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“From forth the fatal loins of these two foes, a pair of star cross’d lovers take their life with misadventur’d piteous overthrows doth with their death bury their parents strife”, The ancient grudge between the Montague’s and the Capulet’s, summed up in four lines. The play of tragedy created by Shakespeare of two lovers Romeo and Juliet who meet and fall in love. The first lines of the play, known as the prologue, tell the audience what happens in the play, Shakespeare has written it like this to hook the audience into wanting to watch the rest of the play.


In the opening scene there is a huge fight, this brings contrast to the next scene with Romeo in “ay me, sad hours seem long“ this scene is much more calm than the fight scene at the beginning of the play. The fuss on the stage with all the fighting is very different from the lovers meeting the fight scene also shows how big the feud between the two families is. This makes the audience enjoy the scene more, as all the fighting and commotion makes it a lot more engaging for the audience with all the excitement of a fight. In the first lines between Sampson and Gregory, the Capulet serving men, we find them boasting about how they shall fight with the Montague men, then have sex with the maids, “I will push the Montague’s men from the wall and thrust his maids to the wall.” This contrasts with Romeo’s character, as he doesn’t see women as sexual figures this makes the audience will have more empathy with Romeo’s character he will become our knight in shining armour. The hatred between the families portrayed in the fight, shows how Romeo and Juliet’s love is deeply forbidden, “My sword old Montague is come and flourishes his blade in spite of me”


“Thou villain Capulet! - hold me not let me go” The prince and Benvolio play the peacemakers in this scene “If you ever disturb our streets again your lives shall pay the forfeit of peace.” This line is one of the most dramatically ironic in the play, as Romeo and Juliet do indeed take their lives and due to this tragedy the two families become united once again, the audience realise that this line has a dramatic undertone as they know that Romeo and Juliet will ultimately lose their lives.


The early Romeo is indeed a very different person from the man he becomes towards the end of the play, he is very confused about his love for Rosaline and Shakespeare shows this with Romeo’s language, he often speaks in oxymorons, “O brawling love, O brawling hate.” He uses broken sentences to show that Romeo is depressed about his love for Rosaline, as in fact she is a Capulet and he knows their love would be forbidden. “In sadness cousin, I do love a women.” When he meets Juliet, he instantly forgets about Rosaline, this shows that the love between Romeo and Juliet is real “With Rosaline, my ghostly father? No; I have forgot that name, and that name’s woe.” Before he meets Juliet, he talks in oxymorons and broken sentences, but when he meets her, their lines form a sonnet (this is a traditional love poem with 14 lines with 10 syllables on each line) the audience also never meet Rosaline, because if they did they would be constantly comparing Romeo’s love for Juliet with Romeo’s supposed love for Rosaline.





In act 1 scene , Paris and Capulet are discussing that Juliet should marry Paris, but Capulet thinks Juliet is too young to marry, “My child is yet a stranger in the world.” Yet Paris convinces him that younger people than her are married and are “happy mothers” Capulet relents and agrees to go ahead with the wedding. The audience are then worried that Juliet may marry Paris and forget all about Romeo, when they really want her to marry Romeo and be happy. Once they have decided that Juliet should be married, Lady Capulet talks to Juliet about it. Juliet has a very different approach towards love and marriage at this point in the play. Her first meeting with Romeo could be likened to love at first sight. Whereas, when her mother asks her how she feels about marriage in act 1 scene , she doesn’t actually want to be married yet, “It is and honour I dream not of.” This scene is a distracting one as it shows us that Juliet’s love for Romeo will never actually go right. This is another technique of Shakespeare’s to make the audience realise that the lovers will never have a “happy ending.” Many women in Elizabethan times got married a lot younger than today, as it was thought that the younger they are married the more children they could produce. Also, life expectancy in those, days was a lot shorter, with most women living to an average of 0 years old.


