The Author of “Facing It”

The way one speaks and acts coming out of war is traumatic not only to the human body but the mind as well. If we the reader didn't know that the author of â€Å"Facing It† Yusef Komunyakaa, was a war veteran, I would guarantee that after reading his poem you would have concluded that he was. What is striking about his work it that Yusef uses words that you wouldn't typical put together to make you understand what he, the writer is seeing and facing- hence the poem â€Å"Facing It†. By reading the poem in your head or even out loud you could tell that the author's tone of voice is very heartbroken, he feels this conflicting pain within himself, that could only be expressed through poetry. Yusef explains his feelings and what he's experiencing out side post-war. His work depicts a certain metaphor in which he talks about the Vietnam veteran memorial wall, as like a mirror in which he's not in or on. As a result of that, he writes them down as poems and comes up with beautiful analogies, that from a psychological critique, raises questions about what he is trying to convey throughout the war. Psychology is a way for humans to find the deeper meaning behind a person's word. As I break down Yusef's poem and try to find the deeper meaning, I will not only be talking about his internal struggle between his experience with war, but also the internal battle that Yusef faces between him and himself, and how he work to overcome it. The very first verse in Yusef poem â€Å"My black face fades, hiding inside the black granite, I said I wouldn't dammit: no tears I am stone I am flesh†.(lines 1-3) Starts off by not only talking about his race but psychologically his memory as well. According to Floyd, Pilar analyzed version of â€Å"Facing It† Yusef face fades into the granite of the memorial. He looks back upon his memories and sees them as black and white- as humans tend to do in dreams. He sees the white engraved names on the black granite. When relating the two together, he explains how he is hiding- he can not see himself in the black granite, not only because of his pigment but because he feels strongly and more guilty that his name isn't up on that wall unlike the rest of his fellow soldiers. â€Å"No tears I am stone I am flesh†(line 4) can only refer to the idea that he like the granite is stone. However because he is alive he remains this warm living flesh that is capable of crying even though he refers to himself as stone. Yusef uses metaphors and analogies as a way from hiding his true self. We wants to remain strong- stone, but alas he is struggling between to states he'd like to be in: life or death. Not only is this a battle for Yuself, we begin to see a battle that struggles between Yusef and himself when coming to terms with reality. â€Å"My clouded reflections eyes me†( line 5 ). Clouded meaning the tears that are progressing, or this idea that Yuself himself is clouded. When someone stands far away from a reflection, there image becomes clouded, as if it were disappearing, and in this case Yusef wanted to, but the granite was standing in his way, along with himself. As the reader I took this to mean he was accepting himself and the war, therefor backing away from it. When the statement eyes it â€Å"eyes me† meaning its looking back, can mean that his reflection is looking back at him or he is looking within himself. He realized and expected that its the granite thats not moving, its him who has to walk away but can not. Yuself is a victim of war † like a bird of prey†( line 7 )he is victimizing himself and the names on the granite are what's analyzing him. Emotional, everything becomes a reminder to a victim of war. According to Floyd, Pilar he's accepting that wherever he goes there will always be a reminder, it's not escaping him. Yusef is getting a sense of his surroundings. â€Å"I turn this way- the stone lets me go†( line 8 ) he turns the other way and there is the memorial again. As he tries to walk away, he is realizing there is no walking away, because he's always capable of turning in another direction and ending up back where he left off. From a psychological standpoint, I would say not only does he not want to be apart from the memorial but he is also accepting to the idea that is ok to turn around and not stare into it for a while. Just as he is about to walk away he comes rights back and realizes how many names are upon the memorial. â€Å"I go down 58,022 names half-expecting to find my own in letters like smoke†( line 15 ). There is a sense of guilt in this sentence, you can almost feel that he wants his name there but also he doesn't. I say this because Yusef uses the term smoke. Smoke meaning a hundred different reason, but in this case smoke can mean something clear. According to Floyd, Pilar she states that in this cause the word smoke means easily attainable and easy enough to disappear. Here you can see that Yusef is struggling with himself, he feels this sense of responsibility and guilt. As a living individuale, Yusef like smoke can vanish and reappear when he pleases, unlike those names on the wall that will that will never. With this it gives Yusef this reassurance that he is truly alive because his name cannot be found on that list. However he still is a victim and struggles everyday with this thought of violence and lose. To people like us it's a wall with names, to Yusef it's an important memory. Once again Yusef finds himself in a mental state, similar to the one in the beginning of the poem. Where he is considering the possibilities of life and death, the internal struggle between him and himself. Yusef sees a veteran come out of the wall and rush through him, as talked about in class this image that Yusef see's is similar to what could be a ghost. As stated in an analyzed version of â€Å"Facing It† Floyd, Pillars take on this statement she says that Yusef like the veteran with one arm has also lost something from the war, that being his piece of mind. I took this to mean that Yusef walks though life day by day struggling still because the difference between what we think is a ghost and Yusef himself, is that Yusef still lives. † In the black mirror a woman trying to erase names, no she is brushing a boys hair†( line 29) This was a very difficult analogy to break down, however as the reader, I read it to mean that Yusef is having a difficult time distinguishing the difference between memories from the war and memories of life. He wants to believe that everything is going to be ok and that nobody is hurt, but that's not the case. He wants to be like everyone else, but he can't. Why can't other be more like him? From here on end Yusef's every move, every statement, and every action will be an impact from his decisions and his actions from the war. He lives life trying to find the difference between fantasy and reality, the difference between life and death, and what he expresses in his last stanza is that nobody will understand and not many people care, unless they themselves are like Yusef. As a result Yusef faces with many psychological struggles, but like many they take time to comprehend and understand. Throughout the poem you see how Yusef fluctuates his emotions about what he sees and feels while looking at the memorial. Yusef faces many things, because the war in himself and in his head isn't over. He attempts to overcome the nightmares and grief he faces, but concludes that'll unlike many people, he has a privilege of understand the importance of this piece of granite, that many don't seem to appreciate. Each stanza of Yusef's poem is a way of expressing his internal battle. Each idea shows that Yusef is trying to overcome something in himself but looking at everything though different perspectives. At one point he's a bird looking at himself, next his image fades into the black granite. Yusef stands on this fine line between life and death and attempts to break down the difference between the two given his struggle. In learning that it's he who holds him back, Yusef learns to live with the way he looks and faces life. Getting back to the real world is just as difficult as being in war. Yusef seems to understand the meaning of everything but just doesn't understand why it has to be like that which is why he is internally struggling with himself.

