Battle of Kadesh - Ancient Egypt

Clash of Kadesh - Ancient Egypt Clash of Kadesh - Conflict Date: The Battle of Kadesh was battled in 1274, 1275, 1285, or 1300 BC during the contentions between the Egyptians and Hittite Empire. Armed forces Commanders Egypt Ramses IIapprox. 20,000 men Hittite Empire Muwatalli IIapprox. 20,000-50,000 men Clash of Kadesh - Background: Because of melting away Egyptian impact in Canaan and Syria, Pharaoh Ramses II arranged to crusade in the district during the fifth year of his rule. In spite of the fact that this zone had been made sure about by his dad, Seti I, it had slipped back affected by the Hittite Empire. Social event a military at his capital, Pi-Ramesses, Ramses isolated it into four divisions named Amun, Ra, Set, and Ptah. To help this power, he likewise enrolled a power of soldiers of fortune which were named the Nearin or Nearin. Walking north, the Egyptian divisions voyaged together while the Nearin were doled out to make sure about the port of Sumur. Skirmish of Kadesh - Misinformation: Contradicting Ramses was the military of Muwatalli II which was digs in close Kadesh. With an end goal to misdirect Ramses, he planted two travelers in the way of the Egyptian development with bogus data in regards to the armys area and moved his camp behind the city to east. Taken by the Egyptians, the travelers educated Ramses that the Hittite armed force was far away in the place where there is Aleppo. Accepting this data, Ramses looked to take advantage of the chance to catch Kadesh before the Hittites could show up. Subsequently, he hustled ahead with the Amun and Ra divisions, partitioning his powers. Skirmish of Kadesh - The Armies Clash: Showing up north of the city with his protector, Ramses was before long joined by the Amun division which set up a braced camp to anticipate the appearance of the Ra division which was walking in from the south. While here, his soldiers caught two Hittite covert agents who, subsequent to being tormented, uncovered the genuine area of Muwatallis armed force. Rankled that his scouts and officials had bombed him, he gave orders bringing the rest of the military. Seeing a chance, Muwatalli requested the greater part of his chariot power to cross the Orontes River south of Kadesh, and assault the moving toward Ra division. As they withdrew, he actually drove a save chariot power and infantry north of the city to square conceivable break courses toward that path. Trapped in the open while in a walking arrangement, the soldiers of the Ra division were immediately steered by the assaulting Hittites. As the primary survivors arrived at the Amun camp, Ramses understood the seriousness of the circumstance and dispatched his vizier to rush the Ptah division. Having steered the Ra and removed the Egyptians line of retreat, the Hittite chariots swung north and attacked the Amun camp. Slamming through the Egyptian shield divider, his men drove Ramses troops back. With no option accessible, Ramses by and by drove his protector in a counterattack against the foe. While the greater part of the Hittite aggressors stopped to plunder the Egyptian camp, Ramses prevailing with regards to driving off a foe chariot power toward the east. In the wake of this achievement, he was joined by the showing up Nearin which amassed into the camp and prevailing with regards to driving out the Hittites who withdrew towards Kadesh. With the fight betraying him, Muwatalli chose push forward his chariot hold however kept down his infantry. As the Hittite chariots moved towards the waterway, Ramses propelled his powers east to meet them. Expecting a solid situation on the west bank, the Egyptians had the option to keep the Hittite chariots from shaping and progressing at assault speed. Regardless of this, Muwatalli requested six charges against the Egyptian lines which were all turned around. As night drew nearer, the lead components of the Ptah division showed up on the field compromising the Hittite back. Incapable to get through Ramses lines, Muwatalli chose for fall back. Clash of Kadesh - Aftermath: While a few sources propose that the Hittite armed force entered Kadesh, all things considered, the mass withdrew towards Aleppo. Transforming his battered armed force and lacking supplies for a long attack, Ramses chose to pull back towards Damascus. Setbacks for the Battle of Kadesh are not known. Despite the fact that a strategic triumph for the Egyptians the fight demonstrated a key thrashing as Ramses had neglected to catch Kadesh. Coming back to their separate capitals, the two heads announced triumph. The battle between the two domains would keep on seething for longer than 10 years until finished up by one of the universes first worldwide harmony bargains. Chosen Sources HistoryNet: Battle of KadeshTour Egypt: Battle of KadeshHistory of War: Battle of Kadesh

Sacrificial Inequality Essay -- Adam and Eve, Women Studies, Gender Ro

â€Å"Had Adam delicately reprimanded his significant other, and tried to lead her to apology as opposed to partaking in her blame, I ought to be considerably more prepared to accord to man that predominance which he guarantees; however as the realities stand revealed by the hallowed history specialist, it appears to me that no doubt, there was as much shortcoming displayed by Adam as by Eve. The two of them tumbled from honesty, and thus from joy, yet not from equality,† (Grimke, 1838). For whatever length of time that humankind has had the option to work in the public arena, there has consistently been a line separating the jobs of man and lady. Ladies have consistently been the lesser, particularly in Western Civilization, and the desires to be the â€Å"perfect housewife† have proceeded into the 21st century. In â€Å"A Doll’s House,† a play set in nineteenth century Sweden by Henrik Ibsen, a lady named Nora had applied for a new line of credit behind her husband’s back so as to take him to Italy to spare his life. She had done this in mystery, yet in addition produced her father’s mark to get the credit. On the off chance that Torvald, her better half, were to discover, Nora would be in a tough situation, particularly since he thought she resembled a little kid. When Nora’s companion, Mrs. Linde, drops by, Torvald discovers Nora’s enormous mystery through a progression of occasions and almost abandons her to spare his picture. Mrs. Linde, a widow, had left her man, Krogstadâ€also the man who gave Nora the loanâ€for a more extravagant man to accommodate her family. In spite of the fact that these ladies had made sensible penances for their friends and family, their men didn’t comprehend and permitted society to conclude how to respond to their ladies. In â€Å"A Doll’s House,† Ibsen utilizes Nora and Mrs. Linde to delineate that ladies are required to make penances to their bliss for their family that men wouldn’t m... ...ity for the ones they love since they accept that’ll help the relationship. On the off potential for success that Nora had up to Torvald previously, they might not have even been together any longer on the grounds that Torvald would’ve acknowledged it was actually the â€Å"idea† of Nora that he was infatuated with and not really her. This play caused extraordinary debate in light of the fact that a lady had ventured out of what had become â€Å"her place† and been her own individual. This was particular since it was customary for a lady to remain at home doing housework and bringing up youngsters. In spite of the fact that this isn’t how life is today any longer, it is as yet unordinary to society for a man to do what was â€Å"a woman’s job.† This is the way it’s been for a considerable length of time and hundreds of years and the manner in which it might remain for a considerable length of time to come. The main fix to the imbalance between sexes is to decrease the equal among nature and sustain and split the generalizations set up by humankind.

Management Case Study Example | Topics and Well Written Essays - 1750 words

The board - Case Study Example The explanation Nike Inc. has succeeded is supported by a horde of variables, as will be found in the conversation which results forthwith. One of the elements that has guided Nike Inc. into progress is its extreme crucial presently is to lead in corporate citizenship and life, through proactive projects that are intelligent of care for the world group of Nike Inc. family, its colleagues, shoppers and those stretch out administrations to Nike Inc. In a firmly related frequency, Nike makes the most of its main situation in corporate execution due to its destinations. By and by, Nike Inc.’s objective is to hold the expense of assembling down through serious rivalry of the business wherein Nike works. The possibility of this goal is underscored by the way that numerous different organizations that are in sports industry utilize the expense of speculations and activities in nations before setting off to an outside market. Nike Inc.’s methodology has likewise propounded it into the world’s driving games business brand. Especially, Nike Inc. has utilized banding together in import-send out exchange. This is found in the example where Nike went into association with Onitsuka Tiger in 1964, to assist it with bringing in Onitsuka Tiger running shoes in Japan. It is therefore that as the 1970s found some conclusion, Nike Inc. had shot from 10 million dollars deals to 270 million dollar deals. It is a result of this that by 1996, the organization had enlisted income of 6.74 billion dollars. In 2000, the deals had arrived at 12 billion dollars (Goldman and Papson, 1998, 22). Another prime technique which Nike Inc. utilizes is the selling of its presentation hardware. Nike’s execution gear incorporate footwear, balls, socks, packs, bats, gloves, eyewear, electronic games gadgets, time pieces and defensive hardware. Close by this, Nike likewise gives attire to real or authorized games groups. To execute this procedure well, Nike Inc. employments

