by personified virtues and vices. Mostly the theme was the struggle for a man’s soul. The purpose of these plays was to inculcate virtue by showing the forces of Good and Evil in action. The characters were mostly personifications of abstract qualities like Sin and Repentance. The first known Moralities called â€Å"Paternoster† plays were performed in the latter part of the fourteenth century. It dealt with the conflict between the Seven Moral Virtues and the Seven Deadly Sins.The best Morality play is, however, â€Å"Everyman† published in the early sixteenth century. Humour was kept alive in the character of the Vice, who may be regarded as the forerunner of the Shakespearean clown. The term â€Å"Interlude† is applied to a species of professional performance carried out on special occasions like banqueting. It was used to fill intervals. It marks a definite advance in the art of comedy and forms a bridge of sorts between the Moralities and the Elizabethan drama. The characters were living human beings, and the aim was to amuse and entertain the audience.With the interlude, drama lost its didactic character and became a vehicle of secular entertainment. The most famous interlude is John Heywood’s â€Å"The Four Ps† printed in 1569. The characters in are a Palmer, a Pardoner, a Pothecary and a Pedlar vying with another in telling the biggest lie. The verdict goes in favour of the palmer who stated that of the five hundred women he had known he had never seen one â€Å"out of patience†. The five divisions of the dramatic plot The basic of every dramatic story is conflict. It may take different shapes.It may be between the hero, representing good, and the villain representing evil, it may of the hero against fate or circumstances, or against social conventions and customs. It may also be an inward war as in the case of Macbeth. In any case, a kind of conflict is the central element of the dramatic story. The plot begins with the opening of this conflict and ends with its conclusion. If we sympathise with the struggler, the play is a tragedy, and if laugh at him, it is a comedy. The theme of the play passes through five stages. They are exposition, complication, climax, denou ement, and catastrophe.This is called â€Å"the dramatic line†. Perhaps this five-fold structure of dramatic story accounts for the common division of play into five acts. The Exposition introduces the circumstances or situation from which the initial incident is to begin. Its aim is to give all the information necessary for the audience to understand the play. This is not an easy part of the play and its management may be regarded as a real test of a dramatist’s skill. Mrs. Stowe admits in her book â€Å"The Minister’s Wooing†, †When one has a story to tell, one is always puzzled which end of it to begin with.You have a whole corps of people to introduce what you know and your reader does not; and one thing so presupposes another that whichever way you turn your patchwork, the figures seem ill-arranged†. This is the experience of a novelist who can recourse to direct narrative and explanation. We can, then presume the difficulty of a dramatis t who is denied such privileges. The least dramatic among the methods adopted by the dramatists is that of speech given by one of the characters, or a prologue. An example is the dialogue in the Second Scene of Shakespeare’s â€Å"The Tempest†. A good exposition takes the form of a dialogue which is natural nd appropriate. It is brief, clear and dramatic. The first portion of the play after the initial incident comprises the Complication or the Rising Action or the Growth of the conflict towards the crisis. It should be characterised by clearness and logical consistency. Every incident should appear natural, and nothing that is essential should be obscured by unimportant details. The proper relation between character and action should be maintained. Every scene should have its role in the development of the plot or add to our knowledge about the characters should be indicated.If the conflict is between two persons, both the characters should be made familiar to the aud ience, and if it is within the mind of the hero, hiss qualities and conduct should be presented carefully. The foundation for the following action should be thus laid. In climax or Crisis, the story reaches a point at which the balance begins to learn decisively to one or the other side. This is therefore known ass the turning point also. The treatment of the crisis may vary according to the circumstances. It may consist of a single incident or a group of incidents.Generally the crisis is placed about the middle of the action, tin Shakespeare’s plays, it is generally towards the close of the third act or the beginning of the fourth act. In â€Å"Macbeth†, the Banquet scene, which comprises the crisis, occurs In Act III. After the appearance of Banquo’s ghost and the escape of Fleance, Macbeth’s fortunes are reversed. The dramatist should be careful that the event which determines the whole course of the action to its catastrophe comes out of the action it self and is not superimposed from outside.The crisis over, we enter upon the denouement which is the falling action. In comedy it implies the removal of the obstacles or the clearing away of the misunderstanding which has hitherto been hindering the good fortune of the hero and the heroine. In tragedy it lies in the removal of those resisting powers which have been holding the powers of evil in check. In any case, our uncertainty and suspense come to an