Are there enough initiatives currently running to develop respect to Essay

Are there enough initiatives currently running to develop respect to UK football officials - Essay Example gments and the types of belief that give rise to hatred and intolerance (Bodin, et al , 2005, p.163) Commonwealth of Australia (2008) once stated that â€Å"— it (sport) helps to build social cohesion that binds families, communities, regions and the nation. No other facet of our culture has the capacity to bring together so many different streams --- breaks barriers and unites those who have nothing else in common’(Hoye et al, 2009, p.225). These among the few are benefits of sports events inspiring younger generation to achieve excellence in their field. But the present day sports is more than a sport which displays on field violence by the player between team, indiscipline behavior, breaking the rules of the games, cheating which are all part of the game for winning cause. As mentioned earlier, sports benefit the society with positive inspiration but also spoil the society with the players on field behavior. It is further stated that in professional team sports with a high public profile, including association football (soccer), disciplinary transgressions by players and sanctions that are taken by referees provide a rich source of subject material for debate among pundits, journalists and the general public. The action of players and referees in UK football are keenly and intensely scrutinized in the modern day game in the event of foul play which is followed by referee’s action that in turn creates situation between players and referees, wherein players disrespect the decision of on-field referees (Dawson et al, 2007). This is paper attempts to discuss the issues of football players on field behavior and behavior towards football officials in the United Kingdom. Sources of disrespect against football officials World may think that only players are the one who disrespect the referees for their action and results thereupon. But, Jez Moxey, Wolves Chief Executive states that premier leagues ‘big clubs’ and their players disr espect referees and think that they are above the rules and called for players to be booked for disrespect against football officials. He further added that ‘it is outrageous for a player to turn his back on a referee when he’s being booked and for players, who later gang up on officials (BBC, 2011). Not only players, there are incidence when managers or owners of the club have shown disrespect towards match officials or referees for their action on the field. Manchester United Owner, Alex Ferguson was banned for five matches for post match criticism of referees by the FA. Aresene Wenger, Arsenal manager was also not spared from making comments about officials (Reuters, 2011). However, it is reported that Alex Ferguson has been abusing referees not for the first time, and has a long history of abusing match officials. The football association mentioned that assaults on match officials and referees have gone by 25% and attacks on match officia

Presentation, overview, timeline Essay Example | Topics and Well Written Essays - 750 words

Presentation, overview, timeline - Essay Example Ptolemy, who headed a considerable number of Alexander’s former troops, proposed they divide the empire among the generals, which was convenient for his ambition. When Alexander died after being ill in Babylon in the year 323 BC, his general (Ptolemy) led a fraction of Alexander’s army back to Egypt where Ptolemy pronounced himself pharaoh. Ptolemy successfully fought off his competing generals’ armies; hence, establishing the Ptolemaic dynasty that persisted for 300 years in Egypt: Ptolemy I to XV (305 – 30 BC). Cleopatra VII (51-30 BC) inherited Egypt from her father; Ptolemy XII (80-51BC) married her older brother Ptolemy XII, who later drowned in battle against Julius Caesar. Cleopatra then married her younger brother Ptolemy XIV; however, she bore a son with Caesar who became Ptolemy XV for the period (44 – 30 BC). After the death of Alexander in 323 BC, Ptolemy I nominally acted as a satrap for some time under the successors of Alexander; howe ver, the successors were not strong enough and the empire began to break up (Aufderheide 247). For Ptolemy dynasty to survive heirs had to be produced; hence, Ptolemy I married four wives with the last wife producing his heir Ptolemy II (Rolle 33; Collins 68). Fourteen kings of the dynasty were referred to as Ptolemy and numbered from I – XV, with the remarkable aspect of the monarch being the prominence of women, who rose to power when their brothers or sons were very young (Bugh 41). Ptolemy XII was king of Egypt from 80 to 51 BC officially known as Neos Dionysos although popularly known as Auletes. Auletes was the illegitimate son of Ptolemy IX Lathyrus, who died without designated heir; hence, with the help of political parties, the young Ptolemy became heir to the throne taking the name Ptolemy XII. The accession took place without the blessing of powerful a powerful Roman diplomat, which engendered the thoughts of possible Roman seizure of the country; however, the thre at was partially resolved in 59 BC. Through the help of Julius Caesar Ptolemy gained full status of recognised head of Egypt through the Roman senate in 59 at a price of 6,000 talents of gold, and pay the bribe he had to enforce ruthless taxation program to the easily enflamed subjects; besides, his children included Cleopatra, Absinoe, Ptolemy XIII and Ptolemy XIV (Bunson 351). Ptolemy XIII, the son of Ptolemy XII, brother of Cleopatra tried and failed to win the throne of his nation from his sister and Julius Caesar; nevertheless, they both ruled together. Their rule was tough since both of them were surrounded by a group of ambitious counsellors, which resulted in tense political struggle in the palace. The young king departed from the palace to join his army and although he showed real military talent, he was no match for Caesar who faced him in battle resulting in the defeat of Ptolemy XIII. After the demise of Ptolemy XIII, Julius Caesar placed Ptolemy XIV (the younger brother to Cleopatra) in the throne together with Cleopatra. Officially Ptolemy XIV was to be her sister’s consort, but because he was about 10 to 12 years old at the time, Cleopatra was the true power within the land and presumably killed her brother after Caesar was assassinated (Bunson 351). When Caesar was assassinated in 44 BC, Cleopatra supported Mark Antony against Octavian who became Caesar Augustus and when Octavian declared war on the duo, Cleopatra raised and commanded army that

Detailed Guidance Essay Example for Free