Essay Tips on Sexual Harassment on College Campus

Essay Tips on Sexual Harassment on College CampusCollege students often have a difficult time writing an essay about sexual harassment. That is not to say that the topic is daunting, but rather that students may be faced with an unpleasant dilemma. Since we do not typically experience sexual harassment firsthand, it may be easier for us to understand what it feels like if someone did. This is especially true when the person in question has threatened to go public.Students may wonder if they should mention their own experiences with sexual harassment or if they should include a reference to another case or study. In order to get a clear idea, they should analyze their writing style. If they have difficulty being open and honest, they may try to imply that the harasser or victim was incapable of protecting themselves. This is not necessarily true. In fact, sexual harassment is not always carried out by the wrong person, but may be a case of being targeted because of a group of similar characteristics.Students should be aware that cases of sexual harassment are actually quite rare, but it is still troubling. When we speak of sexual harassment, we are typically referring to acts such as groping, verbal abuse, unwanted touching, unwanted kissing, rape, sexual assault, voyeurism, etc. Although the act itself may not be the same in all cases, it is often the same underlying thoughts and behaviors that lead to unwanted actions or words.When writing samples of cause and effect essay on sexual harassment on college campus, students should not make their readers feel uncomfortable. They should try to focus on the behavior of the victim or harasser, but also leave room for the possibility that the harassment was inevitable.There are a few important pieces of information that students should take into consideration when writing samples of cause and effect essay on sexual harassment on college campus. First, they should make sure that they include all relevant details. After all, it is not enough to just write about the case or study, but also should include as much information as possible.The most common mistake that students tend to make when writing samples of cause and effect essay on sexual harassment on college campus is to use a lot of quotes. Instead of taking this opportunity to expand upon the situations and effects, students often want to put a negative spin on the quotes. A quote may be appropriate if you want to relate a particular incident. However, if you want to convey a broader point, you need to actually demonstrate and state it in the text.Student writers should remember that sexual harassment on college campuses is not easy to deal with. It may be hard to determine which words and phrases can be part of the samples of cause and effect essay on sexual harassment on college campus. You may find yourself having to confront the idea that some words have no clear implications. However, you should also realize that dealing with sexual har assment on college campuses is actually very important.

Middle School Are Essential For The Success Of Students

For me, middle school was probably the most excruciating years of my life. I thought it was only me and everyone else had it easy and completely understood everything that was happening to their bodies and minds. In fact, I still have dreams about my middle school years like forgetting my locker combination or hiding in the bathroom stall because the most popular girls were gossiping about a friend of yours. The settings in these dreams are always my middle school; I find it amazing that thirty years after I attended school that I can remember vivid details about the layout, hallways, lockers, and teachers. The reason for this I believe is that for ALL students the middle school years are the most influential to shaping and becoming who a person is and who they wish to become. Middle schools are essential for the success of students because of the unique developmental stages of these students. For teachers, comprehension of young adolescent development is key to understanding t he physical, emotional, intellectual, social and moral needs and interests of these students (Powell, 2015, p. 55) and also teachers need to develop a curriculum that is focused on developing students competence in all subject matter and using their knowledge and available resources to design, implement, and evaluate challenging, responsive curriculums that result in meaningful learning outcomes (Powell, 2015, p. 145). All students should feel that they are accepted for who he or she is as anShow MoreRelatedThe Association For Middle Level Education1463 Words   |  6 PagesAssociation for Middle Level Education s list of Middle Level Teacher Preparation Standards focuses directly on the knowledge and skills needed to teach young adolescents successfully. Middle Level Teacher â‚ ¬Ã¢â€ž ¢s use their knowledge of major concepts, principles, theories and research to improve their practice. The AMLE Standards provide a guideline to assist in curricular decisions, preparation and pla nning and providing a safe and effective learning environment for the Middle Level Students. StandardRead MoreMotivation Affects Many Different Areas For Students1075 Words   |  5 PagesMotivation affects many different areas for students in education. Areas include how the student feels about school, teacher relationships, testing performance, and time and effort spent on academics. Without motivation, academic engagement is almost impossible to achieve. However, research has shown that highly motivated students perform better academically, have a better self-esteem, and tend to complete high school. As a student progresses through school, motivation tends to decline. 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Aside the emotions of seeing a student grow, they are going through struggles of keeping up with anything that will benefit their future, and they cannot do it alone. Students’ futures benefit from having different types of support

Essay On Boys DonT Cry - 1412 Words

The film Boys Don’t Cry, revolves around the life of a transgender person, Brandon Teena, and his life and eventual murder. The film begins with Brandon and his cousin Lonny at a skating rink, where Brandon meets a young girl. Later they are seen making out as he drops her off at her house, it cuts to Brandon being chased by people who are apparently related to the girl yelling homomorphic slurs and threatening her. Her and her cousin, who is also gay hideout in their trailer and it is relived that Brandon is not a boy but actually a girl. The argument between her and her cousin reveal Brandon no longer believes that he is a boy, and that even his mother used to â€Å"lock her up† presumably because of her transgender behavior. Brandon’s cousin†¦show more content†¦Lana does see down Brandon’s shirt and sees her breasts, but regardless continues kissing him. Eventually Brandon’s earlier legal troubles catch up to him and he has to deal with them. He steals checks from Candace and forges her signature so he can get the money to take care of his fine. At the bank, the teller realizes there is a warrant out for the arrest of â€Å"Teena Brandon†, Brandon’s birth name. He is thrown into the woman’s side of the prison, while Candace finds a tampon and the summons with Brandon’s birth name. She gets incredibly sad and goes to a bar to try and drown her sorrows. Lotter finds a newspaper with the arrest of â€Å"Teena Brandon† and they show it to Lana’s mom. In prison, Brandon writes Lana a letter explaining that he has been arrested, she doesn’t understand why he is in the female section and he lies saying he’s a hermaphrodite who is going to be going through a sex change operation. Lana says he loves Brandon no matter what and they leave jail and have sex. Nissen and Lotter get incredibly upset at the thought of Brandon’s true identity and try and find him. They find him at Lana’s moms house with Lana. They make him strip to show Lana he is a girl. Eventually Nissen and Lotter rape Brandon. Afterword’s they take him back to Nissen’s house, and Brandon escapes. Lana tries to get him to file a police report even though he’s been threatened not to, he decides to go through with the report. After getting drunk, NissenShow MoreRelatedAnalysis Of Cormac Mccarthy s The Road 2257 Words   |  10 Pages Cormac McCarthy’s The Road intensely reflects on the importance of relationships as a survival tactic and the struggle to exist as a good person in an immoral world. The relationship between the father and the boy is heavily amplified as the father tries to give his son an understanding of the world he was born into. The father abandons his retelling of history or the past to his son. He struggles to decide if he wants his son to intellectually understand the world or rather survive in it? 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Commercial And Corporation Law Of Company †Myassignmenthelp.Com