end and we rejoice in the happiness of the hero and the heroine or sympathise with them. The denouement presents to the dramatist the difficulty of maintaining the nterest of the audience after they are able to forsee the fortune of the characters. Small wonder Fielding hated â€Å"the man who invented fifth act†: Oddly enough, in Shakespeare tragedies, our interest continues even after the ending of the play can be clearly foreseen. CatastropheI is the final stage of the plot. The dramatic conflict comes to an end. The play t o an end. The play usually ends with a sense of finality. But in modern plays and novels nothing is concluded and as Tennyson said, we seem to be poised on the crest of a wave which does not break.This inconclusiveness is supported by those who favour realism, for, in life, they say, there is no such things as an â€Å"end† yet we must bear in mind that drama is a series of incidents selected for dramatic treatment. Audience demand a story in which no loose threads are left. The dramatist has to make the catastrophe the natural outcome of the forces which have been at work in the play. Aristotle recommended that the unraveling of the plot must arise out of the plot itself, and must never be brought about by a dues exmachina.Though modern dramatists do not resort to a â€Å"God out of the machine† they employ such means as he timely removal of the villain by an accident, or the turning up of a will, or the discovery of a birthmark or something that reveals the real iden tity of the hero, or the unexpected arrival of an uncle long reported to be dead and so on. More common is the sudden change of heart of one of the characters to make the story end happily. The dramatist who employs such contrivances in a comedy may not do so when writing a tragedy. The reason is not far to seek. In comedy life is treated in a light and superficial manner..Criticism of life in the drama The drama is different from novel in being objective. The novel permits the writer to intrude often to express his interpretation of life. He can do it directly or indirectly while the dramatist is forced to confine himself to the indirect method alone. According to Henry James, an novel is a personal impression representation of life. It is not, therefore, easy to detect in a play, the writer’s philosophy of life. The dramatist throws on our shoulders the entire responsibility of finding his meaning and even explaining what he has merely implied. But occasionally the dramatis t escapes from the estraints imposed on him by making one of the characters in the play represent him. The Chorus of the Greek tragedies was thus a representative of the dramatist. He is often the mouthpiece of the dramatist’s philosophy of life. The modern dramatist no longer makes use of such a device. The main function of the chorus was to report the events that took place off stage and to make some comments on the morality of the actions presented on the stage. In modern plays, its place is often taken by one of the characters in the drama. Thus Enobarbus in Shakespeare’s â€Å"Antony and Cleopatra† is a kind of chorus.With his critical comments he serves to bring out the cause of Antony’s degeneration uner the spell of the â€Å"Serpent of old Nile†. In modern problem plays, we often come across a character whose principal function in the play is merely to move through it as a philosopher spectator. He expounds moral problems on behalf of the writer. The French critics call him â€Å"raisonneur†. But it is not always right to identify an out-spoken character with the dramatist. For instance some commentators hhave made the mistake of discovering in the melancholy Jacques in â€Å"As You Like It† the representative of Shakespeare.But Shakespeare makes all the other characters in the play laugh at him which indicates that he does not express Shakespeare’s views. The dramatist may very often find the Chorus –like character or the â€Å"raisonneur† inadequate to express his views on life. He often makes his view clear to the audience through the utterances of the various characters. Even while speaking in accordance with their personalities and situations, they may express the writer’s ideas about me and things. We can thus gain a clear idea of Shakespeare’s ideas and judgements from the utterances of his characters.The difficulty lies in discriminating the particular moments when they express the dramatist’s views. Canon Beeching holds the opinion that the sentiments put into the mouth of these characters with whom we are expected to sympathise invariably express the writer’s views. But we notice that even the characters unable to arouse our sympathy may sometimes express moral truths, defined by them on earlier occasions. For instance, when Edgar says at the end of â€Å"King Lear†, â€Å"The Gods are just and of our pleasant vices make instruments to plague us†,Edmund, the villain replies, â€Å"Thou hast spoken right; ‘tis true; the wheel has come full circle; I am here†. Shakespeare’s commentary upon the plot is provided more by Edmund than Edgar on this occasion. We should ,therefore, be careful in examining the sentiments expressed by the various characters in a play. In conclusion, we can say without any shadow of doubt that dramatist’s criticism of life is embodied in the whole spirit of the play. The world that the dramatist creates, with all men and women, their actions, passions and motives, their struggles followed by success or failure, is a world for which the dramatist lone is responsible.It goes without saying