Detailed Guidance Essay The key to doing well on this task is detail. Several sections require that you analyze information. This requires that you read carefully, think deeply and show your insight that you gained from the information provided in the case study. A1. Utah Symphony Strengths and Weaknesses When picking out the strengths and weaknesses of symphony there isn ¿t a list to which you can refer. Rather, you will want to read the case study carefully and to use your insight to discover indications of strengths and weaknesses in the data provided in the case. Be sure to cite examples and to address all four required areas including: financial strengths/financial weaknesses leadership strengths/leadership weaknesses of the symphony. The key will be to think deeply about the facts of the case and to provide insightful responses. When considering financial strengths and weaknesses some items that you might consider include: profitability, stability, capital availability, reliance on revenue streams, fundraising, endowment sizes, expenses structures, policies that effect finances etc. and anything that you believe would affect the finances of the firm in a positive or negative way. When considering leadership strengths and weaknesses your focus should be on the leaders of the symphony, Keith Lockhart. What his strengths that you can make a case would improve is effectiveness as a leader? What are his weaknesses that would lessen his effectiveness as leader? Another thing to consider would be if there are any vacant key positions that would influence the leadership of the organization. Be sure to expound upon each strength and weakness. For a hypothetical example; if I were to indicate that the opera had a profit I would further indicate whether this was a strength because it was significant or I could as easily support that it the profit was so small in relation to its expense structure that the level of profitability was actual a financial weakness.  Now that I had made a general claim I would bring in the numbers from the case study to support my claim and then move on to the next strength or weakness. The key will be to discuss each strength and weakness enough to establish that it is, in fact, a strength or a weakness. A1a. Steps for Utah Symphony Now you ¿ve provided some really good insight in your discussion about weaknesses for the symphony and in doing so you have identified a number of weaknesses. The evaluators will be looking to see that you ¿ve provide recommendations of key steps that Anne can take for each of the weaknesses that you identified in your discussion. Also, with regard to key steps you will want to identify specific actions that Anne can take. For examples if one of the weaknesses is poor fundraising you might suggest that Anne sets aside a period of time each week during which she can employ her fundraising skills to improve fundraising. The recommendations of steps that she can take can be common-sense, basic steps (nothing fancy) but that would be effective in dealing with the weaknesses. A2. Utah Opera Strengths and Weaknesses Review the case study carefully to find examples of the strengths and weaknesses in the financial and leadership aspects of the symphony. Be sure to cite examples and to address all four required areas including: financial strengths/financial weaknesses leadership strengths/leadership weaknesses. The key will be to think deeply about the facts of the case and to provide insightful responses. When considering financial strengths and weaknesses some items that you might consider include: profitability, stability, capital, liquidity, revenue streams, fundraising, endowment sizes, expenses structures, policies that effect finances etc. When considering leadership strengths and weaknesses your focus should be on Anne Ewers. What are her leadership strengths? What are her strengths that you can make a case for would assist her ability to lead? What are her leadership weaknesses? Does she have any personal liabilities that would  weaken her ability to lead. Be sure to expound upon each strength and weakness. For a hypothetical example; if I were to indicate that the symphony had a profit I would further indicate whether this was a strength because it was significant or I could as easily support that it the profit was so small in relation to its expense structure that the level of profitability was actual a financial weakness. Now that I had made a general claim I would bring in the numbers from the case study to support my claim and then move on to the next strength or weakness. The key will be to discuss each strength and weakness enough to establish that it is, in fact, a strength or a weakness. A2a. Steps for Utah Opera Now you ¿ve provided some good insight in your discussion about weaknesses for the Opera and in doing so you have identified a number of weaknesses. The evaluators will be looking to see that you ¿ve provide recommendations of key steps that Anne can take for each of the weaknesses that you identified in your discussion. Also, with regard to key steps you will want to identify specific actions that Anne can take. For examples if one of the weaknesses is poor fundraising you might suggest that Anne sets aside a period of time each week during which she can employ her fundraising skills to improve fundraising. The recommendations of steps that she can take can be common-sense, basic steps (nothing fancy) but that would be effective in dealing with the weaknesses. A3. Scorecard Aspects Find and download the Balanced Scorecard document given to you in Task Stream. The balanced scorecard is not covered in your book. Look at the book from SkillPort  ¿ Performance Drivers: A Practical Guide to Using the Balanced Scorecard. This is where the template came from. Read chapter 1, 2 and 3 to best understand it.  ¿Compare the information in the current scorecards for each company to the cultures you can discern from the case study. Do you think the scorecards adequately address the strengths and weaknesses? Why or why not? B. Merged Company Balanced Scorecard (Create a Balanced Scorecard for the merged company using the strategic goals. These goals are given to you in the directions for the task (see information above the questions).  ¿Don ¿t just combine the symphony and opera goals, CSF ¿s and measurement.  ¿Use the strategic goals to develop a goal for each of the four aspects. Now, be creative, what should the critical success factors and measurements be?  ¿Make sure to create and include a vision statement and a business model statement (you can use the ones on the symphony and opera balanced scorecards as a model). When creating the goals for the individual sections of the balanced scorecard you will want to create goals that are specific to the section (finance, customer, internal etc.) but that, if achieved, would help the company to achieve the five first-year strategic goals that are identified at the top of the task. C. Merged Company Strengths and Weaknesses The key here is to analyze the company utilizing the balances scorecard as an analytical tool. In earlier sections you had to analyze strengths and weaknesses as you pull them out of the facts of a case study. However, now you have been introduced to a new analytical tool; the balanced scorecard and you will need to analyze each element of the balanced scorecard. You should analyze the strengths and weaknesses of the merged company addressing each section of the scorecard e.g. financial customer, internal process learning and growth. D. Issues From reading the case study and after reading about change management in Chapter 18 of the Kreitner and Kinicki, discuss an issue in each of the 3 areas (finance, human resources, and customer satisfaction) then include good mitigating steps that Anne could take to prevent the problem.†¨Ã¢â‚¬ ¨D1. Mitigating Actions This section requires that you identify 3 actions that Anne can immediately take to mitigate the three issues you identified above. (You should provide one recommendation for each of the issues that you identified in part D.) You should not only identify, but should also  explain, exactly what Anne should do for each of the three recommendations that you provide. †¨E. In-Text Citations and References in APA Format Every reference that is listed on the Reference list should have been cited in-text in your response. If you did not cite something in-text it should be taken off of this reference list. However, at minimum you should cite the case study and the course textbook and there should be corresponding in-text citations within your response.