Question: How The Liabilities Of The Breach By The Directors May Give Remedies For The Company? Answer: Introducation As per the case study, it is the case of breach of duty of the director. As per the Corporation Act 2001, the directors of the company breach the sec- 180(1) of duties of care and diligence towards the company. As per the sec-180 of The Corporation Act 2001 in Australia, define the duties of loyalty and duty of care to the company, other directors or officers and the employees. The sec 198A defines the powers of directors in the company (Hanrahan Bednall 2015). As per the case study, the directors of Storm Financial, Emmanuel and Julie Cassimatis have breached their duties as directors. The court found that Storm Financial provided inappropriate advice to some investors of the company. Application As per the Corporation Act 2001, sec-180 defines the duties of loyalty and duty of care to the company, other directors or officers and the employees. They have duties to trust toward other directors and employees. They will do their duty with loyalty and never deliver any false conducts to the employees and the other directors. Sec- 198A defines the powers of the directors, which they will never misuse for their own benefits (Hedges et al. 2017). As per the case study, it is duty of the Cassimatises to look after their investors because they are the important part of the company. When Cassimatises advises the investors of Strom, they have failed to do all things necessary to ensure that the financial sesrvices covered by its license was provided efficiently, honestly and fairly. The ASIC make allegation against the Cassimatises because they were responsible for the unusual decisions in relation with the provision of financial services to Storm's clients, which have control over its systems and processes. Therefore, they had caused Storm to negligent its obligations under the Corporations Act and did not found their powers as directors of Storm with the degree of care and diligence, which would have exercised in that situation. As the director of the company they have breach the duties toward their clients (Hedges et al. 2017). The investors are falsely represented their facts. Now, the Federal Court has also found that Storm Financial, Emmanuel and Julie Cassimatis not only breach their duties but also give in proper information to the investors. Now, the investor can claim their damages from the directors of the company. As the directors, they are failed to work as per their duty of care towards the employee and the investors also (Smith 2015). As per the case study, the company directors can defense himself if they have proved that they provide true statements to the investors and did not breach their duty as directors of the company. As per the case study the directors have failed to do perform as per their rights as a directors and breach their duties towards the investors. As per the case study, the issue is whether the gold mining public company will get their license for their company under the Queensland Environmental Protection legislation. As per the case study, the gold mining public company has three directors who are very determined to make a start with exploration activities. The gold mining company can apply for a license under the Environmental Protection Act 1994 (EP Act) through the environmental authority (Glasson, Therivel Chadwick 2013). The act protected the Queenslands environment at the time of developing the balance and quality of life of people and maintains the balance the ecological process. Under the New EA, applications the mining company can register for the license through the Department of Natural Resources and Miness MyMinesOnline service ("Environmental legislation (Department of Environment and Heritage Protection)", 2017). As per the Queensland Environmental Protection legislation, the new gold mining company can obtain their license for opening the business. The directors of the company are very determined in their duties toward the company. However without obtain the license the mine project can be affected. As per the new EA, applications the mining company can register for the license through the Department of Natural Resources and Miness MyMinesOnline service ("Environmental legislation (Department of Environment and Heritage Protection)", 2017). The company must lease the mining projects. First, they need the approval under the Environmental Protection Act 1994 for a watercourse diversion, which is the important part before applied the EA application. For the public notification of the proposal application which must registered by a Professional Engineer of Queensland (Glasson, Therivel Chadwick 2013). The administrative authority will approve the eligibility criteria and standard conditions for an environmentally relevant activity (ERA) under the Environmental Protection Act 1994. However, after 31 March 2013 the Environmental Protection Act 1994 have issued new application for the mining projects (Richert, Rogers Burton 2015). Before applying for the registration under Environmental Protection Act 1994, the company must follow some instructions. They must have a risk assessment before started the company. It is the duty of the company that they will provide proper information about the uses of the chemicals of hydraulic to the Department of Natural Resources. At the time of process the uses of BTEX (benzene, toluene, ethyl-benzene and xylene) in stimulation fluids (also hydraulic fraccing fluids) must use as per the proportioned quantity. The environment authority must look after the land, which will restore the land after the completing of a life of a petroleum project. The mining company will never liable for any environmental authority if the Queensland government failed to satisfy all the requirements (Richert, Rogers Burton 2015). The duty of the secretary is to look after all the requirement which the mining company will follow before apply for the license under the Environmental Protection Act 1994. Conclusion In the above assignment, it is briefly described how a mining company can obtain a license under the Environmental Protection Act 1994 through the Department of Natural Resources of the Queensland government. They must follow the above-mentioned instruction before applying for the license. It is the duty of directors that they will follow the rules abd regulation before running the mining company. Reference Environmental legislation (Department of Environment and Heritage Protection). (2017). Ehp.qld.gov.au. Retrieved 15 May 2017, from https://www.ehp.qld.gov.au/management/non-mining/environmental-legislation.html Glasson, J., Therivel, R., Chadwick, A. (2013). Introduction to environmental impact assessment. Routledge. Hanrahan, P., Bednall, T. (2015). Independence of directors affiliated with substantial shareholders: issues of law and corporate governance. COMPANY SEC. LJ, 33, 239. Hedges, J., Bird, H. L., Gilligan, G., Godwin, A., Ramsay, I. (2017). The Policy and Practice of Enforcement of Directors' Duties by Statutory Agencies in Australia: An Empirical Analysis. Langford, R. T. (2015). Directors' Duties: Conflicts, Proactive Disclosure and S 181 of the Corporations Act. Pettersson, M., Oksanen, A., Mingaleva, T., Petrov, V., Masloboev, V. (2015). License to mine: A comparison of the scope of the environmental assessment in Sweden, Finland and Russia. Natural Resources, 6(4), 237. Portney, P. R. (Ed.). (2016). Public policies for environmental protection. Routledge. Richert, C., Rogers, A., Burton, M. (2015). Measuring the extent of a Social License to Operate: The influence of marine biodiversity offsets in the oil and gas sector in Western Australia. Resources Policy, 43, 121-129. Smith, H. (2015). Australia's Company Law Watchdog: ASIC and Corporate Regulation.

Summer Of My Germin Soilder Essays - , Term Papers

Summer Of My Germin Soilder CN - Can you tell me the first time you met Anton. What was it like? PB - I first heard his name when some soldiers told my father that he was the only English speaking German. When I saw him he was different from the others. He did not look as strong or as tall as the others, but his eyes speckled with green. The first time I talked to him he was looking for a pocket pencil sharpener. We ended up talking. He told me about his family, their jobs and things like that. He also spoke about himself. He asked me to sell him a pin that looked like diamonds. Later I found out he would use the pen to sneak out of prison. I made a prayer just before he left. I prayed we would become friends, that he would become a doctor, and that he would go back to his home. only half of my prayer came true, we became friends. CN - Can you tell me how he escaped from prison? PB - He was planning to bribe a soldier with the pin that had fake diamonds. He told the guard his father would pay anyone who let him out of jail. The first payment being in diamonds. The guard believed him and helped him escape. CN - Why did you decide to hide a German Prisoner? PB - I hid him because he was a person. I liked him and he was different from what I had heard about Germans. I knew what I was doing was against the law. I was 12, and followed my instincts. Why should I not help someone who was in need. After all God made all men equal. One girl said God was on our side. I disagree with her comment, he was probably on all sides. CN - What were your feelings of the trial? PB - I thought that being sent to reform school was not fair towards me. I only helped a person, a friend. Hearing that he died was the worst punishment. Also that my father might never forgive me is hard to live with. I know I broke the law, but I did not kill anyone. I only helped him. In a way I got punished for helping another human being. CN - How were you treated after everyone found out? PB - In reform school I was called names like: 'Nazi' and 'Spy.' I had very few friends there. I'm not sure if I could even call them friends. Back home practically no one spoke to me. Pretty soon I was sent to live with my grandparents, and I'm still here. My dad never did forgive me and hardly speaks to me. My sister is still sweet and loves me, no matter what. CN - In your childhood was there anyone who influenced you to do the things you do and did? PB - Yes Ruth. Ruth was our house- keeper. She always tried to make me a better person then I was. And now that I think about it she was like a mother to me. CN - In what ways was she like a mother? PB - She visited me in the reform school, when my real mother did not. She protected me from my father once. He was going to hit me. She stood in front of me and would not let him hurt me. She got fired because of this. I admired her as a person and loved her. CN - Why did you admire her? PB - I admired her because she stood with dignity. She was black, it never stopped her from being strong. She thought a person was important no matter what status they had in life. On Saturday she wore her best dress, and if I would go to the store she would ask me to wear my nice dress. She did this so I would look presentable. Ruth acted this because she believed in holding her head high. Also races and culture never bothered her, a person was a person. When she met Anton she was kind to him and did not judge him. CN - How did she find out about him? PB

How to Convert Celsius to Kelvin

How to Convert Celsius to Kelvin Celsius and Kelvin are the two most important temperature scales for scientific measurements. Fortunately, its easy to convert between them because the two scales have the same size degree.  All that is needed to convert Celsius to Kelvin is one simple step. (Note its Celsius, not Celcius, a common mis-spelling.) Celsius To Kelvin Conversion Formula Take your Celsius temperature and add 273.15. K  °C 273.15Your answer will be in Kelvin. Remember, the Kelvin temperature scale does not use the degree ( °) symbol. The reason is because Kelvin is an absolute scale, based on absolute zero, while the zero on the Celsius scale is based on the properties of water. Also, measurements given in Kelvin will always be larger numbers than in Celsius. Celsius To Kelvin Conversion Examples For example, if you want to know what 20 °C is in Kelvin: K 20 273.15   293.15 K If you want to know what -25.7 °C is in Kelvin: K -25.7 273.15, which may be rewritten as: K 273.15 - 25.7 247.45 K More Temperature Conversion Examples Its just as easy to convert Kelvin into Celsius. Another important temperature scale is the Fahrenheit scale. If you use this scale, you should be familiar with how to convert Celsius to Fahrenheit and Kelvin to Fahrenheit.