then that it is a projection of his own personality. The whole play, therefore, reveals the temper of his mind, the way in which he looks upon things, the line of hs thoughts, his interests, and his attitude towards life. Characterisation in Drama One of the differences between drama and novel lies in the exposition of character. Usually it is thought that drama is concerned with action and, therefore, characterisation is a secondary matter in it. According to Mr. Henry Arthur Jones, â€Å"The first demand of an average theatrical audience is always the same as the child’s †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Tell me a story†.But story in a drama is childish and unintellectual unless it is related to character. If the story is nothing more than a successio n of incidents, it is not much different from the adventures of a highway man. The story in a play should display the various aspects of human nature. As Hudson says, â€Å"Characterisation is the rally fundamental and lasting element in the greatness of any dramatic work†. This is illustrated best by Shakespeare’s plays. Centuries have passed since Shakespeare wrote them, but we are still interested in them, and our interest is by no means less than that of the Elizabethan audience.What keeps our interest alive are the men and women in them. The essential quality of â€Å"Macbeth† lies not in the murders Macbeth commits, but in the character of Macbeth. Even lago, the villain, can hold us spellbound with his villainous schemes, originated in his brain. â€Å"Hamlet† is nothing more than a revenge play when we consider its plot, but none of these revenge plays that hooked the Elizabethan audience can appeal to us now as â€Å"Hamlet† does. Shakespe are has worked miracle out of that raw material by developing the psychological element in it, and that accounts for the immortal appeal of â€Å"Hamlet†.The first condition in characterization in a lay is brevity. The dramatist has to portray the motive and conduct of a person within a few scenes. Since characterization and action cannot be divorced in a play, and the progress of the story has to be kept up, the task of the dramatist is not easy. This can well be illustrated with Shakespeare’s delineation of Macbeth. In the first act, the dramatist gives us an account of Macbeth’s courage on the battlefield, the evil fermenting in him, the confidence that others, including King Duncan, had in him, and above all, his superstitious nature.The essential qualities of Lady Macbeth are also portrayed with equal precision. Her moral courage, her singleness of purpose, her influence over her husband’s sensitive nature are all laid before us in the first act itse lf. Yet Shakespeare has allotted to Lady Macbeth less than sixty speeches in the whole play, and Macbeth speaks about 150 times, and none of the speeches is long. â€Å"Macbeth† thus illustrates Shakespeare’s skill in characterization. Concentration is another necessary condition in characterization in plays. The main qualities of a character should be emphasized.Every word of the dialogue may be used for this purpose, and supererogatory talk may be avoided. A dramatist sometimes commits the mistake of being absorbed in the development of the character to such an extent that those qualities which do not influence the action may also be mentioned. This is called over characterisation , characterisation in accused Shakespeare of this tendency.. Impersonality is another necessary condition in characteriisation. Unlike the novelist, the dramatist has to spend apart from his characters.He cannot take them to pieces and lay their soul bare before us or pass judgement upon th em. The plot and the utterance of the characters are the only means by which the dramatist can reveal his men, and women, their thoughts, their motives and passions. The dramatist, therefore, makes use of movement of the story, then crises and situations in it to display the intellectual and moral qualities of his characters. In the words of Hudson, â€Å"We know them by what they do, as the tree is known by its fruit†. In a good play, as in a good novel plot rests upon character.A number of men and momen of different dispositions, motivated by different passions asr brought together and the clash of their interests constitutes the plot. The evacuation of the story then reveals thir dispositions, their motives and passions. Dialogue plays an important role in characterization. The characters exhibit their passion and motives, feelings and conflicts in their utterances. When the interest of the drama is psychological, the plot concerns itself rather with the play of the forces behind action, and then dialogue becomes an adjunct to action or an integral part of it.Dramatic dialogue as a means of characterization can be classified under two heads. They are utterances of a given person and the remarks made about him by the other characters in the play. In the words of modern psychological playwrights like Ibsen, the utterances of the given person serves the purpose. Shakespeare generally reveals the fundamental qualities of his characters as soon and as clearly as possible. Though self-portrayal is the principal means of characterization by dialogue, the comments made by others about a person may be add to it. It is not correct to take every work uttered by a character as an indication of his nature.His situation, his sympathy, antipathy and similar aspects should be taken into consideration. Occasional phrases uttered by a man can never be a reliable