The Works Of David Cronenberg Film Studies Essay

The Works Of David Cronenberg Film Studies Essay The dissertation reviews works of David Cronenberg circa 1976-1999 in relation to Truffauts theories of the auteur to show the relevance of auteur theory in todays cinematic climate. The dissertation will look at Cronenbergs recurring themes, subjects such as biology, the use of insects as a supernatural force, body horror, and themes of psychological delusion and repression. These themes are consistent in Cronenberg film practice, and will form the basis of identifiable traits for consideration in defining contemporary autership. It will look into both of sides of the argument comparing the evidence from sources that believe directorial auterism is a viable concept and those who feel film making is a collaborative process and therefore a director can never truly take ownership of a piece of work. In this chapter the dissertation will also look at Cronenbergs Rabid which is the directors second feature film. The genre is a Horror film and relies heavily on one of the staple themes of the vampire sub-genre Infection which in this case a strain of rabies being passed on from person to person through the exchange of bodily fluids. The plot is simple girl falls off motorbike, girl has pioneering yet risky surgery, surgery turns girl into bloodthirsty vampiress The recurrent themes are ones of body modification (surgery), faceless medical organisations, sexuality and penetration, especially in the manifestation of a phallic, knife-like probe that emerges from lead actress Marilyn Chambers armpit to stab and infect her victims. The dissertation will discuss the different aspects that make up the film including the actors and their performances, staging (Director of Photography) the narrative and the script and look to relate them back to Truffauts guidelines to highlight key element s. Dissertation chapter 3: The Fly (Dir. David Cronenberg (1986) A scientist invents a teleportation device and accidentally teleports both himself and a fly at the same time. This unfortunate event leads to the scientist becoming part man part fly. The film is a story of blind ambition, a love story and also a story of metamorphosis. The consistency in Cronenbergs choice of film crew (Director of Photography, composer etc) will be looked at in detail and compared to his previous films along with the other recurring themes mentioned in the introduction. Dissertation chapter 4: CONCLUSION In this chapter the dissertation will compare the recurring themes between the films in relation to Truffauts theory of autership. This correlation between the content of both films and Truffauts work aim to show that, Cronenberg can in fact be classed as an auteur. Chapter 2 Rabid. Rabid is a 1977 film both written and directed by David Cronenberg. It is often seen as a sequel to his 1975 film Shivers both films deal with the subjects of disease and sexuality. The film tells the story of Rose Cronenberg has stated that he named her Rose as a metaphor for her innocence. Rose is played by American pornographic movie star Marilyn Chambers and tells of her newly acquired taste for blood that appears after pioneering life saving surgery after suffering a horrific motorbike crash. The skin graft surgery that Rose undergoes causes a mosquito like probe to appear in her armpit which she then uses to drink the blood of her victims. The probe itself is very phallic and is sheathed in something that resembles a vagina adding to the metaphor of this being a way of spreading sexual disease. The disease in this case is explained as a rare strain of rabies. The opening scenes of the film are set in the Keloid clinic. The director seems to have intentionally used this as a name for both the clinic and the head surgeon Doctor Dan Keloid as Keloid is a biological term for a type of scar. There is a discussion about investors being interested in putting money into the clinic between the members of staff to help create a franchised series of plastic surgery resorts which although shot in 1977 seems to reflect the modern day attitude to plastic surgery. It mirrors the blasà © approach of people to undergo potentially life threatening surgery in the name of personal appearance. The character of Lloyd Walsh (Roger Periard) is introduced into the story by stating that, Ive already had my ears done twice, im just here to get my eyes done there is evidently nothing wrong with the bags under Lloyds eyes. The discussion of franchisation is transposed with the images of a couple on a motorbike, Rose and her boyfriend, Hart Read (Frank Moore). The se quence on the motorcycle is very similar in style to sequences in the 1969 film Easy Rider. Close ups on the drivers foot changing gear are interspersed with shots of the bike weaving along country lanes. This editing technique is a horror film staple with quick cutting from actions that seem quite banal cutting back to another action that is building inevitably into catastrophe and violence. The tension helped to build by the use of sound, Howard Shore as the composer for Rabid has used strings and driving synthesizer noises and increasing in volume. As the motorcycle winds through the country lanes we see that a third set of protagonists are brought into the scene in the form of a camper van with a family in. As the camper van driver realizes his mistake in taking a wrong turn he turns the van around blocking the road. Close up on Rose as she realizes they are about to crash. (Rabid 1977) Inevitably the couple on the motorbike swerve and Hart gets thrown clear from the wreckage; Rose however ends up underneath the bike which bursts into flames burning her badly. The scene then cuts back to the Keloid clinic where one of the patients in the hospital has witnessed the crash and alerts the medical staff. They promptly make the decision to take the ambulance and help the crash victims. The use of the location in which the clinic is set helps the audience to realize that without this help then Rose would surely die. Cleverly, Cronenberg has set the clinic in the middle of the countryside. It is