HEALTH AND BEHAVIOURAL SCIENCES Lab Report Example | Topics and Well Written Essays - 1750 words

HEALTH AND BEHAVIOURAL SCIENCES - Lab Report Example as no difference found in the motivation of two groups, but the groups with the fewer choices were more satisfied with their decision and they also reported less difficulty levels. Do you have more variety of this product? I think we should visit the corner shop because my friend was telling me that they have a wide collection. I can apply for only a few colleges†¦ I wish I could apply for more college. How many times we have heard or used these sentences or similar kinds of statements. The importance of choices in our lives is very important and it is often realized. People always variety as they feel that it helps them in their decision making process. There are no two thoughts on the fact that choices are very important for us. The effect that choices have on our lives is misinterpreted or misunderstood many a times. Too many choices may not be as beneficial for us as we think they are. It is found that excess of choices can decrease the motivation to buy (Iyengar & Lepper, 2000). Psychology informs us today that choice between two desirable options can lead to dissatisfaction and stress (Huffman, 2008). These results are not in line with the common notion regarding choices. The ability to choose from a variety of alternatives is considered necessary for a better decision. Studies have also suggested that choices are very necessary for human beings and they increase the life satisfaction of people (Deci & Ryan, 1985). These studies have contradicting results and they may confuse a lay man. These results have also added obscurity on the subject of variety and choices to some extent. It is important to understand that variety is very important for people and their survival. However too many choices can lead to dissatisfaction and decrease in motivation. The problem with too many choices is that it increases the stress level of the people as they want to choose the best option (Moushart, 2008). Too many choices actually hinder in decision making by confusing

Evaluating the impact of international environmental laws on oil and Essay

Evaluating the impact of international environmental laws on oil and gas - Essay Example Recommendation(s) †¢ GEP-Oil Company must follow the principles of the International Environment law to the latter. †¢ The Company is bound to look for more advanced technologies to be able to exploit he Oil and Gas in an advanced manner. †¢ Experts in Climatic conditions should be consulted before the commencement of the drilling process. †¢ The company must compensate the inhabitants. 1. Background The main issues in the case study are that the presence of Oil and Gas plays an immense role in the economy of Russia and the welfare of the people as a whole. However, this exploration in the Arctic requires huge investments, which have prompted the Russian oil Companies to enter into an alliance with the international companies to expedite the exploration process. In light of this, the board paper has been organised into four sections. Each section analyses about an issue that pertains to exploration that is free from environmental destruction and one that depicts w hat is expected by the Russian government. The Russian environmental laws are similar to the international environment al laws in a number of ways. The Russian environmental laws also recognize that there is a need for each nation to be able to protect the environmental and at the same time each state should be given the freedom to be able to exploit their natural resources. According to principle one of the Rio Declaration, human beings are the centre of environmental concerns because they need to be able to have high quality life. The Russian environmental laws also recognize these factors and incorporate it in the principles of the law. There are also laws in the region where Russia is that are also invective of the need for the concerned stakeholders to understand the need to protect the natural resources for the sake of human beings. The arctic region in which Russia belongs, there are some environmental laws that need are very similar to international laws. The Arctic Environm ental Protection Strategy is an environmental guidance that helps nations in the arctic region to abide in within the environmental standards. Russian national laws are also similar to the international environmental laws in that they also recognize that there is an importance to protect the local waters (marine). This is in line with MarPol environmental laws and guidance that provide for the ways in which the laws must be able protect the environment. Russia is a member of the artist centre but he laws developed by the arctic centre are not abiding. The arctic centre has developed the laws and guidelines that help member states to abide within the guidelines of international laws. MarPol helps nations around the world to be able to deal with the seal pollution. The Russian environmental policy also recognizes that there is a need to protect the sea and reduce marine pollution. These laws are also in line with the Conventional of Biodiversity guides which emphasize on the need to p rotect the natural resounds especially living things. The other important factor about international law in relation to the Russian environmental law is the recognition of the need for the state to be able to protect the environmental and the need to be able to