guidance to his character unless they are reinforced by various other utterances scattered through the play . Shakespeare uses this method in his â€Å"The Merchant of Venice†. Antonio is praised lavishly by all the other characters in the play. Salanio speaks of him as â€Å"the good Antonio†, Lorenzo refers to him as a â€Å"true gentlemen†, Gratiano loves him abundantly, and the gaoler grants him special privileges.The same method is employed in revealing the character of Brutus inn â€Å"Julius Caeser† too. Soliloquy, which is a minor subdivision of â€Å"aside† is another means employed by the dramatists to take his audience down into the hidden recesses of a person’s nature. Certain aspects of a man’s character cannot be revealed in his action or his own word. Neither can the dramatist dissect his men and women as the novelist does. He, therefore, makes the characters themselves do ht work of dissextion, for we cannot understand them well unless we know the workings of their mind.They think aloud, and we overhear what they say. A man, especially a villain, cannot disclose his design to a confidant, and in such a case, he is allowed to reason then imagine, not that the man is talking to himself or to us, but only thinking, and that we are concealed spectators of his thoughts. Modern critics however, condemn the use of Soliloquy, especially in realistic plays,. It is now regarded not only as clumsy, but also as non-dramatic, and the play that contains it is stigmatized as â€Å"old-fashioned†.Modern critics accept the confidant, but also on condition that he has an essential part in the action. The different types of drama Drama has been divided broadly into two categories †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Tragedy and Comedy, the former dealing with adversity and unhappiness, and the latter dealing with joy and mirth. Aristotle in his â€Å"poetics† defined tragedy as â€Å"artistic imitation of an action that is serious, complete in itself, and of adequate magnitude†. He gave importance to suffering or rather, â€Å"an incident of a destructive or painful sort, such as violent death or physical agony†.In order to evoke pity, he recommended a hero neither too good nor wholly vicious, but â€Å"brought low through some error of judgement or shortcoming† known as â€Å"hamartia† or tragic flaw. It existed within the character of the hero, but inn modern plays, the tragic law exists in the milieu more than in the hero who merely becomes a victim of external circumstances. The effect of tragedy, according to Aristotle, is to arouse the emotions of pity and fear in such a way as to effect that special purging and relief known as â€Å"catharsis†. It can be brought about by proper constructions of the plot, which must have a beginning, a middle and an end.Pity and fear are aroused not merely by the complete action but by salient incidents in the plot. Tragedy can be divided in the basis of form and content. From the point of view of form or structure, it is di vided into the classical and the romantic tragedy. The former is based on Greek conventions, and the latter follows it own rules. One of the main features of the classical tragedy is the Chorus. It is consisted of a band of singers and dancers. In Greek tragedy the men and the women forming the Chorus belonged to a lower social rank than the chief characters.Its main function was to report the events that occurred off stage and to make some comments from time to time. In the preface to â€Å"Merope†, Mattew Arnold explains the function of the chorus as to collect and weigh the impression which the action would at each stage make on a pious, thoughtful mind. It deepened the feeling aroused in the spectacular by reminding him of the past, and by indicating what was to come. To combine, to harmonize and to deepen the feelings excited in the audience by sight of the play was the function of the chorus.Its importance dwindled as Greek drama developed. In Aeschylus, it takes part i n the action, but in Sophocles, it becomes a mere commentator, and in Euripides, it is a lyric element. The Elizabethan dramatists in England reduced it to a single speaker, unrelated rest of the characters, who spoke the prologue or occasional interpretations of the plot. In modern plays it is rarely used as in Eliot’s â€Å"Murder in the Cathredal†. The Three Unities is another feature of the classical tragedy. The theory of unities was first propounded by Aristotle a Greek philosopher of the fourth century B.C. They are of time, action, and place. Actually Aristotle mentioned only two †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Unity of time and unity of action. The unity of place was implied in the first, by the unity of action he meant that the story should be the imitation of one action, and of the whole of this , and that the parts should be so arranged that if any of them is transposed or taken away the whole would become different and change. By the unity of time, mentioned in â⠂¬Å"Poetics 5 â€Å"he meant that tragedy should confine itself to ne revolution of the sun, or slightly exceed the limit.His statement (â€Å"Poetics 17†) that, as contrasted with epic, tragic episodes are short and (â€Å"Poetics 26†) confined in less extended limits †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ crowded into a narrow compass, is the nearest he comes to any utterance regarding Unity of place. In short, Aristotle’s requirements were interpreted to mean that the action of the play should be a unified whole, the time should be limited to