Virgin Usa – Pricing Strategy

Marketing [pic] Virgin USA Francesco Marani Problem Statement Virgin mobile is entering the US mobile market. Low brand recognition in USA and limited financial resources for advertisement represents a constraint because to enter successfully in such a market Virgin needs to swiftly attract its potential target customer, in order to establish a critical mass and financial strength to defend itself from incumbent and/or other potential entrants (price-wars, dumping, etc†¦). The profile of target customers, youth in between 15 and 29 years old with low credit credentials and high income / price elasticity (sensitivity to changes in price and income), is in conflict with the need to retain customers for a minimum period of 17 months as currently in the market ($ 370 / [52-30] = 17), in order to breakeven recovering the Cost per Acquisition (CPA). Situation Analysis Competition – the Mobile Industry in USA: there are 6 national carriers, as well as other small regional providers. The market is overcrowded, mature, highly competitive and concentrated (3 largest carriers covering about 59% of the market – Exhibit 1); requiring large capital expenditure (CAPEX). High churn rate contribute to create uncertainty on the profitability of clients particularly because the carriers are perceived as utility providers rather than service providers. Advertisement expenditure by market leaders is high in order to capture unsatisfied customers. Customer – Market: Most of the new subscribers of mobile services (117 Mln in 2001) opt for a contractual agreement with mobile carriers, which implies hat the bulk of customers are locked into an agreement and potentially dissatisfied. Carriers make money with hidden fees, taxes and unexpected charge (calls during peak time and in excess of monthly allowance). Customer confusion, dissatisfaction and homogenous offer could be some of the reason behind the significant churn rate. We can assume that a significant chunk of the remaining subscribers (13 Mln) are mainly concentrated within the younger part of the population, in many instance unable to sign up for a contract given their lower credit credentials. Virgin aims at attracting 1 Mln of subscriber on the first year and is partnering with MTV, specialized magazines and selected trendy stores consistently with its target customers. Company – Virgin Value Preposition: The Virgin brand in other European market is associated to value for money, innovation, a hip and trendy image, and also ability to shake industry convention and status-quo. Virgin is planning to enter the USA market aggressively, where it has almost no brand recognition, focusing on understanding and meeting customer needs rather than operating the physical infrastructure (MVNO approach). By trying to differentiate its offer and value preposition from the flat and boring offer of established carrier Virgin is trying to change the concept and the perception of such service. Final goal would be reducing dissatisfaction and hence the churn rate, potentially increase the average spending per customers by in other entertainment services. Context: Virgin target customers are the youth between 15 and 29 years old, with less stable economic and consumer behavior, but a higher attitude to spend. On a comparative basis, penetration rate is expected to growth the most on Virgin’s target customer. Additionally revenues generated by entertainment services are expected to grow exponentially (annual growth above 100%) creating an additional revenue stream. Alternatives Clone the industry Prices: Adopting the same price structure available in the market seems to be a strategy consistent with the need of a simple communication, while differentiation will be based on transparency, attention to customer needs and additional services. Such price replicating strategy can be difficulty defendable in the long term. The owners of the network infrastructure, which in some instances is also a provider of mobile services, could easily cross-subsidize their mobile business and reduce its CPA to compete aggressively with Virgin, neutralizing its strategy given their superior rental network cost advantage. Any price war is likely to create an immediate change in customer preferences, in particular Virgin’s target customer (15- 29 years) is likely to be strongly affected given their traditional high sensitivity to prices change (price elasticity typically high). Price below the Competition: The option to adopt a quasi-similar pricing structure, with an exception for the bucket of consumption in between 100 and 300 minutes, has the same pros and cons of the one before mentioned, in addition to increase the probability of triggering an aggressive competitive reaction by incumbent (price wars). Both the above options fail to address three significant aspects: ? The high churn rate, which is one of the main problems in the service industry, is not addressed by any of the mentioned strategy. The limited advertisement budget may fail to create an impact and convey rapidly a clear message to any potential customers. ? The post-paid contract may be difficult to implement using the planned distribution channel. Lower sales commission could also implies less prepared sales representatives, which may fail to properly complete paperwork related to credit checks. Recommendations Virgin should adopt a brand new approach entering the mobile market to quick ly capture the favor of unhappy customers, as well as people unable to sign a contract given their low credit credentials. No contracts (pre-paid only), no hidden fees & taxes, an aggressive price strategy within the 100 – 300 minutes of consumption as a monthly allowance, with no difference between peak and off-peak charges. The average cost per minute in the industry is at the moment around 12 cents ($ 52 average bill per month / 417 min). By analyzing different possible scenario, including different retention rates and rebates in line with the market (Exhibit 2), Virgin can produce a positive Lifetime Value (LTV) offering a tiered price structure, by charging 0. 19cents for monthly usage below 100 minutes, 0. cents in between 100 and 200 minutes, or 0. 06cents between 200 and 300. This solution has been obtained by resolving the LTV formula, leaving the price as an incognita, and assuming a 6% churn rate, a rebate from client of the mobile cost at $30 (using similar proportion of rebate as other competitors), ? PROs: difficult to be replicated by competitors in the market in the short term. It best suits the need of youth people unable to pass credit checks, as well as teenagers and parents needs because it naturally limit their maximum spending in advance. LTV positive since the beginning and CPA at $160 (refer to the next section for further consideration on the CPA). Virgin can further reduce the cost per minute charges if we increase the upfront cost billed to customer for the phone (Exhibit 3), in case competitors start competing aggressively. ? CONs: pre-paid are typically associated with higher churn rate, which can result in a net loss for the carriers before having recovered the CPA. Pre-paid customer in some instances use the mobile phone less than traditional users. An appropriate (easy to reach and cheap) infrastructure needs to be in place to recharge the phone. Implementation Plan Price: an aggressive tiered price strategy, with price decreasing at increased consumption simple to communicate and sensitively lower than competitors (Exhibit 4). Any minutes in excess of 300 minutes can be charged at the same cost per minute applied for the 200 – 300 minutes of monthly consumption. No difference between peak and off-peak charges. Contract: no contract, no hidden fees and taxes. Every user will be charged only an upfront cost for the phone, which in an aggressive scenario is set at $30, (i. e. half of the minimum amount currently charged by other carriers – Exhibit 5). Communication: Virgin is entering the USA mobile market using selected affiliated partner (MTV, selected magazine, etc) consistent with its target customers. The planned advertisement investment is $60 Mln, lower than competitors, but significant for a new entrant. If we consider such t investment as a cost, the total CPA is around $160 (Exhibit 2). Nevertheless, from a financial perspective we should consider the $60 million initial investment as the only CAPEX required, which need to be remunerated by taking into account the company and market risk. If we assume a 16% rate of return on the CAPEX we would reduce the CPA at 109. 6 (Exhibit 6), close to the condition to make the present plan viable according to Morgan Stanley research. Success implementation of the strategy require Virgin entering and impacting its target customer swiftly, in order to build a critical mass and financial strength before being able to face any price-wars. Breakeven: currently the industry break-even is 17months. If we assume average consumption around 417 minutes per month, we can see that the breakeven will be significantly lower, and around 5 month. In the present calculation we have neither considered any extra revenues generated by VirginXtras, nor a reduction in the churn rate as a likely consequence of the improved customer satisfaction. Redu cing the churn rate is probably one of the most important objectives in the mobile industry sectors, also because gives additional space for price reduction as demonstrated (Exhibit 2, 3, 6). Exhibit 1 [pic] Exhibit 2 [pic] * Assuming 1 Mln of customers. $60 Mln /1 Mln customers = $ 60 per customer Exhibit 3 Intermediate Rebate [pic] Maximum Rebate [pic] * Assuming 1 Mln of customers. $60 Mln /1 Mln customers = $ 60 per customer Exhibit 4 Price Advantage against Market Average Prices [pic] *Mkt Adv = Market price per minute – Virgin price per minute. Exhibit 5 [pic] Exhibit 6 [pic] * Considering the investment on advertisement as a capital expenditure, with a 16% annual rate of return. ($60 Mln /1 Mln customer x 0. 16 = $ 9. 6

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Communications-Medium vs. Message - Fitting the Message to the Channel - Essay Example Nowadays, the electronic mail has emerged as a most effective tool of modern business communication. Its significance becomes most relevant especially in organizations which have a global presence or caters to overseas clients. Its potential as the fastest and easiest means of written communication has made it the most popular method of exchanging messages in the modern world. E mails can be classified into two categories: web mail and POP 3 mail (Post Office protocol). Most of the free services provide web mail system, while POP 3 mails services come with a subscription to any internet service. A lot of companies like G mail, Yahoo, Hot mail etc are providing free e mail services which anybody can use by registering with the concerned service provider. However my organization has our own server to meet our internet and e mail requirements. Apart from the benefit of speed, e mails are very convenient to use. It enables us to retrieve any mail through sorting by data. It also provides the facility to forward mails received from one source to any number of persons. One can also customize a mail and present it in an artful manner in a few seconds. While e mails offer convenience and speed it has some demerits also. If misused it can become a potential source of embarrassment or even litigation apart from being a security risk. Therefore it is necessary for a company to evolve some policy regarding e mail and internet usage. My organization has explicit guidelines if any of the policies of the company. We also have a system in place to monitor internet and e mail usage by the employees. Fax is the short form of facsimile which means ‘make copy’. In this system, scanned texts or images are transmitted through a telephone to another telephone connected with a printer or any other such output device. Thus a document or image is copied in digital form and sent as

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Human Rights at Pakistan, Saudi Arabia, Afghanistan, Iran, and Iraq Term Paper

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Philosophy of Law Research Paper Example | Topics and Well Written Essays - 1250 words