Regulatory Agency Paper Essay Example for Free

Regulatory Agency Paper Essay The Joint Commission (TJC) is the nations oldest and largest accrediting body in health care that sets the standards for quality care. It is a non-profit and independent organization that surveys and accredits more than 20,000 healthcare organizations in the United States. Joint Commission accreditation and certification is known to be the symbol of quality in an organization’s assurance in enduring certain performance standards. Organizations undergo an onsite survey by a survey team from The Joint Commission at least every three years to earn and maintain the gold seal of approval with the exception of laboratories. Laboratory accreditation by The Joint Commission is every two years. Structure The Joint Commission was founded in 1951 whose primary purpose was to provide voluntary accreditation for meeting established minimum quality standards. According to The Joint Commission, the standards of quality were reformed in 1970 to represent the highest achievable levels, instead of minimum necessary levels. This movement spearheaded the current form of survey where in a continuous quality improvement is promoted. TJC was used to be called the Joint Commission on Accreditation of Healthcare Organizations (JCAHO) back in 1987 and was recently changed to The Joint Commission (TJC) after changing its trademark in 2007. According to The Joint Commission, it has three additional affiliated bodies, each a separate corporate entity: 1.) The Joint Commission Resources, which publishes educational offerings and consultation materials, 2.) Joint Commission International, established to extend the offerings of The Joint Commission to foreign nations, and 3.) The Center for Transforming Healthcare, created for accredited organizations to provide continuous solutions and guidance. The Joint Commission’s Division of Accreditation and Certification Operations performs field operations, including surveyor Management Development, and scheduling of site visits (The Joint Commission, 2014). Effects on Health Care Numerous health care organizations are subjected to inspection and accreditation. Nursing homes, physician’s clinics, surgery centers, behavioral health facilities, hospitals, and home health care providers are subjected to surveys to earn an accredited status. Accreditation status is  crucial in any health care organization as it is an integral part of its individual state licensure. Once accreditation status is achieved, the facility is recognized as an organization that meets quality and is committed to meeting performance standards set by The Joint Commission. Subsequently, state licensure of a health care organization is much more difficult and impossible to achieve if the organization fails its inspection from TJC. State licensure is a required necessity to open any health care facility, without it, it cannot legally open its doors for business. It is important for health care organizations to educate and train its employees in promoting quality as it relates to customer satisfaction. Patient satisfaction is crucial in health care organization since Medicare reimbursement rate is dependent on its performance. Maintenance of a high score with Hospital Consumer Assessment of Healthcare Providers and Systems, also known as, HCAHPS should be considered a priority. It is crucial for the hospital leadership to recognize that poor-quality care can affect an organization’s outcome and failure to integrate risk management and quality efforts can lead to partial and ineffective results. Standards for leadership in TJC recognize three leadership groups: the governing body, the chief executive and other senior managers, and the leaders of the licensed independent practitioners. Code of Federal Register The Code of Federal Regulations (CFR) is a centralized system for the federal government to communicate up-to-date legislation from the executive department or the agencies of the federal government to the public. The Federal Register System has two major publications. One is the Federal Register and the second is the Code of Federal Regulations (CFR). â€Å"The Federal Register is published and issued every federal working day. Legislation is published first as a proposed rule followed by a comment period. The comment period is a time the public can give their input on the proposed rule. Once the rule is finalized, it becomes a legal document a minimum of 30 days after publication in the Federal Register. These final rules are then codified and published annually in the CFR. The Federal Register and the CFR must be used together to determine an up-to-date stipulation of a ruling† (Understanding the Code of Federal Regulations, 2014). CFR is divided into 50 titles that represe nt a wide area of subjects  relating to Federal regulations. Health care facilities belong to CFR 42 part 35. Duties As a part of CFR 42, The Joint Commission requires health care facilities to report sentinel events. In 1998, TJC started to require the reporting of one specific type of medical error or serious adverse event called sentinel event. It is critical for organizations to perform a root cause analysis of the event to identify the true underlying cause. This process focuses on the fact that most events are the result of system problems and are not cause for individual blame. Centers for Medicare and Medicaid Services The Centers for Medicare and Medicaid Services (CMS) Conditions of Participation (CoP) are embedded within the TJC standards, along with additional standards covering patient safety and quality of care. The Joint Commission is an authorized accrediting organization by the CMS. A hospital accredited by TJC is deemed to meet all Medicare requirements for hospitals. However, there are special conditions for psychiatric hospitals that apply. Organizations involve in providing mental health care must have a separate TJC certification in addition to the main hospital accreditation. Successful accreditation is based on the facility’s ability to correct deficiencies so there is no downside to discovery of issues during the survey process. TJC Accreditation and Certification A multi-disciplinary inspection team spends at four days in the hospital, depending on the size of the facility. Standards that measure plant safety, medical staff, quality assurance, department services and the current processes of the hospital to improve the quality of its services are surveyed. The Governing Board has an active role in in the accreditation process. According to The Joint Commission organization, it wants to see methods and systems in place to ensure that the governing board has a supervision role in the credentialing of the medical staff, quality assurance and continuous improvements of the care provided by the hospital (The Joint Commission, 2014). The Joint Commission awards a three-year accreditation to hospitals that meet its standards. In some cases, it makes receiving accreditation part of meeting certain standards between surveys. If these standards are not met, it can result to a conditional accreditation or denial of accreditation. Hospitals that are accredited are automatically eligible to participate in the Medicare program. Accreditation or Medicare certification is required for participating in most managed care programs. The Joint Commission performs unannounced surveys, except for initial surveys. The hospital receives notification of inspection at 6 am on the day of survey. The purpose of every survey is to verify compliance with the defined standards. Health care organizations must abide by the standards defined according to the performance expectations and processes to deliver quality care. According to The Joint Commission, standards are not scored; rather, each standard contains subpart Elements of Performance (EP), which are scored on â€Å"satisfactory compliance† or â€Å"insufficient compliance† levels. EPs amount to specific actions, processes, or structures that must be fulfill ed to achieve the goal of a standard. It is the EP compliance score that forms the basis for an organization’s overall compliance with a specific standard (The Joint Commission, 2014). Surveyors will usually leave the premises of the facility after a survey if there are no immediate threats found to patient lives without taking any direct actions in the facility’s operations. The survey report with Requirements for Improvement or RFI will be published. The organization has forty five to sixty days to correct the RFI notations as Evidence of Standards Compliance. There has not been a case in health care accreditation survey wherein the organization received a perfect score. Most organizations receive at least three RFIs as The Joint Commission continues to promote the value of quality in their standards. Conclusion It is necessary that health care entities such as hospitals, clinics, long term care facilities, and other health care organizations enhance their efforts in the quality of services they provide by participating in various performance improvements tools and activities. In doing so, the mandates of the Federal government are met and as well as the standards of The Joint Commission. The Joint Commission accredited organizations have been proven to achieve and provide the highest level of performance and service to their patients. Health care organizations must adhere to the provisions in the rules and regulations of the Condition of Participation (CoP) mandated by  The Centers for Medicare and Medicaid Services (CMS). Preparation for a TJC survey is a challenging process as it requires an intensive assessment process of policies and procedures relative to the standards of care by The Joint Commission. To obtain accreditation, a healthcare organization must be proven in compliance wit h all the standards regulatory standards mandated by the State and Federal government. References Centers for Medicare Medicaid Services. (2014). CMS. Retrieved from http://www.cms.gov Federal Register. (2014). Code of Federal Regulations (CFR). Retrieved from http://www.archives.gov/federal-register/cfr/subject-title-42.html Greenfield, D. (2008, January 18). Health Sector Accreditation Research: A Systematic Review. International Quality in Health Care, 20(3), 172-183. doi:10.1093/intqhc/mzn005 The Joint Commission. (2014). Facts abou The Joint Commission. Retrieved from http://www.jointcommission.org Understanding The Code of Federal Regulations. (2014). Retrieved from http://www.grainger.com/content/qt-110-understanding-federal-regulations

Essay --

On September 29, 2013 10.3 Million people tuned in to watch the final episode of Breaking Bad. The show was a huge success for AMC and grabbed million’s of people’s attention to the drug that the show was based around; Methamphetamine. Although Breaking Bad heavily influenced the popularity of Methamphetamine, it is not a new drug. However, Methamphetamine has become more potent in recent years due to technology and manufacturing that has become easier and more advanced. The origin of Methamphetamine comes from a drug called Amphetamine; which was first produced in 1887 in Germany. Later, Methamphetamine, which was easier to make and stronger than its predecessor, was created in Japan in 1919. Due to the crystalline powder being able to be soluble in water, injection of the drug became very popular in its early days. Methamphetamine first got put into huge use during World War II. Methamphetamine was used to keep troops from falling asleep, and was used by both sides of the war. A strange and depressing fact is that Methamphetamine was actually given to kamikaze pilots before their...