twenty-four hours, and the scene should be unchanged, or it should at least remain within the limits of a single city.According to some, Aristotle, insisted on the unity of action only, and the other two unities were added by critics of the sixteenth and seventeenth centuries. They argued that verisimilitude †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ an illusion of reality †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ could be achieved only by the observance of the three unities. In England romantic tendencies were stronger than academic precepts and therefore, the playwrights violated the theory of the unities came from Dr. Johnson who defended the romantic playwrights for following laws of nature rather than those of art imposed by the critics.It is universally admitted that more than Sophocles and Aeschylus, Seneca, the Roman dramatist, influenced the tragic writers of the renaissance in England. It happened so on account of the melodramatic elements in his plays and because he wrote in Latin which was treasured more than Greek then. His understanding of the working of human emotions commended itself to he Elizabethan playwrights in England. Moreover, Seneca showed in his plays a moral tone and system of philosophy popular in England. The moral purpose and the rhetorical methods of Senecan play appealed to them.While Aeschylus, Sophoclus, and Aristotle believed that man had some chance for happiness. , Seneca showed that man was sure to be beaten. But he introduced a stoical remedy that appealed to the Elizabethan dramatists. Senecan plays were immersed in honours, epigrammatial moralizing and stichomuthia or line repartee. The Senecan tradition also associated with supernatural arents like ghosts. Kyd’s â€Å"Spanish Tragedy†, and Shakespeare’s â€Å"Hamlet† and â€Å"Macbeth† show Senecan influence. The Neo-classical tragedy departed from the Senecan model in two points. They were the introduction of romantic love and the dropping out of chorus.The ancient playwrights held the opinion that the introduction of romantic love would mar the dignity of the hero and the high seriousness of the narrative. The Neo-classicists, however, trudged in the footsteps of the classicist in observing the Three Unities rigorously, and in making the drama basically narrative. Nearly everything, especially of a violent character, happens, in a neo-classical theory, off the stage and is narrated to the audience. The n eo-classicists as well as the romantic dramatists dealt with great legends of the past and were in this respect not different from classicist.The chief characters were all majesty, far above the ordinary human beings. The dialogues were stately, devoid of homely phrases, and mostly poetic. No attempt was made by the neo-classicists to mirror ordinary life. The romantic plays, though dealing with aristocratic character, were different in the method of treatment. The tragic hero is placed in a common world, among ordinary people. The dialogue had many touches of familiarity and even colloquialism. Realistic details like King Lear’s famous, â€Å"Pray you, undo this button† abound. Thus the romantic tragedy was a combination of the idealistic and realistic elements.To the romantic dramatists, unity of action meant not a single action, but organic connection among the various action presented in the play. Subplots, like the comic plot in Shakespeare’s â€Å"The Tem pest† were introduced, provided the two plots were independent. Moreover, the romantic drama is, unlike the neo-classical plays, a drama of action. Nearly, everything happens in the stage. Duels are fought, murders and suicides committed, and battles waged in full view of the spectators. The play of Shakespeare and his contemporaries thus satisfied the appetite of the Elizabethan audience for the action.The romantic dramatists differed from the neo-classicists in their attitude towards the theory of unities too. They ignored the unity of time and place. Even Shakespeare moved his scenes from town to town, and from country to country, and described the events of many years. Tragic comedy is a new form of play. The classical dramatists never allowed any comic element to enter their tragedies though they allowed serious element in their comedies. But the romantic playwrights disregarded this line of demarcation between tragedies and comedies. They freely mingled tragic and comic scenes in their plays.Addison calls it â€Å"One of the monstrous inventions that ever entered into a poet’s thought†. Dyrden agreed with him by commenting, â€Å"There is no theatre in the world which has nothing so absurd as English tragic-comedy†. Though considered a non-Aristotlean form, the trig-comedy was successful. Shakespeare’s â€Å"The Merchant of Venice† is an example for it. The important characters in tragi-comedies were drawn from both the high class and the low class. A serious action is introduced as threatening the protagonist who, by a sudden change of fortune, escapes and the play ends happily.The term â€Å"tragic-comedy† is sometimes applied to play with double plots, one serious and the other comic. On the basis of content, tragedy may be divided into various types. One of them is the horror tragedy, developed in England in the early part of seventeenth century by Ford and Wesbter. The appeal to the audience is made in these plays, not by characters, but by incidents. The aim of the writers who wrote horror tragedies was stage sensationalism. The inner struggle in these tragedies depends upon external events. Horror