Shakespeare has included the character of Mercutio to show a vast contrast between the two men and their attitudes to love; this contrast enhances the deep feelings of love between Romeo and Juliet. Mercutio hates women and thinks of them only as sexual objects, merely to be used to satisfy his own sexual needs. “If love be rough with you, be rough with love.” This contrasts with Romeos opinion of love drastically. His attitude towards dreams and love, are far different from Mercutio’s. This makes Mercutio a dramatic interesting character for the audience to watch as they often wonder how Romeo would chose a friendship with someone like Mercutio as the audience would wonder if perhaps romeo was a bad judge of character or indeed he only saw the good in everyone. Mercutio is often a burden to Romeo’s true feelings dies so early in the play so that the audience can focus on the lovers. In Baz Luhrman’s version of Romeo and Juliet the director decides to dress Mercutio in women’s clothing, and directs him to act like a women. This emphasises Mercutio’s hatred of women he acts almost as if he is mocking the way women dress and act. Romeo is far different from this and sees women as humans and not things only put on this earth for childbirth. Mercutio’s character is in the play to add more drama to the lovers meeting, Romeo is scared to tell Mercutio that he loves Juliet because he knows that he will mock him for it. “Romeo! Humours! Madman! Passion! Lover!”


Shakespeare’s use of oxymorons when Juliet speaks, dramatically enhances how confused our young lover has become, ”My only love, sprung from my only hate.” After Romeo meets Juliet his choice of language and actions become more positive. The two characters become separated from the rest of the play and this is emphasised by the form of verse in which they have begun to speak.


Tybalt hates Romeo and wants him dead because he turned up at the Capulet ball and Tybalt was looking for a fight then and there, but his uncle Capulet stopped him “He shall be endur’d. What, Goodman boy, I say he shall, go to!” this brings suspense and irony to the play, as once Romeo has married Juliet Tybalt will become Romeos cousin. This makes Romeo and Juliet’s relationship even more dramatic. “Uncle this is a Montague, our foe”


At this point, the audience are eager to view the meeting of the lovers; at last they get to see what happens when they do meet. To make it even more dramatic, Shakespeare uses a number of techniques to set the meeting of the two lovers; he makes Romeo and Juliet’s speech into a sonnet. Also it has a lot of references to religion in their first speech. Shakespeare is hinting towards marriage in the meeting scene; Shakespeare also makes the audience feel sympathy for the pair, as they must be careful with their forbidden love because of the two houses hatred for each other. Of course we know that their love will never be happy, as from the prologue the audience are told that the young lovers both die, from this tragedy both families are reunited in their grief “O brother Montague, give me thy hand. This is my daughter’s jointure, for no more can I demand.”





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MUGS


1 Tuas Lane, Jurong Town Singapore 68610


Tel (65) 861 5444 Fax (65) 861 4777





httpwww.mugs.com.sg





To Henry Davidson Date October 0, 00


Director


From Chua Jan Subject Delivery delay on


October 0, 00


DESCRIPTION OF INCIDENT


At 1.0 P.M. on October 0, 00, our distributor, Mrs. Jenny Huang called and said that our gThe Barbarian Mugsh (BM 040 Model) cannot be accepted. After receiving the call, I went down to the distributor shop and inspected the glass mugs delivered. I found that about 80% of the glass mugs were broken. After checking the delivery truck, I found that the wheels of the delivery truck were still in relatively good condition, except for some sand and scratch marks. The weather is fine that day with little clouds.


After I had finished inspecting the goods and truck at .00 P.M., I arranged for the broken glass mugs to be sent back to our company. I notified Head of Manufacturing Department, Manager Lai Seng Boon to check if there was still spare stock of our gThe Barbarian Mugsh in our inventory that could be sent to Mrs. Huang. I also notified the head of delivery department, Manager Choo Boon Heng, to send another delivery truck to our distributor shop to send the broken glasses back to our factory and to replace them with the new batch of glass mugs. While waiting for the truck to arrive, I apologized to Mrs. Huang and promised that the new batch of glasses would arrive by 5.00 P.M. The truck arrived with the new batch of glasses at 4.0P.M.


By 5.00 P.M. we had finished unloading the new glasses and load the broken glass onto the truck. The remaining glasses, which were fine, were left at the shop.