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Finance - Essay Example Therefore, for those organizations, the cost of capital can be measured through a weighted average method that can be termed as weighted average cost capital. In specific, the execution of cost of capital is due to figure out the hurdle rate that the companies come across with and are supposed to overcome in order to generate earnings. This method is widely exploited during the process of capital budgeting to identify the risk or favorable scenario for the company to proceed with a concerned project (Droms and Wright, 2010, pp. 31-34). From the financer’s standpoint, the investors are looking for respective profit over the company’s existing securities portfolio, which is used to assess a companys new project, because it is expected return that the investor is anticipated for providing funds, with the lowest rate of return, thereby establishing a benchmark that should be adhered by the new project (Pedell, 2006, pp. 26-31). The main perspective of this assignment is to analyze the cost of capital, which often known as Weighted Average Cost of Capital (WACC) of the chosen organization. The company that has been chosen for the same analysis is Tesco Plc. Tesco Plc is a British based multinational grocery and general merchandise retailer with its headquartering located in England, United Kingdom (UK). Tesco Plc is known as the second largest retailer in the world after the Wall-Mart. The company earned net revenue amounting to  £70.894 billion in the year 2013 with net income amounting to  £124.0 million in the same year. The method which has been used for computing the WACC of the selected company comprises on two different aspects, which are cost of debt and cost of equity. The formula of WACC institutionalized to cumulate cost of debt and cost of equity by applying relevant amount of weights with these elements. The justification of this particular method lies in the fact that this method has the tendency to analyze the cost of capital of the

Office in the Real World Essay Example for Free

Office in the Real World Essay People who lived through the days prior to the release of personal computers in the mainstream probably put in a more profound appreciation for the benefits provided by the software suite, Microsoft Office. Nowadays, the programs bundled into the application may appear rudimentary to most people to call them as â€Å"common† office programs. And yet imagine how tedious it would be or it may have been for professionals in the old days in the absence of an electronic word processor, spreadsheet and presenter. Think how archaic and sluggish the workplace is if companies still relied on typewriters, calculators and acetates over overhead projectors. Those were the good old days and definitely you wouldn’t want to take a back seat with technology. Microsoft’s version of a word processor seems to be like manna from heaven. And why is that? The program allows you to do gentle key stokes for typing; perform erasures through backspace and delete functions; save, print and access again your work at a future time. In a typical office setting, Microsoft Word has become the key application to encode all those paperwork from correspondences, text documents and reports in no time. Moreover, file management of text documents has become a breeze while saving much needed space since all files are virtually stored as a database on the PC’s hard disk. Now the secretary need not browse manually the files but instead look them up with virtual folders, open and edit if necessary, and of course print as many pages as possible and rush them over to the waiting boss. Computing financials reports for revenues and expenses must have been totally intricate previously. Imagine all those figures you need to summarize using your calculator just so you could generate the totals for sales reports and income statements. And in case you pressed the wrong set of figures, then you derive incorrect sums and now you have to do it all over again. Most likely, there are greater chances for error when computations are done manually. But with Microsoft Excel, accurate financial reports are easier to produce. All you need to do is input the figures on the cells and the program provides quite a number of functions to make computations easier for you. Sum up hundreds or even thousands of figures in mere seconds. Better yet, work with formulas for more specific computations. In the past, corporate personnel had to take with them acetates and slides to play over those heavy overhead and slide projectors during presentations. Sure that was costly while limiting the presenter with static images of corporate information. Today, Microsoft PowerPoint has become commonplace for presentations inside boardrooms and even classrooms. Talk about convenience for the presenter who can not only put graphics and other images seamlessly to facilitate discussions but also create as many slides necessary, free from the hassles of printing them into acetates. Personal Gains As a matter of personal assessment, I am confident that I would be able to efficiently handle a going concern or business in the future, given the availability of Office applications. Now that I’ve learned so much about the functionalities of Microsoft Excel, I am sure that monitoring the company’s cash flow will be easier than it used to be. Using spreadsheets, I will be able to organize efficiently all the inflows in one worksheet and the outflows in another one. Moreover, I could easily generate totals for daily, weekly, monthly and yearly sums in a flash and as often as I want to. Apart from that, I can instantly generate a statement of cash flows in another worksheet through the use of simple formulas. Best of all, excel output can interface with Microsoft Word and PowerPoint. Therefore, if I need my report printed as a text file, I can copy and paste pertinent cells to MS Word and re-layout. If I need excel data for a presentation, all I need to do is copy and paste info over to MS PowerPoint. Indeed, work is easier with Office applications. Reference http://ezinearticles.com/?Microsoft-Excelid=253421

Lymphocyte B Cell In The Immune System Biology Essay

Lymphocyte B Cell In The Immune System Biology Essay B cell is a type of lymphocyte that is the basis for the bodys humoral immune system; it is produced from the stem cell in the bone marrow (Darling, 2010). On its production a self renewing hematopoietic stem cells produces lymphoid and myeloid progenitor. Looking mainly at lymphoid progenitor, it gives rise to B cell progenitor, T cell progenitor and Natural Killer cells (Kuby et al. 2007, p.25). Lymphoid progenitor produces progenitor B cells; it is the earliest identifiable cell thats committed to the development in the B cell linage. The cells moves and rearrange their Ig heavy chain genetic segments to make a functional IgH gene that are expressed as pre B cell receptors. The B cell receptor is a membrane bound antibody molecule. From the pre B cell receptor, some of the cells stays in the bone marrow and some moves into secondary lymphoid organs and there they reproduce, also in the secondary lymphoid organs the cells undergo antigen dependent maturation. On the topic of B cell progenitor, it produces B cell and these B cells further undergo two phases of maturation: an antigen independent phase and an antigen dependent phase (Kempert, 2010). During the development, each B cell is genetically programmed or a process known as gene translocation, to express a unique B cell receptor. The molecules of that B cell receptor are place on its surface where it can react with epitopes of an antigen (Kaiser, 2010) Epitopes are antigenic determinants recognized and bound with B cell receptors and they are located on the surface of the antigen (Austin, 2010). There are known to be two main classes of B cell epitopes, one is Linear or continuous, the surface that are interacted with the antibody are located next to each other sequentially on the protein. The second one is assembled or discontinuous; the components are located on disparate parts of the protein which are brought conformationally close to each other through side chain interactions (ProImmune, 2010). Produced B cells contain two types of B lymphocytes, Plasma cells and memory cells which express CD19, CD20 and CD21 on these cells (Kempert, 2010). Plasma cells are a type of white blood cell that produces antibodies. Once produced, B cells mainly stay within the bone marrow and wait until an antigen invades the body. The antigens bind to the B cell and stimulate it to form plasma cells. Plasma cells are known to have characteristic appearing nuclei; cytoplasm that contains dense rough endoplasmic reticulum and which is the site where antibodies are combined and also a distinctive perinuclear Golgi complexes where the antibody molecules are converted to their final forms and ready for secretion (Abbas et al. 2009, p. 22). Memory cells are produced by antigen stimulation of naà ¯ve B cells, they have proteins that are expressed on their surface that distinguish them from B cells and Plasma cells and they can survive in a functionally state for many years after the antigen has been eliminated and also they are known as B cell sub types that are formed after an initial infection (Abbas et al. 2009, p. 22). Function The major function of B cell is the secretion of antibodies. When an antigen has invades the body and has been encountered by the immune system, they bind to B cell and a number of certain B lymphocyte are then stimulated and undergo cell division to produce plasma cell and memory cells which is known as clonal expansion. Clonal expansion is a process that when a naà ¯ve B cell encounter a pathogens antigen. As the antigen floats through the blood system it gets attaches and binds to the naà ¯ve B cells. This trigger clonal expansion and the B cells multiples (Kuby et al. 2007, p.17). The B cell receptors are the ones responsible to bind to the antigens, the bounded antigen is then engulfed into the B cell by the receptor mediated endocytosis. The antigen are digested and broken down into small fragments and displayed on the cell surface thats sitting inside a class II Histocompatibility molecule. With the help of Helper T cells that binds with B cells, the B cells then secretes lymphokines that stimulates the B cells to go through a cell cycle that develops and turn the B cells from being B cell receptors to being a plasma cell that secrete antibodies(Kimball, 2010). The plasma cell each produces a particular antibody thats specifically attached to a specific antigen and these plasma cells are secreted into the blood system. As a specific antibody has attached to a specific antigen, the antibodies produce a humoral response and inactivate the pathogen, and make it easier to removal from the body (Anglin, 2010). Once this process has occurred meaning once the body defense has encountered and destroyed the pathogens antigen, the body remember this pathogens antigen and this remembering process is referred to as Memory cell. Memory cells are produced by stimulated B cells, they are the form of basis for long term immunity and responsible for secondary response. As soon as an infection that was previously destroyed by the humoral immune system returns the memory cells that has remain dormant produce a quick response and the infection is removed as quickly and effectively leaving the patient immune (Martin, 2010).