A Study of Musical Theatre’s Gilbert and Sullivan Essay

Theatre, as we know it, always aims to provoke its audience through emotions, by invoking the muses of comedy and tragedy, and everything else in between. Many names are synonymous to the history and success of theatre, but none comes close to the iconic contributions of Britain’s most illustrious duo, collectively known as Gilbert and Sullivan. Sharp, clever wit and brilliant rhyme have found their rightful places in the theatrical masterpieces composed by renowned playwright William S. Gilbert, and his equally-profound partner, composer Arthur Sullivan. The 1870s marked the beginning of a new ideology in musical theatre, as the partnership brought to the fore previously unheard-of standards that were identified by a mix of intelligence in satire and silliness, as well as melodic instrumentations that complement the passion and creativity of the written word. Such was the success of the outcome that Gilbert and Sullivan managed to pioneer and influence generations of theatre innovations, and eventually, become a solid pillar in both British and American popular culture. Musical comedy writers, Broadway lyricists, literary authors and composers—and even important names in politics and government—are just some of those who have credited Gilbert and Sullivan for a number of their works. Through the excellent vision of production genius Richard D’Oyly Carte, the impressive collaborations of Gilbert and Sullivan were set to stage. The Savoy Theatre in London, Carte’s headquarters, became the setting for many of the duo’s memorable musicals. Innovative from the beginning, The Savoy was the first theatre in the world to utilize electricity, and summoned theatre-goers all over to sample this taste of technology as well as the brilliance of Gilbert and Sullivan’s works, which were later aptly named â€Å"Savoy Operas† (Kenrick, 2000-2003). The Gilbert and Sullivan era spanned from 1871 to 1896, and between them they were able to create fourteen critically-acclaimed and hugely popular masterpieces—counting The Mikado, Pirates of Penzance, and H. M. S. Pinafore as the most widely-received. II. William Gilbert and Arthur Sullivan, The Beginning The young William Gilbert (1836-1911) was the son of a naval surgeon by profession, and a writer by interest. He jumpstarted his son’s juvenile career by allowing the boy to accompany his articles with illustrations; William soon found his own talent for writing, and came up with his own compositions. These writings, called Bab Ballads, would later find their way into some of Gilbert and Sullivan’s most acclaimed musicals. Gilbert’s Bab Ballads were known for their unique use of humor played out through logic (Classic Gilbert and Sullivan). Mike Leigh, English film and theatre director, concludes this style to be decidedly one that had Gilbert’s signature, where the establishment of the strange, absurd, and otherwise unacceptable concept would be expertly formed into perfect examples of reason and truth—all done with a bite of silliness metamorphosing into deadpan prose. On the other hand, the musical inclinations of Arthur Sullivan (1842-1900) also had strong parental influences—his father was a bandmaster with the military, and the then 8-year-old Arthur had already become expert in all the band instruments. In 1856, after concluding his initial attempts of composing songs and anthems in school, Arthur proceeded to claim the first Mendelssohn Prize, and took further studies in composition and conducting at the Royal Academy of Music, as well as in Leipzig. He performed his 1861 graduation piece, an ode to William Shakespeare’s The Tempest, at the Crystal Palace; this earned him the prestige of being heralded as the country’s most promising young composer. Among Sullivan’s applauded works early in his career were The Masque at Kenilworth (1842), The Prodigal Son (1869), On Shore and Sea (1871), and a ballet entitled L’lle Enchantee (1864) (Classic Gilbert and Sullivan). William Gilbert’s and Arthur Sullivan’s paths crossed as they attended a rehearsal of the play Ages Ago, where the composer Frederic Clay made introductions. A couple of years after that, Gilbert and Sullivan made their first foray as co-creators of what would be a uniquely wonderful style admired by the whole world. III. Gilbert and Sullivan and the Comic Opera A staple of English theatre during the Edwardian era, the comic opera’s origins come from 18th-century Naples, in Italy. Known as intermezzi, short comic routines were used to end the bigger acts, and enjoyed much popularity that they were later written to exist on their own. The final output was the comic opera, the concept of which was soon transported to Paris, where it easily claimed the approval of French dramatists and audiences. However, the same could not be said upon its arrival on English territory, for theatre professionals and enthusiasts at the time were still more interested in evolving the popular Ballad Opera and the newer form of Music Hall; the latter was introduced to fill the need for a lighter, less serious entertainment style. Finally, in 1871, the comic opera was launched in London’s Gaiety Theatre, through the production of Thespis; or the Gods Grown Old. This not only marked a new chapter in British theatre, but also the first entry of the long-running collaboration of musical theatre’s most prestigious partnership—Gilbert and Sullivan. It all started with the efforts of John Hollingshead, then manager of the Gaiety Theatre, who employed Gilbert’s expertise to write the libretto of his theatre’s 1871 Christmas musical. They had worked together once before, on the burlesque Robert the Devil which also ran in Gaiety. To complete the requirement for the musical, Hollingshead contacted Sullivan, who was then still inexperienced in stage production. This first encounter produced Thespis, but was initially given much criticism and low confidence in the team. Four years later, the producer Carte would bring them back together to create Trial By Jury; the resulting 300 performances declared it a resounding success, as well as a much-awaited approval of the partnership. Perhaps the foremost appeal of Gilbert and Sullivan’s works had much to do with their ability to poke fun and humor at establishment, as well as current social and political issues. This was a high time for patriotism in Britain, and the British audience’s validation of the comic operas sealed the career success of the duo. Much of the credit would also have to go to the newness of concept and execution of each piece, that even foreign audiences understood and appreciated the essence of every performance. To this day, comic opera will always be defined by Gilbert and Sullivan—they truly made it their niche, and those that attempted to surpass or equal their achievements failed to do so (Gillan, 2007). Of the fourteen collaborative works of the famed partnership, many were lauded as icons of comic opera. These were the celebrated productions of Thespis: or the Gods Grown Old, Trial By Jury (1975), The Sorcerer (1877), and of course, the previously-mentioned The Mikado, Pirates of Penzance, and H. M. S. Pinafore. Thespis: or the Gods Grown Old, being Gilbert and Sullivan’s first collaboration, had no real indications of the phenomenal future awaiting its two creators. Yet the classic Gilbert and Sullivan format was already applied in the work, by setting the opera in the mythical Mount Olympus. In the story, the gods have all grown old and the celestial buildings were all in a state of ruin. Then a group of actors and their leader named Thespis went up the mountain to have a picnic, and noticed the sad condition of the place. Thespis gets into a deal with Jupiter, agreeing that his group would take on the work of the tired gods, provided that Mercury would remain to brief them of their duties. But things do not go as planned, and Mercury only noted all complaints. When the gods on break finally return, they discover the unsatisfactory results and banish the group back to earth. 1875’s Trial By Jury made use of an old legal procedure as the main idea, specifically a ‘breach of promise’ trial. This often took place in earlier times, when a man could be summoned to court and sued for taking back a marriage proposal. The characters included a dashing, worldly bachelor and the woman who called for the hearing, a maiden dressed in wedding attire. An all-male jury and an unscrupulous judge round up the cast, with the woman directing her flirtations toward the jury but would end up receiving a proposal from the judge himself—as a way to resolve the case. The storyline established prevailing comic themes that would later be present in most of Gilbert and Sullivan’s works: (1) true and undying love may come from and end in unexpected sources and directions; (2) the existence of politicians who achieved their public status by charming and lying their way through, and (3) aversion for mature women, specifically those over 40—which is, in truth, a nod to patriarchy and sexism. Two years later, Gilbert and Sullivan produced The Sorcerer, which featured a man of magic who brings chaos and confusion to a tiny English village by creating a love potion. In many ways, The Sorcerer made a satire of class distinction and social propriety, which were standard elements in Victorian society. Yet in true Gilbert and Sullivan style, the output was of inimitable wit and class that the references were not declared offensive at all—so much was its success that aside from its own numerous showings, The Sorcerer was staged even as far as America, albeit unauthorized. And while the opera’s theme could have been translated by the French through a multitude of sexual innuendos and references played out by unreal, fantastic characters, Gilbert and Sullivan designed The Sorcerer with roles that were utterly believable and credible—the kind of people that actually exist in everyday life, that the British audience could identify. The penchant for poking fun at British social conventions became Gilbert and Sullivan’s running objective, and in 1878 they again succeeded in producing a successful show that audiences celebrated. H. M. S. Pinafore once again uses love as a theme, but a deeper reading would reveal that the opera tackles the discussion of England’s class society. With the narrative centering on the daughter of a naval captain’s rejection of the Secretary of the Navy—the highest-ranking man of uniform—for the affections of a common sailor, H. M. S. Pinafore showcases the reality of a person born into a particular class, and the availability of options based on this system. It is also a criticism of their society’s double standard on the issue of marriage; they patronize literature’s ideals about love conquering all, while in real life they disapprove of unions between people of different social classes. This time, audiences were not as forgiving as they were with The Sorcerer—the prevailing adherence and respect for the British class system caused low ticket sales. That, as well as the unrelenting hot weather pulled Gilbert and Sullivan’s celebrity down—for a moment. During Sullivan’s summer concerts, he came up with the smart strategy to include several medleys of his Pinafore score; the result was a revived interest in the opera, and eventually sales and attendance reached phenomenal heights. Such was the success of the opera that it encouraged Carte to involve Gilbert and Sullivan in the actual business, dividing all production expenses and sales profits among the three of them. From this point on, Gilbert and Sullivan were given decision-making authority in all their productions. However, because of the opera’s impact on the British audiences, many unauthorized production of Pinafore were staged, particularly in the United States, where international copyright laws were not yet in place. To assert ownership, Carte brought the production overseas where it enjoyed a brief yet successful run in Broadway, and made sure that Gilbert and Sullivan’s works were covered by copyright laws in the country. Carte had this foremost on his mind when Gilbert and Sullivan came up with yet another opera destined for iconic status, 1880’s Pirates of Penzance. This time, Carte protected the production rights both in Britain and New York, which established the legal precedents still observed today. The move has benefited playwrights and writers all over the world, with this initial case on intellectual property rights. Love as an ideal is again the running theme in Penzance, as the story explores the adventures of a young man named Frederick who, by no choice of his own, worked under the tutelage of a group of pirates. As luck would have it, he falls for the daughter of a Major General—a momentous experience that drove him to make up for his previous deeds by eliminating the pirates he used to be associated with. The pirates in question actually turned out to be noblemen who made the wrong choices in life; in the end, they, including Frederick, all take the Major’s many daughters as their wives. There was no stopping the success of Gilbert and Sullivan, and they forged on to firmly claim their place in popular culture. Several productions were created, among them Patience (1881), which told of the poet’s charm and magnetism, a surefire way to get his way with the women, except for the one he wants—who is but a simple milkmaid. Written as a comedy, Patience ultimately focused on aestheticism, which referred to an artist’s or writer’s obsession with beauty. Carte employed a brilliant marketing strategy to promote the production, with the assistance of famed writer Oscar Wilde. The writer was tasked to do the lecture circuit around the United States, to provide a full background on this new ideology, and to ensure public awareness of the opera. Not surprisingly, this tactic resulted in positive financial reaction. With Patience, Gilbert and Sullivan introduced another innovation, this time with the characters of the opera narrative and the songs assigned to them. In their previous works, the duo’s main goal to put a message across was met; the technical level of the story itself remained the way it was from their early projects. Not the kinds to stay within their comfort zones, Gilbert and Sullivan expanded their competencies as playwrights by integrating the characters with music—producing songs and personalities that were exclusive to each other, and the situations they were in. Comic opera was what people called the Gilbert and Sullivan theatre style; in reality, it was the birth of the integrated musical. The partnership, while perfect on an intellectual realm, was slowly revealing its cracks caused by the personal differences of the two artists. Gilbert was apparently so taken with the love potion plot—which he successfully delivered in The Sorcerer—and wanted to create another opera using the same idea. This was not taken positively by Sullivan, who soon decided, on impulse, to focus more on serious projects. Of course, Gilbert did not take this well either, and the beginning of what would be a personal feud between the two took its place. Carte tried to remedy the situation by staging a rerun of The Sorcerer, only as a stopgap measure for further rifts that may damage company existence and operations. Fate once again played a major role in the succeeding events, because the partnership was saved by a mundane object—a Japanese sword. It fell from the wall of Gilbert’s study and almost hit him, but instead of dismissing the incident, Gilbert took inspiration from it. This set the tone and plot for Gilbert and Sullivan’s most popular opera to date. The Mikado, staged in 1885, carried the same elements that had made the duo famous: love, and social commentary; with a generous helping of humor and wit. The plot itself was hilarious—it was a scenario questioning what would happen when the Emperor of Japan, know as the Mikado, passes a decree declaring flirting as illegal, and punishable by law. The townsfolk of Titipu refused to follow the new ruling, and consequently appointed Koko, a condemned tailor, as Lord High Executioner. Strangely, the