CAUSES OF INCIDENT


The glass mugs were packed in brown boxes without cushioning. The mugs were found to be arranged in a haphazard manner and the strings used to tie them were of unsuitable material. Nylon strings should have been used instead of polyester threads. It was evident that the proper tying techniques were not used to tie the glass mugs. A single knot was used instead of the double knots. As shown in figure 1.1, you can see the wrong type of knot used to tie the package. Figure 1. shows the correct double knot to be used, for better strength to hold our carton together.


Fig 1.1 Wrong tying method


Fig 1. Correct tying method


It was the peak hour and the road was congested. Thus, our truck driver, Mr. Ang See Chong, in his bid to get the glass mugs to our distributor in the fastest possible time, drove at a higher speed. Moreover, the delivery route from our Tuas factory to our distributorfs shop in 40 Jalan Peminpin, #0-0 Tat An Building, had to pass through rough terrain, full of coarse sand. So, the high speed and jerky movement might have caused the glass mugs to bang into one another and resulted in them breaking.


RECOMMENDATIONS


In order to prevent such an incident from happening again in the future, I have made the following recommendations.


1. Have our packaging executive conduct a training course for our packaging staff about proper packaging procedure and methods. The above incident can be used as a case study for the course.


. Order specially marked and design boxes. These medium size boxes 1 X 1X  , which are made of tough corrugated cardboard with wire-stitched seams, are extra durable and weight 1kg each. Each box can safely hold up 5 kg of our goods, about twice the load of our previous brown boxes and help us to track our packages easily. Cushions are also included in the boxes to withstand the jerky movement.





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Perhaps it was because he saw her on her own turf, he saw how she worked and behaved in her true role as daughter and eldest child in the household; as a student and a friend; as a caregiver and a pacifier. In the morning he witnessed Kagome interjecting herself into an argument that stemmed from the fact that an unknown youkai sleeping on the couch (even though he wasn’t asleep, it was an alert rest, where pure rest was never accomplished to its fullest extent) and where she performed beautifully in his defense even though yesterday she was less than happy to have him here. He saw her help her brother with a math problem before he went off to school, he saw her clean the dishes from which they eat upon and he saw her discuss, somewhat less energetically than her grandfather, about whether traditional miko robes were as important as the training itself; the heavy garment acting as a discipline in itself for you had to walk upright with the heavy material clinging to your body. And perhaps it was because she seemed to smile more and laugh more when she was with her family, how it seemed so natural for her to conduct her life full of emotions and happiness. Or finally perhaps it was that Sesshomaru was finally realizing that she wasn’t such a bad human anyway. Well, perhaps it was easier for him to admit that because she wasn’t truly human. He had to keep reminding himself that she was immortal now as well, and somewhere in the vicinity of his chest ached a bit when he realized that her family wasn’t. Would she have to leave them in the future as she spent five hundred years in the past? Or will she abandon the shards and Inuyasha to begin her immortal life in this era? He tried to ignore the feeling that was again in the general vicinity of his chest when he thought of the idea of spending five hundred years without her. Forget the miko wench! The sword will call you to her whenever is necessary and you’ll see her often enough! Get a hold of yourself! A woman? Why would you ever want a woman to accompany you? Sesshomaru shifted his arm a little as he turned his head to glance the other way, away from the window where he had been staring at the miko quite openly. It is just time I took a mate, he thought, although he knew that propriety called for him to finish this…business with the miko before he could even consider a mate. He continued writing, another little amusement that came from the experiences he had here.





She wasnt normal. Neither was she brave nor courageous. But her stamina was not to be tested. And that is what he did. The glittering pieces were all lined up in a row at the beginning; the black and white board sheen with a kind of cheery glow of anticipation. It was a board that had been used many times, through many games and many players.


But now it was almost empty. An annoyed finger lightly tapped on the side of the board, anger permeating from the nails scratching at the surface. But the game wore on.





The board saw death to pieces. The carnage lay strewn on each side of the board. No one was speaking, the deadly silence emanated from the room to create a certain sound of its own; the complete opposite of noise. The board lost track of all time, all notion of existence. The world, for a moment, was suspended on air--the players alone to concentrate on a battle of wit and integrity. But there is always one winner.