Theatre Essay: Site Specific Performance

Theatre Essay: Site Specific Performance Site Specific Performance: How has the nature of site-specific performance as a hybrid art-form influenced approaches tosite-specific work in Britain over the last decade? SECTION 1: INTRODUCTION Site-specific performance emerged out of the radicalartistic milieu of the late 1960s and early 1970s that also gave birth tosite-specific work generally. It represents perhaps the most ambitious andrevolutionary re-interpretation of theatre and performance devised in thetwenty-first century. Site-specific performance has influenced site-specificwork in Britain in the past ten years in many ways. This dissertation examinesthree especially strong influences: (1) site-specific performance and its useof audience (2) site-specific performance and its internal debate as to whethersite-specific art is site-exclusive or site generic, and (3) site-specific practitionerstheory of the selection of sites. Before these three principal investigations arediscussed the dissertation briefly reviews the history and origins ofsite-specific performance and its key practitioners. The first major section of this dissertation investigatesand analyses the relationship between site-specific performance and itsaudience. The questions and debates that have arisen from the novel andintimate participation between site-specific performers and their audienceshave had considerable influence upon site-specific work as a whole. Site-specificperformance understands the audience as a vital element of the total productionand not merely as paying members of the public who are isolated from thecreative process. Many performances depend intimately upon the energy andmutual fascination of the subject that exists between performers and audience.Often the audience are part of the performance itself. This intimacy points toa basic philosophical and professional principle of site-specific performancethat reacts against the perceived coldness, frigidity and eliteness oftraditional theatre buildings and instead maintains that theatre andperformance ought to be a socially-levelling ent erprise. The dissertation thereforeasks the prominent questions: Can audience self-identity be altered by aperformance? And: Can original and multiple spectator identities be created bysite-specific performances? The answers to these questions have beeninfluential throughout the whole of the site-specific world. The second-subsection of this section explores therelationship between site-specific performance and the community from which itsaudience is drawn. The success of site-specific performance theorists andpractitioners in showing the great extent to which the community in which aperformance is situated affects the ambiance and attitude of the audienceechoes throughout the site-specific world and informs it of vital lessons. Thisinvestigation of community and audience also highlights how site-specific performancecan work to bring theatre to the masses in an inclusive format that protestsagainst the elitist forms of the past. The final sub-section of this sectionreviews some of the problems variability and limitations of audience forinstance experienced by site-specific performers with respect to audienceand then suggests how these may teach valuable lessons to the rest of thesite-specific world. The second major section of the dissertation examines thekey debate in the literature of site-specific performance as to whether suchperformances should be site-specific or site-generic. That is, whether suchperformances should be free to tour and travel or not? The answers anddiscoveries furnished for this question by site-specific performers arerelevant and influential upon this same debate which penetrates the whole ofthe site-specific community. This debate reaches to the philosophical centre ofsite-specific performance and threatens to bring about a fundamental changewithin the genre. At the heart of the issue is the question of whether aparticular performance, conditioned as it is by the particular environment inwhich it is created, can be moved either physically or spiritually to anothersite. Vehement arguments have been made on both sides of the debate, with manypro-tour performers refuting Richard Serras famous dictum that to removethe work is to destroy it.The dissertation considers as one solution the theoretical postulate of apure model of site-specific performance from which various performancesdeviate in healthily diverse ways. The dissertation then considers in depth theproposal of Wrights Sites whether that the solution to this dilemma mightdepend upon a change in terminology and vocabulary of site-specificperformance. Such a shift of terminology provides site-specific performancewith a greater subtlety of definition and self-identity and therefore overcomesthe apparent impasse suggested by the site-specific site-generic dispute. The final major sub-section of the dissertation considersthe use of space by recent site-specific performers and the influences ofthis use upon site-specific work as a whole. The space within which atheatrical performance may take place was given its most radical revision andprogressive drive in the twentieth- century by the practitioners ofsite-specific performance. Space, in terms of performance, had before theadvent of site-specific theatre been confined near exclusively to traditionaltheatre buildings and to their conventional shapes. The outstanding achievementof site-specific performance has been to vastly extend the range and types of spaceand venue in which a theatrical performance can take place. The dissertationconsiders the implications for performance of such a radical break with thepast, as well as looking at the notions of uninhabitable space and culturalspace. The discoveries made about space by site-specific performers arerelevant for the whole of site-specific work i n Britain. The dissertation concludes with an evaluation and summing-upof all the previous discussion and with an analysis of the future influence ofsite-specific performance upon site-specific work as a whole. SECTION 2: SITE-SPECIFICPERFORMANCE HISTORY It is important to know something of the history ofsite-specific performance when seeking to determine its influence uponsite-specific work in the past decade in Britain. Such a glance at the historyilluminates the evolution of ideas within the genre and shows how they came totake their present form in the twenty-first century. Site-specific performance originated as an outgrowth ofsite-specific artwork movement that began in the late 1960s and early 1970s.Site-specific artwork was a form of art that was created to exist in a certainspace and was conditioned in form by the environment and space of that place.At the centre of the site-specific artwork movement was an attempt to take artout of what was perceived to be the affected and pretentious atmospheres of thegalleries and theatre buildings and to transpose them upon a wider variety ofoutdoor and indoor venues. One useful definition of site-specific performanceis that of the Dictionary of Video Art which states Locations andenvironments may have some kind of drama or meaning for ordinary people butthis has no significance for the bourgeoisie until interpreted by theheightened sensibilities of the director.In other words, the purpose of site-specific performance and its reason forexistence is to make the public aware of the artistic merits of ordinarybuil dings and spaces that have always been of interest to ordinary men butpassed over by the elitist and institutionalised artists of the past. Site-specificperformance often involves a (more or less) political decision to workagainst the dominant discourse of London, its theatre buildings, and itstheatre tradition.Site-specific performance is about a fundamental reorientation of space awayfrom its traditional understanding in British theatre. Site-specific performance has emerged out of this generalartistic milieu in the works of artists and directors such as Peter Brook,Ariane Mnouchkine, Deborah Warner, Gof Brith, Janet Cardiff and in festivals orproduction companies such as Grid Iron, Wrights Sites and the EdinburghFestival. Other recent practitioners include Mac Wellman, Meredith Monk andAnne Hamburger. From the first list two names in particular have been pivotalto the development of site-specific theatre: Peter Brook and Deborah Warner. PeterBrook was one of Britains greatest theatre directors and much of thisgreatness came from his radical style and use of stage both of which are seenas pre-cursors of modern site-specific performance. Brook was deeply influencedby the Theatre of Cruelty by Antonin Artaud and this lead to dramaticproductions such as Jean Genets The Screens in 1964 and Peter Weisss Marat/Sadein 1964 a huge success after its sharp and revolutionary break withtheatre style to that time. Brook brough t a new philosophy to the theatre thatimbued it with a new sense of potential and manipulation of space andenvironment shown well in his productions of Senecas Oedipus and TheEmpty Space. More recently, Deborah Warner has made further developed theseearly origins of site-specific performance with radically different productionssuch as Titus Andronicus (1987), Richard II (1995) and JuliusCaesar (2005). SECTION 3: SITE-SPECIFIC PERFORMANCE: AUDIENCE (A) Audience: General Perhaps the singlegreatest contribution of site-specific performance as a hybrid art-form tosite-specific work as a whole has been the radical transformation andre-constitution of the concept of audience and of how audiences experience liveperformance. When site-specific art first emerged in the late 1960s it appealedto audiences primarily because of the novelty of the form and the novelty ofthe viewing experience. Nonetheless, site-specific art, whilst novel in itself,did not go make any profoundly novel contributions to the nature, identity andconstitution of its audiences. Site-specific work had no yet developed asite-specific critique or paradigm, and this was left in large measure to thepioneers of site-specific performance. The great advantage and breakthroughachieved by modern site-specific performance is that it draws the audience ofinto an intimate participation with that performance; the audience become anessential part of the performance itself. Notable historical examples haveincluded Sirens Crossings Trace and Flight (2000), Wrights SitesThe Quay Thing (1998), Anne Marie Culhanes Night Sky (1997) and TheWhalley Range All Stars Day of the Dummy (1999). Consequently, withsite-specific performance, both performers and spectators reach a profounderdepth of empathy and understanding with the performance that they havewitnessed, than with traditional theatre and even from site-specific work as awhole. In this sense, site-specific performance represents an evolution of thegeneral site-specific art-form towards a level of greater spectator-involvementand identity.The philosophy and theory that underpins this evolution has much to do with areaction against the perceived coldness and unnaturalness of the traditionaltheatre (where the audience are always separated from the performers) and itstendency to promote the values and aims of elite members of society above theaspirations of the ordinary citizen. Site-specific performance however can besaid to be an equalizing art-form: it holds as a basic philosophicalprinciple the belief that the members of the audience are of equal importanceand significance for the meaning and successful execution of a particularperformance as the performers themselves. As such, site-specific theatre andperformance have taught and continue to teach practitioners of site-specificwork generally be it site-specific conceptual art, community art,installation art, public art etc., that the greater the participation andsense of involvement of the audience, the greater will be the efficacy of thatperformance upon both performer and viewer. Site-specific work therefore hasmuch to learn from the techniques, literary interpretations, scene-designs andso on of site-specific performers. This use of audienceby site-specific performers has achieved for the first time, according to FionaWilkie, the sense of a collective audience identity, a knowing audiencethat constructs itself appropriately as an interpretative body via a cumulativeframework of contemporary framework experiences.Thus, site-specific performance asks of the audience members themselves certainbasic existential and artistic questions. For instance: how is an audiencessense of self forged? How and in what ways is an audiences purpose decided?The extent to which site-specific performance achieves this intensive audienceself-interrogation is perhaps unrivalled in all twentieth-century performance art-formsand promises to be one of the few genuinely unique artistic discoveries ofrecent years. Traditional theatremaintains a clear space between audience and performer no matter how elatedor ecstatic a spectator may feel during a traditional performance he is alwaysnonetheless still a mere spectator with no direct influence upon the directionor outcome of the performance. Site-specific performance radically reverses theaudience situation and role and instead makes them central actors in theperformance itself. Site-specific performance also raises the questions of: Canaudience self-identity be altered by a performance? And: Can original andmultiple spectator identities be created by site-specific performances?On the first question it is noted by authors such as Williams and Kwon that theunique process of audience participation in site-specific performance oftenleaves the audience with changed perceptions of identity once the performanceis completed. On the second question, it is also clear from the growingliterature that now surrounds site-specific performance that the form ha s thepotential to create new audience identities as well as to leave differentgroups of the audience with different identity perceptions at the end.From these various observations of audience participation in site-specificperformance it is evident that site-specific work has benefited and learnt anenormous amount about the role of audience and its possible stages oftransformation. Moreover, the far more diverse nature of members ofsite-specific performances alters the mood and atmosphere and perceptions ofthat audience. Rather than being an elite experience attended by only one classof people with, broadly speaking, a single artistic attitude and expectation,the audience is instead a diverse melting-pot of different classes andprofessions of people. (B) Audience Community Site-specificperformance has also raised for general site-specific art the notion of theimportance of the community in which a particular performance or art exhibittakes place. One particular site-specific performance company, The Olimpias,base their work upon questions of site ownership and in line with the theme ofdisability. According to Petra Kuppers, company director, site-specificperformance ought to be attentive to the local community and its ways of inhabitingits environment the company (The Olimpias) work with the community to takenew forms of site, re-interpret the site, keep its history and presence alive.Community then is a crucial extension of the audience and the site factorsinvolved in a site-specific performance. It is the community about a specificwork that is most intimately affected by a performance since that performancethrows new light on and reinterprets that communitys existence in a particularway. Site-specific performance can help to re-invigorate and breathe life intoa community by making it more aware and perceptive of the sites that itoccupies. So too the