from situation dominates these plays. An example is â€Å"The Duchess of Malfi†.The Heroic tragedy was cultivated during the Restoration Period by a number of dramatists, the prominent among whom are Dryden and Otway. The subjects of these plays were love and valour and the themes were developed to epic magnitude. An air of exaggeration prevailed in them. Dryden himself said, â€Å"Heroic play is the representation of nature wrought up to a high pitch†. The scenes in them were laid in distant countries like Peru, India and Mexico. The characters were men of superhuman power and women of immortal beauty and unattainable virtue. The speeches were magnificent, marked by a declamatory style.The heroic meter, instead of blank verse, was employed in them. Its Artistic beauty a nd effect were marred by its artificially and exaggeration. Domestic tragedy was a type of play written in the eighteenth century. The term is also applied to some of Ibsen’s plays and some Elizabethan tragedies like† A Woman Killed with Kindness†. It is a serious play, realistic in style with its hero drawn from the low or middle class and its action concerned with personal or domestic matters. The domestic tragedies were written mostly in prose. They were devoid of emotional force and was based on pity and sympathy.An example is Lillo’s â€Å"The London Merchant†. Comedy, according to Aristotle, deals with â€Å" some defect or ugliness that is painful or destructive†. The characters, mostly from low classes were drawn from observation and experience. The writers were often satirical and the characters became caricatures of actual human beings. The plots were less complicated than those of tragedy. Misunderstandings and mistaken identities p layed a prominent role in them. Yet a good comedy can penetrate deeply into the roots of the human nature, and make the audience aware of man’s limitations.Aristotle believed that the play is rendered comic by making the characters in it worse than they are, thereby making them objects of merriments. Ben Johnson also believed that whatever is awry in men provokes laughter. A number of critics from Kaunt to Hazlitt have found that the source of laughter is incongruity. In sidney’s opinion also, â€Å"Laughter almost ever cometh of things most disproportioned to ourselves and nature†. Allardyce Nicoll traces the source oof laughter to a desire for liberation from the restraints of society.It goes contrary to Bergson’s view that the source is automatism which implies that the conditions of comedy are unsociability on the part of the object of laughter. The first regular drama in English in the form of a comedy was â€Å"Ralph Roister Doister† written by Nicholas Udall in 1550 or so. The writer seems to have been influenced much by Latin comedies of Plautus and Terence. The second English comedy was â€Å"Grammer Gurton’s Needle† of doubtful authorship performed at Christ’s college in Cambridge in 1552. Both these comedies had the classical division into five acts, and the action was limited to a single day and a single locality.On the basis of form, the comedy may be divided into classical and romantic comedies, which differ from each other in the same manner the two types of tragedies do. On the basis of content, comedy may be divided into various types. The comedy of Humours was written chiefly by Ben Johnson who used the term â€Å"humours† in the medieval sense in which it reffered to the four fluids: blood, phlegm, yellow bile and black bile in the human body. According to the theories of humours, a person’s physical, mental and moral conditions are determined by the state of his humours.A n imbalance in their proportion affected the behaviour of the person, and a perfect balance created an ideal man. The dramatists who adopted this theory designed â€Å"humourous† characters, whose behavior was determined by a single humour. Ben johnson’s â€Å"Every Man in His Humour†is the earliest play written in this way in 1598. Shakespeare has introduced â€Å"humourous† characters like the melancholy Jacques in â€Å"As You like it†. Johnson drew comedy down to real life, using it to present the follies of contemporary London. The comedy of humours disregarded humour as the term is used now.It depended on wit and satire. The comedy of Manners developed in the Restoration period. The writer were influenced by the French dramatist Moliere and the Spanish dramatist Claderson. It is realistic in nature, and concentrated on the activities, intrigues and amorous achievements of gay, frivolous men and women who used to meet in cafes, chocolate house s, clubs and gambling centres in London. Reputations were murdered and Clandestine love affairs were carried out by them. A lot of senseless prattle went on with scandal mongering in the air.This degraded life of the aristocratic classes of the day is presented in these comedies. Satire was an integral part of these comedies. It was the satire at the follies of those who strive to enter the elegant circle by plotting against their rivals and competitions in love. Besides satire, it made use of wit which is seen in the repartees that abound in these plays. It has been critised for its obscenity and immorality. The Genteel Comedy was developed by Colley Cibber in the middle of the eighteenth century. His â€Å"The Careless Husband† is regarded as the first genteel comedy in English.The term was first used by Addison for the type of comedy that portrays more artificial life than the comedy of manners. Affectations ruled the life of the upper class