She knew that her stamina was almost to a breaking point�never before had this occurred. But she competed. No one ever got better by playing someone inferior. He seemed to be the kind of person she would have liked to have known outside of their game, perhaps meeting him at a bar or through mutual friends. He played for the game too, but she knew it was over now. She knew that the ultimate outcome lay in her favor. It wasnt because she was superior. It was because she had played more than he had. Her skills were sharper�something that only resulted from recent and determined practice. Perhaps on another court he would be the winner.


She delicately moved her knight to rest beside his king. She didnt have to say it, but she said it anyway, out of habit


Checkmate.


He laid down his king honorably. Slowly he got up, shaking her hand politely, not saying a word. As he walked away he turned back to her still sitting in her chair. From about seven feet away he shook his head as if in disbelief. And then he grinned. A Cheshire cat grin. And as he turned back and walked away she knew he was still grinning.





Sesshomaru grumbled a little as he reread what he wrote. It was always the same now�he wrote of a woman, a woman who reminded him of Kagome, and yet, the woman did not think like her. Instead he seemed to pour his feelings and perceptions into the woman; he seemed to make her feel what he was feeling and what he thought. Writing always seemed to be able to explain his mood better than he could and he didn’t like the way this was shaping up to be. Did he really want to know Kagome as someone other than his brother’s miko and an annoyance that involved his sword and her jewel? Did he want to continue this haphazard relationship and develop it into something more? Into something more than it already was? And what exactly did more mean? But the most important question was�








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If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Women’s Freedom in Bahrain. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Women’s Freedom in Bahrain paper right on time.

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Are women in Bahrain having enough freedom? They do have education; they do run for election and vote for elections. But is it enough?!


First let us see the religious side of it. Islam asked for education “seek knowledge even in China”. As we read the Quara’n, we can see it’s asking Muslims to have knowledge and education “teach your kids”. So education started long time ago. What was against religion is the co-ed education (which existed in Bahrain). Divorced women have custody of the boys (not in Islam) “children must go back to their father after the age of seven years”. A deluge (male) had to present women in court and ministries (not in Bahrain, but in Religion). Women do run her own properties, money and take care of her own business (the first wife of the prophet Khadija was a merchant running her business).


Second let us see women’s social life in Bahrain. In 10 there were given the right to vote for candidates. They have the right to be representative in the “Shoura” council. Women in Bahrain have the right to do any work she could mange it. There is no work restriction with male. Now a day some women are ministers of specific ministries in the government. They are not eliminated in society. They have almost the same rights that man has.


Bahrain is the first countries to give women’s rights. Some behavior was not in Islam, because people are following the modernization. Women are quiet happy in Bahrain for having there rights. But they are still asking for more political freedom.








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If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Argumentative paper on Socrates Death. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Argumentative paper on Socrates Death paper right on time.

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It seems to be a constant discussion in the writings of Plato that Socrates does not fear death. As Socrates is pondering death to his peers after being condemned he says, “What would not a man give if he might converse with Orpheus and Musaeus and Hesiod and Homer? Nay, if this be true, let me die and die again” (5). He does not have any fear at all concerning death. However, could he be pleased about his execution? To me it seems that the reason that Socrates has no fear of death is because he is trying to die unjustly, thus insuring that his name will live on.


In the Crito dialogue, some of Socrates’ friends are attempting to free him from prison. They are trying to bribe the guards to turn their heads until they sneak him out of his cell. However, Socrates will not escape. Crito says, “The public will never believe that we were anxious to save you but you wouldn’t escape” (0). Socrates mentions that it would be an injustice if he were to try to escape, even though he believes that he has been sentenced to death unfairly. He simply sits in his cell and awaits his death. Socrates is looking for martyrdom through his own wrongful death.