site-specific performances of Wrights Sitesis interested in the place and in the people who meet us in this place. Thecompany Welfare State International have also expressed a commitment todrawing in local energies and leaving behind a residue of skills and confidenceafter the companys withdrawal .For many companies then site-specific theatre is a performance that takes placein the living space of a particular community and is enacted alongside andwithin the working life of the community. Thus there is an experientialauthenticity that is unique to site-specific theatre. (C) Issues WithAudience Nonetheless, somewriters such as Jan Cohen-Cruzhave argued that taking theatre from established buildings in specific placesto a specific-site does not necessarily create a more intimate audienceenvironment or sense of identity or multiple identities. On this Cohen-Cruzstates: Space is always controlled by someone and exists somewhere, so itis inevitably marked by a particular class or race and not equally accessibleto everyone. one must question whether access to a broader audience really isa difference between performance site-specific and in theatre buildings.Cohen-Cruzs quotation is useful because it sounds a note of caution tosite-specific performers who automatically assume that by merely creatingsite-specific performance of any sort they will immediately achieve a deeper ormore profound sense of audience participation and diversity than would be foundin a traditional theatre. Site-specific performance is a relatively newart-form that is treading into new territory especially with respect to theunderstanding of audience participation and identity. It is therefore to beexpected that a certain exuberance and robust enthusiasm amongst its performersmay sometimes lead to idealizations of the potential of the art-form; that is,a tendency to assume that site-specific performance is a panacea for all limitationsexperienced by traditional-theatre audiences in past centuries. It is prudenttherefore to agree with writers such as Fiona Wilkie that the potentialaudience range and diversity of a site-specific performance is decided not byonly by the nature of the genre itself but by the particular features of thesite itself. Access to such site-specific performances depends nearly entirelyupon the location and type of site chosen for a particular performance.If, for instance, the site chosen for a particular performance is an abandonedwarehouse or factory floor close to several housing estates or residentialareas then it is likely that that performance will be accessible to many peoplewho would be traditionally excluded from a theatre experience. If, however, asite-specific performance is held in a country-estate or at the top of acommercial tower-block then it is far less likely that the audience thatattends will be as diverse and kaleidoscopic as at the performance of in theabandoned factory or warehouse. For instance, the site-specific performancecompany K neehigh Theatrehave reflected how their performance of Hells Mouth in the ClayDistrict of Cornwall a poor and dilapidated area encouraged a far broadersection of the community to attend than would have done the traditionaltheatre. In Kneehighs words: In Hells Mouth last summer, bikers from thearea performed the English/Cornish skirmishes in the Mad Max style Cornwall ofthe future. This theme and reasonable ticket prices, encouraged a stronglocal percentage of audience, who would not normally see the companys work ortheatre of any sort.So too the breadth of the audience of any site-specific work will be determinedalso by the theme and nature of the performance. A site-specific performancethat deals with an esoteric or abstruse subject will not guarantee for itself abroad audience simply by virtue of the fact that it is a site-specific performance. Several site-specificperformance companies have sought to maintain the diversity of their audiencesin the following ways. The Lions Part company, for instance, seek to escapethe bureaucracy of the theatre buildingby providing free access to all performances and free financially also. InFiona Wilkies eloquent phrase: The notion of the performance moves away from thehigh-brow associations of the theatre and closer to reaching a publicwell-versed in the popular culture of gigs, festivals and celebrations. Itemphasizes the significance of the spatial encounter and is conceived as awhole experience for the spectator Wilkie here identifiesa key strength of site-specific performance: its ability and capacity tosynthesize myriad different forms of contemporary art, culture and society andto fuse them into a relevant and meaningful whole. Moreover, site-specificperformance has the unique advantage of being able to manipulate space inwhatever way it likes. A traditional theatre is severely limited in the sensethat its performance can only take place within the predetermined and setdimensions of the theatre building; these dimensions remain the same for everynew production no matter how different such productions might be from eachother. The space and dimensions of a site-specific performance are howeverdetermined and limited only by the space and dimensions of the site itself andthey therefore have a far greater range and flexibility than traditionaltheatre. For instance: a windmill, an abandoned factory, a coffee shop, adoctors surgery, a former nuclear silo all offer different and uniqueexperiences of space for the audience. So too, a site-specific performance mayeven have two separate audiences: one that pays admission and is conscious ofthe performance and another that attends the event for free and is an integralpart of the performance itself. To take an example: when Grid Iron held thesite-specific performance Decky Does a Broncoin numerous childrens playgrounds some audience members bought tickets whilstthe children (attending free) that played in the playground were urged tocontinue their activities and so became part of the setting and the performanceitself. Ben Harrison, director of Decky Does a Bronco, recalls howchildren came to and fro different parts of the performance depending upon thelevel of excitement raised for them by a particular moment or scene from thatperformance; when bored the children would retire to the quieter parts of thepark. In Harrisons useful phrase, this double audience adds to thecomplexity of the event. SECTION 4: SITE-SPECIFICPERFORMANCE: SITE-SPECIFIC ORSITE-GENERIC? Site-specificperformance has contributed significantly to the site-specific as a whole onthe pressing question of whether site specific art should be site-specific or sitegeneric. That is, whether site-specific work should remain rooted in at theexact site of its creation or whether the idea created in a particular site maybe transferred to other similar sites. This question is perhaps the mostvociferously argued debate in site-specific work at present. At stake is thephilosophical and intellectual basis of the movement itself. Site-specific workemerged in the late 1960s as an art-form that made a unique use of site andsite features to influence the shape and form of the design: these sites wereusually highly different or unique from all others and so each sculpture,art-work or performance had its own unique characteristics. Traditionalsite-specific artists of this old-school therefore refute the idea that theidiosyncratic features of a particular site can simply be uprooted andtrans ferred to another site no matter how similar to the original. In RichardSerras famous phrase to remove the work is to destroy the work.In other words: once a site-specific art-piece has been torn from its originalcontext it loses the one thing that made it powerful and unique. Nonetheless,in recent decades such notions of the immovability from and inseparability of asite-specific work from its original setting have been assailed by artistsdriven by market forces and institutional changes in attitude. In one criticswords: Site specificity has become a complex cipher of unstablerelationships between locations an identities in the era of late capitalism.Miwon Kwons work One Place After Another: Site-Specific Art and LocationIdentityis of enormous importance in elucidating the contours and features of thisshift in the direction of site-specific art. The internal movementsof site-specific performance have done much to inform and influence the widersite-specific art of the last decade. In site-specific performance the keyquestion of recent years has been: Can site-specific performance travel? Or:Does Site-specificity mean site-exclusivity? Within the site-specificperformance community this debate as to exclusivity of site has been arguedwith near equal tenacity by both opponents and supporters. Thus, in many ways,the debate appeared recently to have come to a standstill. One way found by site-specificperformers to step beyond this impasse has been to define levels ofsite-specificity. For instance the company Red Earthhas stated: Someprojects are completely site-specific, i.e., they could not take place anywhereelse without losing a strong thread of meaning and connection; while other moreflexible projects may work around a certain sense of place, i.e., the spirit orconcept at the heart of the project would work in several but not all -locations. This quotation then suggests that the term site-specifichas a degree of inherent relativity and flexibility. At one end of thespectrum, the term stands for certain performances that are absolutely rootedin the exact and unique site and community features in which they are set; forsuch performances there is no possibility of moving their ideas to differentsites. At the other end of the spectrum, certain performances can be moved fromsite to site if they preserve or enhance the spirit or primary idea thatbegan the original performance. Between these two poles are various types ofsite-specific performance whose transferability rests upon ambiguous or dubiousprinciples. Justin McKeown of the Whalley Range All Stars suggests that thisrelativity should be defined in terms of site-specific performances that are directlyderived from a chosen siteand therefore have to remain at that site indefinitely, and on the other handbetween performances that can be transferred since they acknowledge and expandupon the inherent meanings within a site. Paul Pinson, of Boilerhouse,has argued further that the relativity of site-specific performance isconditioned by the way that the company engages with the space that it occupiesat a particular site. Pinson suggests further that a performance can bepartially site-specific and partially of another genre and that this hybridity thereforejustifies a company to tour its performances. Pinson states: You canrecreate a work in response to a number of different sites, which is totallyvalid in itself and is an element of site-specificity but is different frommaking a piece of work in response to one specific site. The site-specific or site-generic debate and is plethora ofinterpretations have raised questions about the present purity ofsite-specific performance. Above all: is it possible for theoreticians andpractitioners of site-specific performance to find or derive a pure model ofsite-specific performance, against which hybrid forms of this model might becompared? That is: can one set up construct an ideal paradigm of site-specificperformance and then show how variations of this paradigm are beneficial intheir individual ways? Miwon Kwon has suggested that one definition of thispure model might be To make a truly site-specific piece means it sitswholly in that site in both its content and form, otherwise if moveable, itbecomes more about the site as a vehicle.Variations from this pure model are healthy natural growths from themother-model; the work of site-specific theoreticians is to define thesevariations and to ascribe to each of them independent areas of operation. An alternative to this model of deriving variations ofsite-specific art from a pure or perfect model is to invent a new terminologyfor the art-form. Wrights Siteshave suggested that the terms In theatre building, Outside theatre,Site-Sympathetic, Site-Generic and Site-Specific beused to describe the various degrees of theatre performance. The first two ofthese are clearly beyond the pale of any generally accepted definition ofsite-specific performance. Interestingly however Wrights Sites propose athree-fold division of the genre of site-specific performance. The advantage ofsuch a hierarchy is that it allows greater freedom and subtlety of descriptionwhen deciding to which exact genre a performance of site-specific work belongs.The term site-specific is accordingly reserved for performances that have aprofound and absolute relationship with the specific site in which theperformance is prepared and enacted. Such performances work only at one site,never tour or travel, and do not use pre-existing props or scripts.Nonetheless, one major problem of such a terminology is the difficulty ofassigning the large number of performances that seem to fall between thecategories of site-generic and site-specific. These disputes about definitions and terminology that havearisen in the particular field of site-specific performance are or considerablerelevance and have been of considerable influence upon similar disputes insite-specific work generally. The central question of the debate cansite-specific performance tour is equally relevant to all others types ofsite-specific work, be it sculpture, community art, painting and so on. Byadopting a similar terminology to that of site-specific performancesite-specific work generally might clear up many of its own internal disputes. SECTION 5: SITE-SPECIFIC:TYPES OF SITE Internal debates within the literature of site-specificperformance as to what kind of site to select for its performances hashad considerable influence over similar decisions within site-specific workgenerally. What then can site-specific work generally learn fromsite-specific performance? Above all, perhaps, is the extensive andcomprehensive analysis and exploration of the medium of space undertaken byleading site-specific performers. Richard Schechnerhas stated that theatre places are maps of the cultures where they existand Hetheringtonthat Certain spaces act as sites for the performance of identity. Artisticmanipulation of space is vital to successful site-specific performance, and theunique development in this quest has been the exploration of alternatives typesof space and site in which to perform site-specific theatre. Theatre had forcenturies been largely confined to theatre buildings of one sort or another;the advent of site-specific theatre saw the use of a plethora of differentvenues for performance from coal mines, to hospital wards, to libraries, tocoffee shops and so on ad infinitum. These ventures into alternativesites for performance raised amongst scholars of site-specific performance thekey questions: What are the consequences of such diverse selection of sites?What association will each site bring to the site-specific genre? What are thecommon themes that bind such eclectic choices of venue? On the last question,some attempts have been made by figures such as Hetheringtonto classify these venues in groups: for instance, parks and childrens playareas can be classed with beaches as public spaces. Cohen-Cruzhas argued that such spaces allow site-specific performers to use space that isnormally thought of as publicly inhabitable to entice passers-by to attendthe performance therefore symbolising for the performers the theme of makingperformance accessible. The spaces found in venues such as museums, churchesand galleries are used somewhat differently however. In contrast to p