society then, and these affecta tions are presented in humorous manner in these comedies. Laughter arises not out of the playful fancies of intellectual men, but ou of the affectations of the high class society. The Comedy of Intrigue came into inception in the days of Fletcher and continued to be popular till the end of the eighteenth century. In this type of comedy laughter arises out of the disguises and the intrigues and complications of the plot.An important writer of this type of comedy is Fletcher. The play captures our attention with a series of situations leading to innumerable mistakes and amusing denouements. There is little wit, no humour, no satire, but there are several comic situations. Its laughter depends on external sources, and it provides little intellectual mirth. The Sentimental Comedy of the eighteenth century was a reaction against the comedy of manners of the Restoration period. The sentimental comedy was opposed to the light-hearted fun in the comedy of manners.In fact, it is opposed to t he spirit of comedy itself. Humour is driven out of it, and as Allardyce Nicoll says, it presented tears in place of laughter. The place of humour was taken by pathos. Wit or brilliance had no place in this type of comedy. The writer aimed at moral edification, for they felt that the taste of the readers had been degraded by obscenity and vulgarity depicted in the comedy of manners. Distressed middle class characters were presented in these comedies to evoke sympathy. The principal writers of this type of comedy were Richard Steele, Huge Kelly and Cumberland.It developed not only on account of the theatrical and social changes of the time, but also because the rising middle class demanded a different type of comedy. The sentimental comedies provided moral lectures and lacked emotional appeal. Hazlitt aptly says, â€Å"It is almost a misnormer to call them comedies; they are rather homilies in dialogue†. The One Act Play The origin of the one-act play can be traced back to the short farces that flourished in Italy from the fourteenth to the seventeenth centuries and the miracle and mystery plays of became a curtain-raiser. In 1903 when W. W.Jacob’s play â€Å"The Monkey’s Paw† was acted as a curtain-raiser, it appealed to the audience so much that most of the people left the theatre when the curtain descended upon this play became a series rival to the long play. The one-act play may be tragic as in Synge’s â€Å"Riders to the Sea†, it can be didactic as Willis Hall’s â€Å"The Day’s beginning†, it can be comic and satirical Houghton’s â€Å"The Dear Departed†, or oit can be a fantasy like Lord Dunsany’s ‘The Golden Doom†. It can be farcial too Arnold Bennet’s â€Å"The Stepmother†, or melodramatic like ‘The Monkey’s Paw†. It can be written in verse like Christopher Fry’s â€Å"A Phoenix too Frequent†.The outstanding cha racteristic of the one-act play is that it turns upon a single idea or situation, presenting a single mood or single aspect of character, though it presents a conflict like long plays. A few characters are introduced and the interest is concentrated on a single dominant character in whom a single trait is revealed in a flash. Dialogues are short, and the dramatist cannot unities of action, time and place are observed. It has an immense future because modern people have less time and inclination for long plays, it is cheaper to produce, and can be performed by amateurs.Above all, the growth of radio and television has made it popular. The importance of the opening scene of the play The Exposition as given in the essay on drama. Soliloquy and the Aside The aside like the soliloquy indicates that dialogue is not the only substitute for the dramatist for direct analysis and commentary of the novelist. Soliloquy is a convention by which a character, alone on the stage, utters his thought s aloud. The audience is thus provided with the information necessary to understand the character’s motives and the state of mind.Aside is another similar stage device in which a character, not necessarily alone on the stage, expresses his thoughts in a short speech which is supposed to inaudible to the other characters on the stage. Both these conventions, prevalent in the Elizabethan and later drama, were adopted by the dramatist to take the audience down into hidden recesses of a person’s nature. The dramatist, being denied the privilege o dissect his characters as the novelist does, has to resort to such means to enable the audience and readers to understand his characters well.In soliloquy and aside the characters are not supposed to be speaking to us or to themselves, but they are merely thinking aloud. The conventions, however, fell into disuse in the nineteenth century when realism was insisted upon. Melodrama â€Å"Melos† is a Greek term meaning â€Å" song†, and the term melodrama wass, therefore, applied to musical accompaniment was a characteristic of most of the plays, because â€Å"legitimate† plays were permitted only in the Drury Lane and Covent Garden theatres while musical entertainment had no such restrictions at all. In melodrama the hero and heroine were embodiments of virtue, and the villain was a monster of evil.The plot was centered round intrigues and violent effect and emotional excitement. Now the term â€Å"melodrama† is applied to any work that contains improbable events and sensational actions. Tragic Flaw / Hamartia In Aristotle’s view, tragedy should evoke pity. To do so he recommended a hero neither superlatively good and just or wholly vivious and