Socrates, being a man of exceptional wisdom, understands what happens to men who are killed unjustly - especially when it is a man in a leadership position. They are raised to the level of a martyr. Immediately following his sentencing, Socrates says, “ Not much time will be gained, O’ Athenians, in return for the evil name which you will get from the detractors of the city, who will say that you killed Socrates, a wise man; for they will call me wise, even though I am not wise, when they want to reproach you” (). Socrates realizes that he is held in a very high regard by some of the more prestigious members of Athens. He also knows that by dying an unjust death, his name will be remembered for all times. Socrates states, “And I prophesy to you who are my murderers, that immediately after my departure punishment far heavier than you have inflicted on me will surely await you” (). Only by insisting on his own death could he insure his own immortality.


One could say that Socrates really wasn’t seeking death, but just playing in his Socratic tone of sarcasm. After all, he does end up attempting to buy his freedom from his accusers with 0 minae. Knowing that Socrates and his friends could come up with a possible amount of money to save him, it is conceivable that he was trying to save himself. Socrates definitely has his own way of dealing with everyday problems that differs from the majority of us. Maybe he was simply toying with everyone around him. However, if he was really trying to save himself, why didn’t he suggest to pay a fine in the first place? After being convicted wrongly and awaiting sentencing, Socrates suggests that his punishment should be served in the Prytaneum. He means that he should be served lunch for free for the rest of his life. Of course Socrates’ sarcasm pours through these words like a waterfall, but, when faced with death, defining your own punishment should be something that would not upset the people who have the control over your life. Socrates is not even trying to save himself. He is merely making a mockery of the system. He is not fighting in anyway to prolong his death.





Another argument could be that Socrates himself does not really know if death is a good thing or a bad thing. Although he has no fear of death, he has very little true knowledge of it either. Socrates states, “I will not say of myself that I deserve any evil, or propose any penalty. Why should I? Because I am afraid of the penalty of death which Meletus proposes? When I do not know whether death is a good or an evil” (). Socrates is wise enough to question death. The fact that Socrates is open to the idea of not knowing whether death is a good or bad thing could point to the awareness of his own humanity. In being human, Socrates would not wish an evil upon himself. He knows that the penalty could be something horrific.


As an opposition to this, no one has true knowledge of death. Not even Socrates. In time Socrates would die anyway, but dying of old age would be an honest death - not one that would help to make his name live on. It would be better to die unjustly and leave a legacy than it would be to die and leave a small following that might drizzle out in a short time.


The fact that Socrates’ name still lives on to this day may be all of the proof needed to say that he did what he had to do to insure his own death. He had the chance to escape, but he declined. He held his constant Socratic sarcasm throughout the trial, and he prophesized being a martyr at the trial to his accusers. He just seemed too calm and relaxed for a man looking death in the face. It is one thing to not fear death, but it is all together another to embrace it. Had Socrates argued a little harder in his own defense the ending may have ended up much different, but is that what Socrates would have wanted?


REFERENCES


Plato (186), The Dialogues of Plato. New York, NY Bantam Books





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Sara Payson Willis Parton was a vocal feminist, constantly writing in defense of women’s rights. She believed women were as smart as men, and should be allowed to follow any career they chose. She wrote about birth control, divorce, education for women, sexism in religion and marriage, and women’s poverty. Her writings are very funny, and her witty criticisms and satires of sexist men drew a lot of attention. Her ideas were way ahead of her time, and people often didn’t agree with her .In this essay, I will examine the life of Fanny Fern, and discuss how the society she came from played a major role in influencing her writings.


Notoriously known as Fanny Fern, Sara was born in Portland, Maine, and was originally named Grata Payson after the mother of the Congregational minister Edward Payson, whose sermons had influenced her father in a immensely. She was the fifth of nine children born to Nathaniel and Hannah Willis. In the early 17th century, her predecessors had come from England to Massachusetts. Her paternal grandfather edited a Whig journal during the Revolutionary War, and her father published an anti-federalist organ, the Eastern Augus in Portland. A libel suit forced him back to Boston when Sara was a year old. There he started a printing business, and published one of America’s first religious newspapers, the British Recorder.