The Signficance of Violence in Graham Greenes The Destructors Essay

The Signficance of Violence in Graham Greene's The Destructors In serious fiction, no act of violence exists for its own sake. Graham Green, in his short story â€Å"The Destructors,† reveals certain intangible needs met through one central act of violence. One need we all have as humans is the need to be creative, to express ourselves, to use our imagination. All little boys use their imaginations, which is based on what they see in their environment, whether that be television or their own neighborhood. The gang of boys in â€Å"The Destructors† witnessed destruction every day of their lives and played in the rumble of homes as they would a mound of dirt. The gang met every morning at â€Å"the site of the last bomb of the first blitz,† which hit when the leader of the gang was but a year old. Along with the destruction to the ground they met on, the house just beside it â€Å"suffered from the blast of the bomb and the walls were supported on wooden struts.† The gang was well accustomed to seeing destruction, therefore their imaginations were corrupted with it. In an attempt to be creative, to use their imagination, the gang collectively decided to destroy the house that survived the bomb. â€Å"Destruction after all is a form of creation. A kind of imagination had seen this house as it had now become.† The need to use their imaginations won over their logical thought. Another need that plagues us all is the need to be known. Many people’s biggest fear is to die unknown and alone. We all try to make our mark in the world, whether it be through good grades, athletics, or putting gravy on the walls. We become known for our deeds, both the positive and the negative. The boys longed for the respect and the uniqueness that bringing a house ... ... be met, either in a positive, constructive way or in a negative, destructive way. Through a negative, destructive act, Graham Green highlights how a gang of boys meets the intangible necessities. Being a person who chooses to fulfill my needs through positive, constructive actions, I understand there is a better way to be creative, to be known, and to be comfortable without bringing a building down with my needs. I choose to be creative through music, to be known as one who helps rather than hinders, and be comfortable with what I have or do not have. Through analyzing this short story, I can now understand and sympathize this those who choose a different path than my own. Work Cited Greene, Graham. "The Destructors," Story and Structure. Seventh Edition. Edited by Laurence Perrine, assisted by Thomas R. Arp. New York: Harcourt Brace Jovanovich, 1988, 49-61.