clearly in the middle of winter as there are no leaves on the trees and the fields are akin to barren waste ground. The clinic itself is a cold, faceless building with darkened windows and is surrounded by forest. This is consistent with Cronenbergs use of faceless organizations such as shadowy media companies and in this case a medical establishment. The hospital appears to be the modern day equivalent of Draculas castle or some other horror film haunted house staple. Monaco states that: To experience a Horror film was cathartic, the elements are well known: there was litany to each popular genre. Part of their pleasure lay in seeing how these basic elements would be treated this time around (Monaco, 1981) Suffice to say that when we watch films from the horror genre we are expectant of seeing these certain location and character stereotypes although in the case of Rabid, Cronenberg has transformed the haunted castle with the mad professor into a more modern setting with the use of the Keloid clinic as a key location. The mad professor has now transformed from being that of Dr Victor Frankenstein or Doctor Moreau to one of experimental plastic surgeon Dr Dan Keloid. The use of the faceless medical organization is consistent throughout Cronenbergs body of work throughout the seventies and eighties. Upon the arrival of Rose into the clinic for life saving treatment, Cronenberg seems to have prophesized the modern surgical technique of stem cell research and given Dr Keloid the ability to neutralize skin tissue from Roses thigh and then use this to grow skin grafts that replace the damaged tissue that is affected by the crash. This yet again is another horror film staple; this experimental almost maverick attitude becomes the surgical equivalent of a character deciding to walk down the dark alley when there is a serial killer on the loose. Throughout this time Rose remains in a coma. The editor Jean LeFleur has used a static title stating one month later to show the passage of time and the fact that Rose has been in a shock induced coma for a long time. Changes in time and space invite audiences to make an immediate comparison between two distinct points in time. Changes in time and space may mark the presence of central conflicts or emphasize important stages in character development (Pramaggiore, M. and Wallis, T., 2008) To show the development of a character that is essentially immobile and unable to communicate without the use of something like dream sequence for instance would be challenging to the director. It seems that what initially appears to look like a potentially lazy plot device in the use of a title to show the passage of time actually becomes a logical tool to show the development of Roses character. It is at this point that Rose awakens from her coma. It is suggested to the audience that by Rose unflinchingly removing the Intravenous drip from her arm that something might not be right. Fellow patient Lloyd Walsh discovers Rose lying in her hospital bed thrashing around her breasts uncovered. Rose claims to have no recollection of the accident but complains of being cold and wants Lloyd to embrace her for warmth. Beard says that; Metanarratively there is a kind of male-sexual-fantasy skit going on, with Lloyd as the male viewers stand-in: man accidentally comes upon beautiful young woman semi-naked in a hospital room; his safety as a voyeur is guaranteed by the womans unconsciousness; when she does awaken, she begs him to hold her because she is cold- another opportunity for covert sexual satisfaction (Beard, 2006) This part of the scene can be construed as Roses awakening of her dormant blood lust and her way of using her sexuality to entice her prey into physical contact so she can feed on them. Another way of looking at it is that this scene is Cronenbergs dark sense of humor coming to the fore. Casting a porn film actress in what audiences would regard as a relatively mainstream film and then placing her in a scenario not too dissimilar to the plot of a seventies porn film could be seen as amusing. The scene plays out with an ironic twist of fate; the male viewers on the side of Lloyd want to see this beautiful woman let Lloyd have sex with her, it is however Lloyd that is the one who gets penetrated with a phallus. Rose strikes with her armpit spike, and the scene once more is sexualized (again metanarratively) and in an unexpected way that reverses the roles of sexual attacker and victim (Beard, 2006) Rose then feeds on Lloyds blood, and Lloyd having no recollection of this starts to wander the hospital looking for help. He has no recollection of what has happened to him and as there appears to be no evidence of Rose having been awake at all it is assumed that Lloyd has had a stroke and fallen. However when the staff enter Roses room everything is in disarray and one of the nurses tells Doctor Keloid she believes Lloyd has tried to molest Rose. The decision is made to send Lloyd to the general infirmary in the city after they have taken some blood samples. This decision is a turning point in the story and shows how Cronenberg has married together several different horror staples; a vampire movie has now shows some of the traits of becoming a zombie film too. The idea of a single infected person being sent back into the general population unaware of the disease they are carrying after a wrong diagnosis from the doctor, furthering the spread of disease is something that has been use d time and time again in film making. Metaphorically speaking the disease could be thought of as a sexually transmitted infection as the situation in which it was passed had definite sexual undertones. After Rose has fed on Lloyd they lay down in what appears to be some kind of post coital bliss. Rose attacks Lloyd and feeds on his blood, she strokes his hair and they lay back down on the bed. (Rabid, 1977) After Lloyd is sent to the general infirmary in the city, Dr Keloid looks at Lloyds blood sample through a microscope and realizes that something Is not quite right. The blood sample is shown through the point of view of the doctor and the blood cells are being