condition for this appointment was for Koko to be beheaded, as he was proven guilty of violating the new law, unless he finds someone to behead first. Koko manages to find someone to execute, and that was the traveling minstrel named Nanki-Poo, who actually agrees with Koko only if he is allowed to marry the beautiful Yum-Yum—Koko’s fiance. Nanki-Poo was given a month to enjoy the wedded life before he was beheaded and Koko can finally marry Yum-Yum. But soon an old woman named Katisha appears, a representative of the royal court, and announces that Nanki-Poo is really the crown prince—guilty of the crime, as he had flirted with her and tried to escape execution by hiding in the small town. Eventually, the Mikado himself arrives and declares that his goal for decreeing such an inane ruling was to let the punishment fit the crime. More misunderstandings and deceptions came afterwards, but in the end everyone lives happily ever after. Gilbert and Sullivan decided to use Japan as a setting to create a satire about the British penchant for all things Japanese, during the 1880s. And because it was brilliantly written and the references to British pretensions and petty customs subtle and discreet, audiences failed to make any negative observations and promptly applauded the performance. Exporting The Mikado to the United States was the right thing to do, for it replicated the success of H. M. S. Pinafore and drove Americans into a Japanese frenzy. The Mikado is the sole musical by Gilbert and Sullivan that had been performed in a variety of languages, and is also their only work that spawned a diplomatic controversy. In 1907, the Crown Prince of Japan came over for a state visit, and immediately the British government ordered a ban on The Mikado; only to discover that one of the Prince’s objectives in visiting Britain was to watch the musical. To this day, The Mikado is still widely produced and staged worldwide. However, the problem with having a major success in one’s name is the pressure to produce another one of equal or greater impact. In 1887, Gilbert and Sullivan staged Ruddigore, which entailed more melodrama than their previous collaborations. It truly was an accomplished piece, but audiences kept comparing it with The Mikado. Once more, Sullivan was disheartened by this turn of events and threatened to leave the industry altogether and focus on classical compositions instead. Gilbert tried to change his mind with a new libretto, one that was not an echo of their old work. With The Yeomen of the Guard, an operetta set during the reign of Henry VIII, romance was played out within the constraints of political controversies, as well as the possibility of execution. Sullivan, satisfied with the proposition, proceeded to create a score punctuated with melodrama and emotion, while Gilbert reinvented himself and his style by veering from his usual whimsical comic dialogue. Serious was the best word to use to describe Yeoman, and this became a personal favorite of Sullivan. The monarchy did not escape the sharp wit of the two, either. In 1889, Gilbert and Sullivan resurrected their signature comic style with the staging of The Gondoliers. A story of a couple of anti-royalist gondoliers from Venice who ironically discover that they have suddenly become kings of a country in the midst of a revolution, Gilbert and Sullivan once again mixed fun and comedy to discuss the idiosyncrasies of the royals and the issues of democracy. The Gondoliers became an instant international hit. No less than the public-shy Queen Victoria requested for several private performances of The Gondoliers, which validated the immense contribution of Gilbert and Sullivan to musical theatre. But the personal differences between the two icons continued to get in the way of their professional relationship. Some were serious concerns, yet some were downright trivial—such as the argument over the cost of newly-installed carpets in the Savoy Theatre. Carte and his wife ultimately chose to take Sullivan’s side, which resulted in their production of Ivanhoe, Sullivan’s grand opera. However, this project failed to achieve any semblance of financial success; which was a mirror of Gilbert’s own experience when he went back to writing his own plays. Several years later, the three business partners tried to put everything aside and reconcile, but sadly, they were never able to bring back their glory days. Still, they managed to produce Utopia Limited (1893), another satire of Britain’s unsuccessful efforts in its dealings with other countries; and The Grand Duke (1896), featuring a theatre group’s attempts to claim power in a problematic Germany. Both productions were of the same make and quality as their previous ones, but neither enjoyed substantial performance durations because of expensive production costs. More than that, it was already apparent that Gilbert and Sullivan no longer had the fresh and intriguing style and creativity that had earned them the respect of audiences worldwide (Kenrick, 2000-2003). IV. Reviews Interesting to note are the reviews made for each of Gilbert and Sullivan’s operas, as made by many critics and journalists during the time. Some of the takes of these writers were documented and used as reference, in order to validate the creative contribution given by the duo. One review for Thespis on its opening night in 1871 commended Gilbert and the magnificent storyline he created, as well as the audience’s superb reception of the play. Credits were specifically given to the talent showcased (Perry, 2001). A Trial By Jury review was not truly exciting—while the critic commended the acting and singing done by the performers, it was the â€Å"lateness of the hour† that possibly accounted for the audience’s lackluster reaction (Perry, 2001). H. F. Frost reviewed The Sorcerer in 1877, and emphasized the effective combination of literary merit and dramatic consistency as created by Gilbert and Sullivan, except that their attempts to subtly mix burlesque and opera was not entirely acceptable. Points were given to the theme of exploring human nature’s weaknesses and imperfections (Perry, 2000). It is evident that H. M. S. Pinafore was a huge crowd favorite, as revealed by a review published in 1878. Pinafore was commended for the use of burlesque but had more humor and charm over Trial By Jury and The Sorcerer. The satire and libretto were both noted, and gave Gilbert and Sullivan credit for managing to pull it off without great offense to the public. The actors were also adjudged suited to their roles, and the musical one that will remain in the bills for a long time (Perry, 2001). A review made in 1880 of Pirates of Penzance saw it as having several allusions to H. M. S. Pinafore, particularly in the similarities of some of the characters. But the audience was not put off by that observation, and still applauded the cynicism and wit of Gilbert’s words as well as the charm of Sullivan’s music (Perry, 2000). V. The Final Years Though they never really regained their old camaraderie, Gilbert and Sullivan remained civil to each other until the end. In 1888, Sullivan was granted knighthood, and the former colleagues shared the same stage once more during revivals of their old classics were produced. Later, Sullivan collaborated with other writers to produce several critically-acclaimed operas, including The Emerald Isle in 1900. Sullivan finally passed away at the age of 58, due to a bout of severe bronchitis. Gilbert, on the other hand, got his second wind at the dawn of the new century, with a notable output of librettos and plays. He eventually received his knighthood in 1907, which was long overdue, but allowed him to experience being touted as a British national living treasure. At age 74, while saving a girl from drowning in his own estate, Gilbert was struck by a fatal heart attack. This happened in late May 1911. The great producer Carte succumbed to the permanent effects of illness in 1901, but his opera company was continued by Helen, his wife, and their son Rupert and his wife. They revived the most acclaimed works of Gilbert and Sullivan throughout the years, until the company closed in 1983 due to financial problems. But Bridget, Rupert’s wife, left a considerable amount of money to allow a new group of theatre producers to form a new company, which still stages revivals of the famous musicals of Gilbert and Sullivan to this day. VI. The Gilbert and Sullivan Legacy The achievements of Gilbert and Sullivan were nothing less than national milestones, particularly in the reality of class-conscious Britain. The brilliant wit, humor, and music created by the duo gained popularity with all class levels of society, which was a feat it itself. Apart from that, the team’s theatre philosophy transformed the standard musical preferences to be more attune to popular music, and less concentration on the obscure and exclusive. However, Carte’s company refused to grant performers and directors the freedom to modify each production—every staging had to adhere to the set guidelines of the original team. Critics and audiences could only imagine how fresh eyes and new voices would be able to interpret the tried-and-tested pieces (Wren, 2001). Britain respected the legacy of Gilbert and Sullivan, and their standards of musical theatre bore into all productions made in the late 1800s. George Edwardes, a producer of comic operas, proved to be the duo’s strongest competitor. He started with the success of Dorothy in 1886, which included a ballad entitled â€Å"Queen of My Heart†, that broke all records—even running longer than any of Gilbert and Sullivan’s musicals. But what made Edwardes a respected name was his discovery of a new technique with his production of The Gaiety Girls, a musical named after the famous London theatre. This musical comedy featured many of Gilbert and Sullivan’s standard elements, making it a manifestation of the partnership’s influence on the art. The Gaiety Girls, like most of Gilbert and Sullivan’s operas, carried a theme of love gained and lost. But these musicals only had two general narratives—a poor girl in love with a rich man, and wins him in the end, even in the presence of adversities; and a poor girl who attempts to get out of a marriage she did not want, prompting her to involve other characters on a chase. The music and titles of these musicals all had the same essence, which were really just variations on a theme. Interestingly, the seeming monotony of these musicals were greatly appreciated by the audiences and critics, who preferred them exactly as they were. But these productions could never stand up against the works of Gilbert and Sullivan, particularly those that had traveled to the United States. This fact awakened the British audience from their stupor, as they had to acknowledge the international receipt of their own culture (Morley, 1987). Needless to say, the Gilbert and Sullivan operas consistently received much acclaim from their American audiences; the staging of H. M. S. Pinafore started a nationwide craze aptly called â€Å"Pinafore-mania†. Typical of Americans, the music and songs of Pinafore quickly entered the realm of popular culture, and were included in regular talk. The classic line â€Å"What never? Well, hardly ever! † from Pinafore became standard replies of people all over, and the phrase â€Å"short, sharp stock† that was used in The Mikado to mean â€Å"of severe punishment† was borrowed by various writers, artists, commentators and bands. Perhaps the most celebrated American production of a Gilbert and Sullivan original was Pirates of Penzance, which found its way to Broadway in 1981 and enjoyed a run that broke production and staging records. Gilbert, in particular, would often be cited by popular American writers, such as Johnny Mercer, Larry Hart, Alan Jay Lerner, and Stephen Sondheim. Mercer was even quoted as saying, â€Å"We all come from Gilbert†, and Sondheim made a tribute to the famous librettist in â€Å"Please Hello† from his work Pacific Overtures (1976). It is probably not far-fetched to assume that Gilbert and Sullivan’s work lent sophistication and class to the existing brand of musicals then; soon after, new generations of musical talents appeared, putting the USA on top of the list. The Boston Ideal Opera Company, more popularly known as The Bostonians, made the rounds of theatres all over the country, and were received well for their outstanding performances. They included in the repertoire several original American musicals, but were known for their productions of Gilbert and Sullivan works. A listing of American originals that took after the Gilbert and Sullivan tradition is as follows: El Capitan (1896) by John Philip Sousa The Begum (1887) and Robin Hood (1891) by librettist Harry B, Smith and composer Reginald DeKoven The Highwayman (1897), again by Reginald DeKoven (Gillan, 2007). VII. The Gilbert and Sullivan Influence The influence of Gilbert and Sullivan extended all the way to other forms of art ad communication, which included literary works of famous writers. References to their collaborations are found in the work of writer Isaac Asimov, who wrote a number of stories centered on the puzzles and mysteries of the duo’s operas. One such story was of time travel, where one had to go back in the 1800s to rescue the score to Gilbert and Sullivan’s Thespis (Asimov, 1978). â€Å"The Year of the Action† engaged a debate over the actual date of the action in Pirates of Penzance. A story in Asimov’s famous I, Robot, â€Å"Runaround†, had a character singing parts of songs from Ruddigore, Patience, and Pinafore. Cleverly, Asimov concluded his homage to the duo with his story â€Å"The Up-To-Date Sorcerer†, which was obviously a parody of The Sorcerer. Legendary British author P. G. Wodehouse was also known to cite Gilbert and Sullivan in his writings, and more often exclusively referred to Gilbert. His novels and short stories included numerous allusions to the team’s work, many to Gilbert’s early Bab Ballads (Robinson, 2006). The film industry also found the works of Gilbert and Sullivan great material for a wealth of movies. Many of their musicals were adapted into films, including the actors who originally performed in the theatre versions. The Mikado was adapted into a movie in 1939, in full color, for which it won several awards. Also, many films made use of scores composed for a number of Gilbert and Sullivan musicals, including The Matchmaker (1958), I Could Go On Singing (1963), The Naughty Victorians (1975), The Bad News Bears Go To Japan (1978), Chariots of Fire (1981), The Adventures of Milo and Otis (1989), The Browning Version (1994), and The Hand That Rocks The Cradle (1992). Television is also another medium that has embraced the Gilbert and Sullivan talent. From The Simpsons to Frasier, from Angel to The West Wing, the duo’s music has been showcased in a variety of scenes and episodes. There was even a show dedicated to spoofs of Gilbert and Sullivan musicals, entitled The Star of Christmas. Video games such as Grand Theft Auto: San Andreas also had visual references of Gilbert and Sullivan’s works, particularly of Pirates of Penzance. Outside of media, many personalities in politics also found good material in the team’s celebrated works to promote their platforms and ideologies. A â€Å"short, sharp stock† remains to be a popular mainstay in many manifestos and debates. VIII. On A Personal Level Though their professional partnership was truly accomplished and proven time and again, it was the personal relationship of Gilbert and Sullivan that had suffered the most. Collaborations may or may not be successful if the participants are friends; however, artists like Gilbert and Sullivan probably see no boundaries between who they are and what they do. Sullivan was not rich, and as he grew up he mad it a point to mingle with the rich and influential. He met Gilbert, and immediately discovered the parallels in drive and talent in both of them. However, he also saw something else—that Gilbert’s friendship could be the means for him to make his career flourish. Sullivan had many other powerful friends, including Queen Victoria, who advi