End-Stage Renal Disease :: essays research papers

This article is for people whose kidneys fail to work. This condition is called end-stage renal disease (ESRD). Today, there are new and better treatments for ESRD that replace the work of healthy kidneys. By learning about your treatment choices, you can work with your doctor to pick the one that's best for you. No matter which type of treatment you choose, there will be some changes in your life. But with the help of your health care team, family, and friends, you may be able to lead a full, active life. This article describes the choices for treatment: hemodialysis, peritoneal dialysis, and kidney transplantation. It gives the pros and cons of each. It also discusses diet and paying for treatment. It gives tips for working with your doctor, nurses, and others who make up your health care team. It provides a list of groups that offer information and services to kidney patients. It also lists magazines, books, and brochures that you can read for more information about treatment. You and your doctor will work together to choose a treatment that's best for you. This article can help you make that choice. When Your Kidneys Fail Healthy kidneys clean the blood by filtering out extra water and wastes. They also make hormones that keep your bones strong and blood healthy. When both of your kidneys fail, your body holds fluid. Your blood pressure rises. Harmful wastes build up in your body. Your body doesn't make enough red blood cells. When this happens, you need treatment to replace the work of your failed kidneys. Treatment Choice: Hemodialysis Purpose Hemodialysis is a procedure that cleans and filters your blood. It rids your body of harmful wastes and extra salt and fluids. It also controls blood pressure and helps your body keep the proper balance of chemicals such as potassium, sodium, and chloride. How it Works Hemodialysis uses a dialyzer, or special filter, to clean your blood. The dialyzer connects to a machine. During treatment, your blood travels through tubes into the dialyzer. The dialyzer filters out wastes and extra fluids. Then the newly cleaned blood flows through another set of tubes and back into your body. Getting Ready Before your first treatment, an access to your bloodstream must be made. The access provides a way for blood to be carried from your body to the dialysis machine and then back into your body. The access can be internal (inside the body -- usually under your skin) or external (outside the body).

Writing Persuasive or Argumentative Essays :: Writing an Essay

Everyone needs to know how to write a persuasive essay. It's actually not as difficult as it seems. Give yourself time. Trying to cram an entire 5 paragraph persuasive essay within 100 minutes is not a good idea. Allow yourself enough time to brainstorm, write, and proofread. Put as much effort into your paper as you can in the time period you are given, including the steps below. Brainstorm. Writing a persuasive essay is very much like writing an ordinary paper. Of course, before you begin, you have to come up with a good solid view, a foundation which you can base your entire paper on. It's best if you pick a topic which you strongly believe in. That way, you can defend your ideas better and make your paper sound a lot more convincing. The case that you are making needs to have enough depth and be worthy of support. You might want to consider opposing viewpoints to make it easier for you to realize how opposing people think. First Paragraph. This has to be your paragraph that draws attention to your essay. Start with something like: [What is a good pet? Although there are many different kinds of pets to choose from, I think that the feline cat is the best choice of a pet. A cat is an excellent choice of pet because it is easy to handle, doesn't cause trouble, and is friendly.] Start out with something that draws the reader's attention. Then, state clearly what you are going to pick (in this case, a cat). Finally, list your reasons. Start off your essay by stating your views. Don't get too specific. Leave the details for later. Just lay out your main idea and opinion. Your first sentence should be a thesis sentence, and have the basic ideas that encompasses all that you will say in the rest of the essay. You will need a paragraph supporting your idea, and a paragraph for people who oppose your idea. E.G. Cats are good pets because they don't lubricate all over the house. A sentence for the people who oppose your idea is: Even though cats bite a lot, you can control this by training it. See how you can get an answer to an opposition. This is needed. Make body paragraphs. At minimum, write three paragraphs for the body of the essay. Each paragraph should cover a main point to back up your argument and idea.

Market mix Essay

REPORT Table of content Identify key characteristics of the product. Review pricing policy Analyse the impact and importance 1. Promotional method 2. Channel of distribution 3. Level of customer service provided Establish the components of the marketing mix. Identify external environment factors Identify consumer priorities Assess the marketing mix Introduction Braaap began with the vision of making motorcycling more enjoyable and more accessible, enabling more people to experience what we love about motorcycling. Plan from the beginning was to build a World-Class Motorcycle that could compete with the custom built American race bikes, whilst still being affordable to the masses. With a dream of building a niche motorcycle brand, braaap founder Brad Smith set out to find manufacturing partners that could build the ultimate motorcycle with him. As an eighteen year old kid with nothing to offer but a vision, he and an interpreter visited over 50 motorcycle manufacturing plants; one by one getting laughed out of their offices. Finally he found manufacturing partners that believed in his vision, believed in the brand. We now have what we believe is the best motorcycle range of its type in the world. We are the only motorcycle brand on the planet with a lifetime warranty, and we are the only production bike to win back to back world championship s for our genre of the sport. Characteristics Braaap Motorcycles are the only Australian motorcycle company and the only dirt bike on the planet to offer a life time warranty and customised dirt bikes. With the option of over 1000 colour and sticker kit combinations there’s no wonder braaap are the category leader. 1. Braaap Pro 50cc The braaap PRO 50cc Is the Ultimate Kids bike! Designed in Australia and Backed by Lifetime Warranty the braaap Pro 50cc is Loaded with safety features and top level specs including disk brakes, category leading suspension, restrict-able throttle and electric start. 2. Braaap Pro 88cc – Youth Edition The kids 88cc braaap features all world class componentry as the adults 88cc but features a cut down seat to suit kids. The braaap 88cc is a perfect match for someone learning to ride, with a 4 speed semi centrifugal gear box this bike is packed with fun! 3. Braaap Street Superlite 125cc The Street Superlite is an exciting addition to the Australian designed braaap range. With a mission to take everything braaap represents and bring it to your daily commute. The street legal braaap SS 125cc is a superlight street legal motorcycle suited for the daily commuter or weekend riding with a power to weight ratio make every ride awesome. 4. Braaap Pro Factory 190cc The braaap Factory â€Å"RACE† Bike. Our â€Å"braaap factory 190cc† is the Ultimate Power house, race bread SUPERLITE machine. Featuring the Japanese Daytona Anima 190cc engine, French Frame, European Exhaust and Canadian Suspension the power to weight ratio will blow your mind! If you want to go fast and roost ya mates this is the bike for you. Marketing mix The largest moto fashion retrailer in AUS is the slogan of Braaap. The market mix strategies used at Braaap to become a successful company in business of dirt bike, pit bike and mini bike. Pricing, Promotion, Products, Channels of distribution and Customer Serviced are the key ingredients at Braaap. Pit bike, Dirt Bike, Mini Bike and their parts and accessories are available to shop online and in store. Braaap offers their own brand name bike or other major brands including: ProTaper, Renthal, Daytona, Elka and Castrol. Braaap refers their bike as the best dirt bike of its type in the world. It is assembled by Braaap’s mechanics base in Australia. There are 4 superstores branches around Australia. Not only bikes are the products at Braaap, other fashion accessories are the main products too. Action sports equipments, for example, helmets, riding gear, T-shirt, shoes, jeans and spare parts of bikes are available to shop. Pricing Policy and Customers Pricing At Braaap, the price of products is various. For the price of accessories and spare parts is divided into 4 ranges * $0 – $24.99 * $25 – $49.99 * $50 – $249.99 * and over $250 Objectives The main objective of the organisation is to make their products affordable for people for this reason, Braaap also offers the payment plan for those who cannot afford a bike with $3 a day for a bike. The law of demands is often referred as Consumer wants to buy more of a product at a low price and less of a product at a high price. This inversion of demand and price shows that the higher price of products the less willing to buy. However, there are amount of people who purchase a higher price product because they believe a product is better in quality. At Braaap, they offer the products to attach customers at different level. The main customer of Braaap is a young-adult who has a passion in this sport.