attacked by other mutated cells. This representation of the disease is akin to watching a sperm fertilize an egg except in the case of the disease the sperm like disease is not fertilizing a cell but eating it instead. This imagery is akin to the spread of the disease throughout the populace shown later on in the film. Cronenberg stated that, Rabid was about the spread of diseaseà ¢Ã¢â€š ¬Ã‚ ¦, how a whole city is finally almost brought to his knees by a sexually transmitted disease. My imagery tends to be very body oriented. I think Im interested in transformation as well, but not in an abstract spiritual sense or at least not at first, but in a very physical sense. In the case of Rabid it seems Cronenberg is not concerned with only the physical transformation of the protagonists, but also it seems the transformation of society as a whole. It could be assumed that within Rabid, Cronenberg is addressing the changing attitudes of society and that the end of the free love attitude of the sixties and seventies is changing. Sex is no longer safe he appears to be saying. The final scene of the film shows Rose dead on the pavement. Government soldiers that have been charged with controlling the population and keeping the spread of the disease under control find her and throw her into the back of a garbage truck. Muir (2006) proposes that Cronenberg is merely having a stab at women and implying that it is women who are the carriers of disease and that the final scene with Rose getting thrown away emphasizes his thoughts on promiscuity within women equating them to the likes of garbage. Rose, dead, is thrown away into the garbage truck. (Rabid, 1977) Chapter 3 The Fly. Im saying Im an insect who dreamt he was a man and loved it, but now that dream is over and the insect is awake.- Seth Brundle (The Fly, 1986) The Fly is a 1986 film directed by David Cronenberg and produced by Mel Brooks. The film is a remake of the 1958 film of the same title directed by Kurt Neumann which is in turn based on the short story by George Langelaan. The Fly was Cronenbergs biggest cinematic success to date. The director has completely re-imagined the film of the fifties and transformed it into a love story between two characters. The film focuses on Cronenbergs recurring obsession with the horror of the human body. The scientist Seth Brundle (played by Jeff Goldblum) and magazine journalist Veronica Quaife (played by Geena Davis) are the main characters involved in the story. Goldblum plays one of the archetypal Cronenberg staples, the mad scientist. Unusually for Cronenberg the scientist is a likeable character, slightly awkward but ultimately charming. As is the norm for the director, Brundle works for a faceless scientific organization Bartok Science Industries who are financing Brundles work. The pair mee ts at a press event held by Bartok. Brundle convinces Veronica that his work will change the course of human history. Wisker (2005) states that Cronenbergs fascinations lie in the perversions of science being manipulated by corporate interests and how humans, initially unaware, are sucked in to the danger resulting in devastation. This is especially the case regarding the character of Veronica Quaife although it seems that in this scenario, both parties involved had the best intentions and both were unaware of the horror which was to follow. When Brundle asks Veronica to come and look at the project he is working on both characters has ulterior motives, Brundle wants sex and Quaife wants a story for particle magazine. Brundles project is one of teleportation; he is on the verge of mastering teleportation via the use of two pods. Brundle and Veronica go back to his workshop, when they arrive outside the building he lives in the building is dark made of brick and has no discerning fea tures as are the majority of Cronenbergs choice of location throughout his career. The dark building where inside the viewer knows that scientific horror waits. In Rabid (1977) it was the use of a plastic surgery clinic, an apartment block in Shivers (1976) and in The Fly it is an old red brick mill type building. Muir (2007) claims that Veronicas effect on Brundles work is one of humanization, initially it is seen that Brundle has the single minded focus of an insect already, in one particular scene Veronica looks in Seths wardrobe only to encounter five sets of the same clothes. Brundle states that this is purely so he will not have to expend energy worrying unnecessarily about what he is wearing, thus allowing him to concentrate fully on his work. Veronica teaches Brundle about Flesh and about with that comes feelings that seem to have eluded Brundle throughout his manhood; feelings of love and passion are intermingled with anger jealousy over Veronicas suspected continuation of a relationship with her former lover. This is not the case however and we learn early on that veronica wants nothing more to do with Stathis (John Getz) who also happens to be her boss at the magazine. It is this drunken and jealous rage that leads Seth to decide to use his teleportation pods to transport himself. A s shown to the audience previously transporting living flesh has not gone well to say the least, initially the transportation of a baboon led to the baboon being turned inside out. Metaphorically speaking the baboon incident coincided with the introduction of Veronica into Brundles life, figuratively speaking it was not just the baboon that was turned inside out but also Seths life. Brundle tries teleporting a baboon with devastating results (The Fly, 1986) Without the introduction of Veronica it is assumed that uncalculated risk would not enter into Brundles research however fueled by alcohol and jealousy he decides to transport himself in the pods. Whilst entering the transportation pod Brundle fails to notice a fly has entered in with him. As the door seals the audience realize, so is Brundles fate. It is at this point that Cronenbergs film becomes a story about the frailty of human flesh and as with the major body of his work a metaphoric tale of disease, loss and the relationship between human and machine. As Brundle