a project report on communication skill - 1147 Words

PROJECT ON COMMUNICATION SKILL CONTENTS OF PROJECT - WHAT IS COMMUNICAION TYPES OF COMMUNICATION BARRIERS IN COMMUNICATION PROCESS OF COMMUNICATION IMPORTANCE OF COMMUNICATION EFFECTIVE COMMUNICATION POSITIVE SPEECH MORALITY IN COMMUNICATION ASSERTIVENESS TIME MANAGEMENT DECISION MAKING GROUP COMMUNICATION WHAT IS COMMUNICATION – Communication is process by which information is exchanged between individuals through a common system of symbols, signs, or behaviour. It is the expression and exchange†¦show more content†¦Feedback - Feedback is the main component of communication process as it permits the sender to analyze the efficacy of the message. It helps the sender in confirming the correct interpretation of message by the decoder. IMPORTANCE OF COMMUNICATION Communication plays a crucial role in altering individual’s attitudes. Communication promotes motivation. Communication is a source of information to the organizational members for decision-making process. Communication also helps in socializing. communication also assistsin controlling process EFFECTIVE COMMUNICATION Effective communication is a part and parcel of any successful organization. A communication should be free from barriers so as to be effective. Communication is a two way process where the message sent by the sender should be interpreted in the same terms by the recipient. The characteristics of effective communication are as follows : Clarity of Purpose Completeness Conciseness Feedback Empathy Modify the message according to the audience POSITIVE SPEECH : Positive speech is the one of the important part of effective communication . An speech is an expression of favor or disfavor toward a person, place, thing, or event (the speech object). 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