Mahindra project report Essay

After concrete efforts of our Management, the students of Kohinoor Management School got this esteemed opportunity to have an Industrial visit to a prestigious company like Mahindra and Mahindra Ltd. We appreciate the efforts of the management of KMS & M&M for executing this successful Industrial trip. Introduction to Mahindra: Mahindra & Mahindra Limited is the flagship company of the Mahindra Group, a multinational conglomerate based in Mumbai, India. The company was set up in 1945 in Ludhiana as Mahindra by brothers K.C. Mahindra and J.C. Mahindra. Mahindra & Mahindra is a major automobile manufacturer of tractors, utility vehicles, passenger cars, pickups, commercial vehicles; its tractors are sold on six continents. It has acquired plants in China and the United Kingdom, and has three assembly plants in the USA. M&M has a global presence and its products are exported to several countries. Its global subsidiaries  include Mahindra Europe Srl. based in Italy, Mahindra USA Inc., Mahindra South Africa and Mahindra (China) Tractor Co. Ltd. M&M is one of the leading tractor brands in the world by volume. It is also the largest manufacturer of tractors in India with sustained market leadership of over 25 years. It designs, develops, manufactures, and markets tractors as well as farm implements. The Journey Begins†¦. We reached the Mahindra plant at Kandivali, Mumbai. We headed to the Conference room and were briefed about the Company by a presentation on the leadership and the entire group of M&M followed by the Q & A Session which lasted for an hour. The honors were done none other than Mr. Shirish Tawde, the Deputy General Manager (DGM) of the Company. Accompanying him were Mr. Kishor Sonawane (Manger – Business Excellence), Rajendra Sawant (Sr. Manager Business Excellence), Mr. Mahesh Dalvi (Manager – Business Excellence, Sector Sustainability). With such dignitaries explaining us the world of M&M, we were just as grateful. This plant mainly deals in manufacturing of Tractors and Farm Equipments. The plant is one of the oldest manufacturing plants in the production of tractors in India. After decades in leading the tractor sector M&M have diversified into the roots of farming and have positioned themselves in the Farm Sector. After being briefed through the introduction of M&M plant, we were about to explore the India’s most Prestigious Companies. We were divided into 2 groups of 15 people so as to have individual attention . We visited 3 units of the plant right from examination of engine parts, assembling of engine and main manufacturing of tractors. They manufacture 2,00,000 tractors annually. The FES contributes 35% market share. Hands on approach to Production (where theory meets practical): Each Group was taken separately and explained functioning of the plant. A lot of theory is learnt is class regarding how the manufacturing units focus on Total Productivity, Total Quality, Zero Defect, etc†¦but by far this was the  first hands on experience on how does a Manufacturing unit or plant works. Here we are explained about how the assembly line manufacturing process works. This section of the plant deals with the installation of the main engine of the tractor. In this picture we are introduced to how the stations work in co-ordination to get optimum results. In the pictures below, the students are taken through a complete channel of stations on the assembly station and the supervisor explaining each of this complicated process. The lag or lead time is calculated and each one at every station tries to improve on it so as to reduce the time effect in assembling each engine. The units where tractors are manufactured in assembly lines follow Total Quality Management (TQM) and Total Productivity Management (TPM). Every sub-unit contributes to the production. They avoid material handling losses with pulleys and fork-lifts. All these techniques add value to the production. Indeed there is no surprise they improve their quality and reduce time with ever unit of production of tractor. Here, we are shown how the final tractors are put in place Students Opinion: Kohinoor Management School gave us the Golden Opportunity to visit the Mahindra and Mahindra plant at Kandivali. It was a great experience to know the organization internally. They are successful enough to balance between Business Excellence and Individual Dignity. Their main focus on farm tech prosperity is what like me a lot, as agriculture is the base of the Indian Economy. -Pratibha Shinde. Visit to the M & M was an eye-opener. The journey unfolded various aspect of the tractor division. Starting from the nuts and bolts, the engine, to the massive structure which forms the backbone of the Indian farms and agricultural sector. The gains or the take away from the visit were splendid. The use of Japanese technology in the assembly line, the step by step process layout, the plan B; the vision of always staying ahead were the insights. Lots of management mantras were demonstrated and inculcated. A great learning and an honour to see the invasion of the GREAT INDIAN TRACTOR DIVISION. -Yogendra Joshi. It was my first Industrial visit to any manufacturing plant and enjoyed every bit of it. To be a part of such an esteemed organization and having a look through all their process was an intriguing experience after all. -Shraddha Salunke On behalf of all the Management and the students we take this opportunity to thank the entire team of Mahindra and Mahindra for providing us with the practical information and well as wonderful hospitality. We take moment to offer our greetings to the entire Mahindra and Mahindra team.

Article Evaluation Sleep Deprivation to Aggressive Behavior

Sleep Depression, Depletion & Aggressive Behavior Article Evaluation paper Does sleep deprivation affect a person’s self-control? Does the availability of one’s self-control be affected by the lack of sleep? Nonetheless, Can sleep deprivation cause someone to display more aggressive behaviors? A group of researchers wanted to answers these three questions. The researchers produced an experiment to explore the variable of sleep deprivation & its correlation to self-control & aggressive behavior.According to the Limited Self Regulatory Model, self- regulation is more difficult when someone is fatigued or has limited energy. When energy of mental activity is low, a person’s self-control is impaired, a person is considered to be in a state of â€Å"depletion† (self-regulation failure. ) Fifty-eight participants were separated in two groups: sleep deprived (depletion group,) with no sleep for twenty-four hours prior to the experiment & non-sleep deprived (non-d epletion group) The participants were instructed to watch unpleasant footage from two films & their reactions were observed by a video camera .Participants in the sleep-deprived group were asked to show no facial expressions, where as the non-depletion condition were told to act naturally. Participants instructed to neutralize their facial expressions were less expressive than participants instructed to act naturally. With in the experiment, an aggression task was given to participants designed to measure their aggression. Participants were told they were going to play a trail game & to win the game they must push a key faster than online opponent.Prior to each trial the participants were asked to set the noise level (between 0-10, 0= no sound, 10= loudest sound), which would sound at the opponent when the participant would win. After each trail the opponent’s noise choice level was displayed on the screen as one level higher than what the participant set. As a result, partic ipants were thought to believe their opponent were more aggressive than they were, evoking aggressive behavior from the participant. Thus participants in the sleep deprived/ depletion group selected higher noise levels than non- sleep deprived/ non-depletion group.Accordingly, the data collected supported state of sleep does not affect a person self control or influence aggressive behavior. Instead, self-control & aggressive behavior is determined by the availability of person self- regulatory resources. The method in which the experiment was conducted could be re-produced, but may be time consuming. Instead of being able to conduct one task to measure the correlation of the sleep deprivation to the questioned variables, more then one task had to be executed. I believe the external validity & the internal validity of the experiment were not passable.The subjects were randomly assigned to the sleep deprived or non-sleep deprived group, however there was no obtained information about the participant’s sleep deprivation tolerance. Such a factor (sleep deprivation tolerance) can change the results of data. In addition, the experiment did not specifically measure whether participants who were kept awake for 24 hours were in fact sleepier than participants who got a full night’s rest. Among people, population, & races such a tolerance varies. Applying a generalization across the board can introduce bias to the experiment.The implication that self-control & aggressive behavior is determined by the availability of a person self- regulatory resources/ability can be applied to real life. When I am tired I feel my self-control is not as available as when I am awake. If I were one of the participants in the experiment watching the film and performing the aggression task, I would not think about the way I present my emotions till after the matter: during that time my ability to think of my emotional response & how to control my emotional response would not ha ppen/ be available to me.With this in mind, this article relates to the functions of the self – discussed about in class. The four main functions to the self (self-knowledge, self-control, self- presentation, & self-justification) determine a person’s self- regulatory resources. The ability to look inward, examine our thoughts, feelings, mood (introspection) & control our willpower, allows us to overcome a counterproductive impulse to achieve different goals.On the other hand, when we try hard to practice introspection & self-control, controlling the self in one context may cause us to indulge in another context, producing self-regulation failure. By large, the researchers of the experiment were looking into the function of the self & applying it real life. By conduction the experiment, the researchers discovered that the state of sleep does not affect a person self control or influence aggressive behavior, but that self-control & aggressive behavior is determined by t he availability of a person self- regulatory resources.