leaves Pod B he feels more alive than he has before unaware that the computer has fused, on a genetic level, both himself and the fly together in to what Seth refers to as, Brundlefly. Seths behavior gradually becomes more animalistic; he becomes more sexually aggressive, stronger and exhibits more risky behavior. Brundle thinks that he has somehow purified himself, by going through the machine and being pieced back together he somehow thinks that the computer has improved him. It becomes apparent to Veronica that maybe things are not quite right with Seth after the discovery of coarse black hair growing out of Seths back. After Veronica has the hairs medically examined it transpires that they are insect hairs. Seth is in denial and tells Veronica that, Ive become free, Im released and you cant stand it. Hairs sprouting from the back of Seth Brundle (The Fly, 1986) When Veronica points out that Seth is not well he retaliates by going to a bar with the sole purpose of finding another woman to have sex with. in a scene which seems to encapsulate both Brundles new found animalistic masculinity and his wanting to take his anger and hurt out on another being he enters into an arm wrestling match. He bets the men one hundred dollars and the hand of the girl at the bar who is with the men. Brundle starts to arm wrestle, white almost sperm like fluid seeps from his hand as he wrestles the man. With little effort, Seth breaks the bigger mans arm and walks off with the girl. Cronenberg yet again punishes promiscuity like he has done in previous films such as Shivers and Rabid. In the case of Brundlefly a combination of promiscuous behavior and risky scientific procedure leads to Brundlefly becoming diseased in a very noticeable way. The transformation of Brundle into Brundlefly at least at first seems to replicate the physical characteristics of AIDS. De rry states that: In Cronenbergs, movie the scientists early manifestation of bodily change resemble the skin lesions of Kaposis sarcoma, the cancer so common in the early stages of AIDS-related immune dysfunction. As these changes transform him into something monstrous-looking that even his girlfriend recoils from. (Derry, 2009) Lesions on Brundles face, similar to Kaposis sarcoma (The Fly, 1986) Derry is making the point that within the context of a horror film Cronenberg is asking a profound question on whether or not we as a society can show compassion for the degradation of people who are suffering from debilitating disease. By ignoring or failing to embrace these people due to revulsion are we becoming monsters ourselves? Veronica shows us that she is a strong and compassionate character by comforting Brundlefly even though to the viewer he has become a repulsive monster. Cronenberg has said that: The AIDS connection is very superficial. I see it (The Fly) as talking about mortality, about our vulnerability and the tradgedy of human loss (Cronenberg) This may well be the case but in the context of which the film was released it seems no doubt inevitable that viewers would link the film with the AIDS paranoia of the nineteen eighties. Seth Brundle states in the film that, I seem to be afflicted by a disease with a purpose, wouldnt you say. In a social context at the time HIV and AIDs were misunderstood diseases with a lack of education, especially from the government and public misinformation and rumours adding to the fear felt by the public. Cronenberg has yet again tapped into the fear of the unknown. Speculation about the films hidden meanings and metaphors certainly helped gain public interest for the film and to garner huge box office success for the director. In one particular dream sequence there is scene involving a pregnant Veronica giving birth in the hospital. The surgeon, who in this case is none other than the director himself, pulls what the audience are led to believe a baby from Veronicas womb. Amidst the screening the audience, as well as veronica see for the first time that this is no ordinary baby and she has given birth to a baby/maggot hybrid. This reflects the fear of the public during the AIDS crisis, what if my unborn baby is infected? What if somehow my baby is different? Cronenbergs cameo as a surgeonas he pulls the maggot baby from Veronica. (The Fly, 1986) Jà ¼rgen Mà ¼ller, Herbert Klemens (2003) Claim that, along with several other films of the eighties, The Fly is dealing with the theme of a person, in this case Brundle, looking for the Lost Secret the need for a person to become something which they are not. In the case of The Fly Cronenberg has touched on this theme but as is usual for the director the theme is based around the fact that if anyone tries to transgress the boundaries set by nature they will be found guilty of hubris, punishment in the case of Seth Brundle is creeping dissolution. Once he has felt how perfect a specimen he can be as a man, once he has achieved this greatness the only possible way for the character to go is down.

The Outsider in Virginia Woolfs A Room of Ones Own Essay -- Virginia

The Outsider in Virginia Woolf's A Room of One's Own In A Room of One's Own Virginia Woolf writes: "I had no wish to enter had I the right, and this time the verger might have stopped me, demanding perhaps my baptismal certificate, or a letter if introduction from the dean"(8). This particular line jumps out at me for several reasons. First off, I find it rather humorous. I was rather surprised by this remark as well. I did not think that I would be reading anything that would make me laugh even the slightest bit. Despite this, Woolf is angry after being refused entrance to the university library, and she shows it with this bit of wit and sarcasm. She does not think that it is fair or proper to keep women out of such places. I am also willing to bet that this is not the first time that she has ever been asked to leave a place solely because she is a woman. In this respect she is an outsider in two ways: she is not a member of the university, and she is a woman. This frustrates her greatly, but she does not just explode in her writing. She makes little comments here and there tha...