depraved. He brought to misery through some mistaken act caused by an error in his judgement or some shortcoming in his nature. This error of judgement is called â€Å"hamartia† or â€Å"tragic flaw†. It exists within the character and causes the tragedy.In Greek tragedies a common form of hamartia was pride which tempts a man to disregard divine power. It moves us to pity because the hero is not an essentially evil man, and his misfortune is far more than what he deserves. In modern social drama the tragic flaw often exists in the milieu, and the hero becomes a victim of external circumstances. Catharsis â€Å"Catharsis† in Greek signifies â€Å"purgation† or ‘‘purification†. The effect of tragedy, according to Aristotle, is to arouse the emotions of pity and fear in such a way as to effect purging and relief, and this is known as â€Å"catharsis† in tragedy.Recently, Aristotle’s â€Å"Catharsis† has been interpreted as applying not to the effect on the audience, but to an element within the play itself. It then signifies the purgation of the guilt attached to the hero’s tragic act by demonstrating in the course of the drama that the hero p erformed this act without knowledge of its nature. Aristotle distinguishes the tragic from comic and other forms by this effect. In any case, he accounts for the extraordinary fact that many tragic representations of suffering, defeat and death leave on the audience a feeling, not of depression, but of relief and exaltation. Comic ReliefComic relief is the relief provided by a spell of fun between two serious scenes or just before a serious incident in a play. It is achieved by the use of a humourous characters and their speeches. This was common in Elizabethan tragedy. They are necessary to provide a sort of relaxation to the audience after witnessing a grave scene or to prepare themselves for a grave incident. Sometimes the comic relief is provided by an intrusive episode or dialogue. It not only alleviates the tension, but also adds variety to the play . in some plays they become an integral part of the play and serve to intensify the tragic note.An example is the â€Å"Porter S cene† in Shakespeare’s â€Å"Macbeth†. Dramatic Irony Dramatic Irony s an utterance by a character in a play when he is ignorant of the real significance of his words. It is a situation in which the audience shares with the author knowledge of something which the speaker in the play is ignorant of. The character acts in a way inappropriate to the circumstances or says something which turns out to be true later though he did not expect such a turn of events. Writers of Greek tragedy, who generally borrowed their plots of this device.For instance, in Sophocles’s â€Å"Oedipus†, the king (Oedipus) hunts for the evil-doer who has brought plague upon Thebes without being aware that the culprit is himself. The English Chronicle plays Chronicle plays are plays for which the source is the Chronicle, or rather, record of events in the chronological order preserved in a king’s court. These historical materials are dramatized into chronicle plays. In En gland, Marlow’s â€Å"Edward II†, and are taken from Holinshed’s â€Å"Chronicles†. They were popular in the Elizabethan period when patriotic fervor rising out of the defeat of the Spanish Armada in 1588 reigned supreme in English society.The early chronicle plays merely presented a series of events during the reign of an English King. The plays were effective on the account of the battles presented on the stage and the pageants and spectacles that accompanied the victory in battle. Marlowe, for the first time selected and rearranged materials from Holinshed Chronicles for his â€Å"Edward II†. The Elizabethan chronicle plays are often called history plays. Parallelism in drama Parallelism and contrast are two elements in the composition of the plot of a play.The central idea of one part of the action reappears in another part of it, and each serves to illustrates and reinforce the other. Shakespeare seems to have been very fond of this stage devi ce, for he often uses it to add to the dramatic interest of the story. However, the best example of parallelism in Shakespearean play is found in â€Å"King Lear†, the two plots of which correspond in every detail. Shakespeare has here worked upon two narratives from two sources. In one story we come across a father deceived in the character of his daughters, ultimately getting real love from the one he had spurned.In the other story, we have a father deceived in the character of his sons, finding love in the one he has tried to kill. The Shakespeare, each supplementing the other in tragical emotions. A sort of burlesque parallelism is found in the comic scenes in Marlowe’s â€Å"Doctor Faustus†. The tragic hero Aristotle recommended for the tragedy a hero who is neither too good nor too evil. This is best seen in Shakespeare’s tragedies. His heroes are all men of high rank and great eminence, but they are brought low by some weakness in their nature.In M acbeth, it was indomitable ambition, in Othello it was an over-credulous nature, and in hmlet, it was a wavering spirit. Tragedy proceeds from the character or the actions of the hero. But Fate or circumstances also plays a dominant role in bringing about the tragedy. The suffering and calamity that fall to the lot of the hero are not of the ordinary type. They are exceptional. Macbeth is pricked by a guilty conscience to such an extent that he feels â€Å"life is a meaningless tale, told by an idiot, full of sound and fury, signifying nothing†.