Sentence Structure :: essays research papers

Independent Clause (IC) An independent clause is a group of words that contains a subject and verb and expresses a complete thought. An independent clause is a sentence. Example: Jim studied in the Sweet Shop for his chemistry quiz. (IC) Dependent Clause (DC) A dependent clause is a group of words that contains a subject and verb but does not express a complete thought. A dependent clause cannot be a sentence. Often a dependent clause is marked by a dependent marker word. Example: When Jim studied in the Sweet Shop for his chemistry quiz . . . (DC) Dependent Marker Word (DM) A dependent marker word is a word added to the beginning of an independent clause that makes it into a dependent clause. Example: When Jim studied in the Sweet Shop for his chemistry quiz, it was very noisy. (DM) Some common dependent markers are: after, although, as, as if, because, before, even if, even though, if, in order to, since, though, unless, until, whatever, when, whenever, whether, and while. Connecting dependent and independent clauses There are two types of words that can be used as connectors at the beginning of an independent clause: coordinating conjunctions and independent marker words. 1. Coordinating Conjunction (CC) The seven coordinating conjunctions used as connecting words at the beginning of an independent clause are and, but, for, or, nor, so, and yet. When the second independent clause in a sentence begins with a coordinating conjunction, a comma is needed before the coordinating conjunction: Example: Jim studied in the Sweet Shop for his chemistry quiz, but it was hard to concentrate because of the noise. (CC) 2. Independent Marker Word (IM) An independent marker word is a connecting word used at the beginning of an independent clause. These words can always begin a sentence that can stand alone. When the second independent clause in a sentence has an independent marker word, a semicolon is needed before the independent marker word. Example: Jim studied in the Sweet Shop for his chemistry quiz; however, it was hard to concentrate because of the noise. (IM) Some common independent markers are: also, consequently, furthermore, however, moreover, nevertheless, and therefore. Proper Punctuation Methods This table gives some examples of ways to combine independent and dependent clauses and shows how to punctuate them properly. IC. IC.  Ã‚  Ã‚  Ã‚  Ã‚  I went to the store. I didn't buy any bread. IC; IC.  Ã‚  Ã‚  Ã‚  Ã‚  I went to the store; I didn't buy any bread. IC, CC IC.  Ã‚  Ã‚  Ã‚  Ã‚  I went to the store, but I didn't buy any bread.

Arts and pornography Essay

?No-one ever asks ‘When does art become realistic? ‘, or ‘When does art become abstract? ‘, or ‘When does art become literary? ‘, although questions like these make as much sense because art can be all or any of these things. This is because we can usually distinguish an abstract work from a realistic or literary one, whereas what pornography is, is unclear in the minds of most people. Pornography derives from two Greek words: porne, which means harlot, and graphos, which refers to writing; however, we use the term today to describe much more than stories about prostitutes. And when we use it, it is as more than the definition of a class of writing and visual art: it has an ethical (usually pejorative) connotation also. And, like most ethical and aesthetic terms, its use is intensely personal. Just as beautiful really means no more than ‘I like it (although I cannot clearly explain why)’, pornographic means ‘I find this offensive (although I cannot really explain why)’. There is no generally agreed meaning for either of these terms – which bedevils our discussion of both. Art exists in many different forms. Sculpture, paintings, graphics, drawings and such are part of the visual art. Dance, film, music and theater, as well as literature, are also forms of art. Throughout the years, art has, in all of its forms, interpreted, presented, or made allusion to nudity. Many famous masterpieces or important art represent nude people, and sometimes even persons making love; yet, it is recognized as beautiful art by many people. What difference is there, if any, in the interpretation and importance that we humans give to nude art and pornography? So it leads to my first knowledge issue: When does art become pornography? Here is a real life example. As we all know, our school invites some nude models for art class, they expose their nude bodies to the art students. I am not sure if it is the reason why many guys take art. Do you think it is art, nasty art, performance art or pornography? Art, nudity and pornography are different, and every individual’s sense perception of what these are will also be different. The area of knowledge of art is one of the most subjective of all the areas of knowledge, which explains why persons interpret it differently. Nudity may or may not be included in the AoK of Art, but it is a part of many art pieces. Nudity is present in many forms, for example, the famous sculpture of David by Michelangelo Buonarroti. This 5. 17 meter tall statue represents the biblical King David, nude, and it is recognized by many as a masterpiece, and some even consider it a symbol of the defense of civil rights. Vitruvian Man, by Leonardo Da Vinci, is the drawing of a nude man, legs and arms stretched. Michelangelo did not limit himself to sculpting nude man, but also painted many important figures nude on the Sistine Chapel’s ceiling, such as Adam, Eve, Jesus, and others. All these art pieces, famous and important, widely recognized masterpieces include nudity. Of course, the importance and recognition of these art pieces is debatable and can be argued, but many people and important art communities consider them to be masterpieces. These art pieces illustrate both, men and women, sometimes together, other times separated, but share many things in common. All of these art pieces include nudity, and are recognized by many as important art. But then, when does art become pornography? Is it just like crossing a line, on one side its art and the closer you get to that line, it becomes less art until you cross that line and it becomes pornography? If that is the case, what if you stand on the line, would it be neither art nor pornography, or both? Every single person can interpret it as they want, but as I see it, many factors affect the decision of whether it is art or pornography. I see it as a line, on one side it is art, and on the other it is pornography, because I don’t think that an art piece can be both art and pornography at the same time for a single person. I emphasize on the fact that it is for a single person, as this is very subjective. Although this is very subjective, as mentioned before, it is also very cultural. In most of Western Europe, nudity is seen in a very different way than in the Middle East, due to cultural and historical differences. In the Middle East, for example, Muslim women must wear the burkha, while in Western Europe there are many semi-nudist or nudist beaches that anyone, regardless of age and gender, can enjoy. This, however, does not justify or imply anything else than the fact that there are higher chances for western Europeans to have higher limits and Middle Eastern people to have lower. It only means higher chances, because as mentioned before, although culture is a factor that affects where the individual puts the limit, it still is subjective, based on beliefs, ideals, past experiences, and many other factors. The Ways of Knowing apply to this judgment or decision of whether it is art or pornography in different ways for each individual. Sense perception, which includes the five senses, is the main element that allows the interpreter to perceive the art piece, whether it is through hearing, seeing, or touching. The other two senses, smelling and tasting, are not as relevant for the interpretation of the forms of art mentioned earlier. With the three senses mentioned (sight, hear and touch), a person can interpret a work of art and decide what it is, give an interpretation, a symbol, a meaning to it. Then, through emotions, the person can associate feelings and ideas to the work of art. If the person feels shocked or offended (emotions) from seeing (sense perception) a nude sculpture, he or she might decide it is pornography. Finally language is very important as it is one of the most important filters affecting the decision between art and pornography. The simple definitions of what is art and what is pornography are evidences of the implications of language. Art can be defined as â€Å"the quality, production, expression or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance† in other words, something exceptional according to a set of principles (decided by a majority of people). According to this definition, the masterpieces mentioned before are still art. Pornography is more difficult to define. The first definition (from dictionary. com) describes pornography as â€Å"obscene writings, drawings, photographs especially those having little or no artistic merit†. The definition states â€Å"obscene† materials, but obscenity is very subjective and varies from person to person, just like the limit at which art becomes pornography. The second part of the definition is very interesting, and I would agree with it: materials with â€Å"little or no artistic merit† so that would mean that is not exceptional according to the set of principles previously mentioned, which again supports the idea that it’s subjective. Another definition of pornography (from The American Heritage ® Dictionary of the English Language, Fourth Edition) states it is â€Å"sexually explicit [material] whose primary purpose is to cause sexual arousal†. This definition is more ambiguous then the first mentioned. According to this definition, two factors are needed in order for something to be pornography: it needs to be sexually explicit, and it needs to primarily cause sexual arousal. The problem with this definition is that anything containing nudity is sexually explicit, so all the masterpieces mentioned above have at least the first factor needed to be considered pornography (according to this definition). The second part of the definition is very subjective, because we cannot know what the purpose of the nude sculpture, drawing or painting was unless the author tells us. To conclude, in my personal point of view, art cannot â€Å"become† pornography, it is either born as art, or born as pornography, and this depends on each individual’s interpretation of the material in question. Not only the visual arts, but other forms of arts, especially Medias, have many influences on young people. Anyone who watches television, goes to the movies, or picks up a magazine today knows sex is prominent across all media. Discussions regarding the early sexualization of children and young people are an increasingly hot topic with celebrities and politicians alike having something to say. An analysis of use of the term sexualisation published on the Global Media Insight blogspot showed that in early 2010 use of the term ‘sexualisation’ in both mainstream and social media more than doubled (fig. 1). This is not to say that the concerns behind the idea of sexualised childhood are new ones; it does however suggest that this is a concept which is increasingly in the collective public consciousness. Although the effects of sexual content have received little attention from researchers in the 1980s, there are strong theoretical reasons to believe that media may play an especially important role in the socialization of sexual knowledge, attitudes and behavior. These were well summarized by Elizabeth Roberts (1982): â€Å"(1) the adult nature of most programming children watch; (2) children’s limited access to or experience with countervailing information or ideas; (3) the ‘realism’ with which roles, relationships, and lifestyles are portrayed; and (4) the overwhelming consistency of the messages about sexuality that are communicated† (Roberts, 1982, p. 209). Each of these points is even more pertinent in 1998 than in 1982. Children watch a great deal of adult programming, and there has been a steady increase in the frequency and explicitness of sexual content on broadcast television. Young people have access to a much wider range of video content as well as to other entertainment media than they did in the early 1980s. Movies Adolescents see movies in theaters, and the same movies are soon available on pay TV channels and video tape. Many of these movies are â€Å"R-rated. † They contain more frequent and more explicit portrayals of sexual behavior than broadcast TV – an average of 17. 5 per film in one analysis (Greenberg, Siemicki, Dorfman, Heeter, Stanley, Soderman, &Linsangan, 1993). Like TV, the most frequent sexual activity shown is unmarried sexual intercourse. Sex is often in the context of profanity, alcohol and drug use, and nudity. Not only have the movies, music world confronted similar problem as well. Let’s see a real example. Modern music is becoming increasingly pornographic. It is not about being old-fashioned. It’s about keeping values that are important in the modern world. We can’t watch modern stars like Britney Spears or Lady Gaga with a two-year-old. 99 percent of the charts in R&B and 99 percent of that is soft pornography. Children and young people are being forced to grow up too young. A researcher named Larson (1995) used an experience sampling technique to analyze the relationship between emotional states and the use of television and other media. He argues that adolescents experience increased emotionality and that such emotionality may be related to increased use of music because â€Å"it both speaks to adolescents’ personal issues and helps them create a separate experiential space at home†¦ music is also important to adolescents because it helps define their public self outside the family†. Private, solitary use of both music and television use by adolescents is important in providing them an opportunity to deal with the stress and emotionality of this stage of development. Young people select media which entertain them, contribute to their identity formation, help them cope with their problems and emotional mood states, and form the basis of their selection into youth subcultures. Today’s generation of youth has easier access to sexual content. From television, movies, magazines, and advertisements (billboards, print, and electronic), to music (on radio and in music videos) and the Internet, youth who are interested in nudity, sexual role models, romance and depictions of sex and intercourse, have a range of media options readily available. Media provide perhaps the least embarrassing way to get information about sex and romance.