As a child, Fern’s witty personality earned her the nickname of “Sal Volatile.” She attended school in Hartford, Connecticut at the seminary of Catherine Beecher. When she returned to Boston, she often contributed to her father’s Youth Companion. She married a wealthy banker named Charles H. Eldredge in May, 187.Together they had three children, Mary in 18, Grace Harrington in 1840, and Ellen Willis in 1844. This seemingly wonderful time in her life was ended by tragedy; the death of her mother, daughter Mary, and husband in 1846.Unable to find work, Fern was forced to financially rely upon her father because the law held that once a woman was married, all her property was to be turned over to her husband, and now that her husband was dead she was left with nothing. Her second marriage in 184 to Samuel P. Farrington ended in divorce three years later. Fern had left Farrington which was almost impossible to do at this point in society.


At the times she was living in, it was believed that a woman’s place was in the home. Societal views held that women were to be the homemakers, while the occupations in the outside world were to be left to the men. “It was an age when women were preferred as angels rather than amazons, homemakers rather than careerists.” (Donald & Randall 1).





Once again on her own, she attempted teaching and sewing. However she made so little that she had to give up her daughter Grace. Fed up, she decided to ignore the “inferior” tag that society pinned on her, and join the male dominated world of journalism. She decided to write and used the pseudonym “Fanny Fern.” The Mother’s Assistant, the True Flag, and the Olive Branch, small Boston magazines, published some of her work in 1851. Before long, many newspapers reprinted these amusing paragraphs.


Her journalistic career now on its way, got the attention of publisher James C. Derby from Auburn, New York. He gathered her writings together and published them in 185 as Fern Leaves from Fanny’s Portfolio. It became an immediate bestseller in both America and England. Robert Bonner, owner of the New York Ledger, placed her on his payroll in 1855 at the astounding salary of $100 for a regular weekly column. This made her one of America’s first women columnists.


Having to live in a society like hers was difficult; such denials of equal opportunity gave rise to advocates of women’s rights. Fern, like other feminists spread the word of injustices to all who would listen through her powerful writings. She also wrote about the problems and status of female authors.


In “Hints to Young Wives,” Fern wittingly writes about the roles of women at her time


The minute she sees her husband coming up the street, she makes for the door, as if she hadn’t another minute to live, stands in the entry with her teeth chattering in her head till he gets all his coats and mufflers, and overshoes, and what-do-you-call-‘ems off, then chases round(like a cat in a fit) after the boot-jack;warms his slippers and puts ‘em on, and dislocates her wrist carving at the table for fear it will tire him.


She feels that women have been blindly led into a belief that their purpose on earth is to serve men. “Hints to Young Wives” is a typical newspaper article by Fanny Fern, published in the Boston Olive Branch in February of 185. This piece demonstrates the intimacy in which Fern speaks to her reader. Fern’s style is simple. She uses common diction and short sentences to mimic conversational tone. “Hints to Young Wives” is about a woman desperately trying to warn young wives about their sneaky husbands. I like this article because she uses humor to get her point across, instead of tearing up and pouting about the horrible situation.


In Blackwell’s Island No. , Fanny Fern touches on the taboo subject of prostitution. She warns the readers that the article maybe offensive to some but bluntly compares the roles of prostitute and Johns. Men may pursue sexual pleasures because they deserve that right. Women who serve those rights should be locked up and never thought of again.


The idea that mother’s introduce their very own daughters to future husbands, perpetuates the never ending chain of events-men have the right to cheat and pursue sexual pleasures. Fern touches on this same subject in Hints to Young Wives. In her time, mother’s had no greater pleasure than to marry their daughter to a respectable gentleman. These “respectable” males in turn deserve to gratify themselves outside of the marriage arena. Women considered prostitutes the lowest form of life and pretended that they didn’t exist. Prostitutes were on every corner in New York. Many had no other choice but to earn a living in this fashion. Men on the other hand, were not penalized for this behavior. Their sexual needs were part of their very being.


Men considered their lives monotonous, even though at the end of the day their shops are closed, and all day in work they conversed with adults. Women, on the hand, are always tending to family-never ‘closing shop’ at the end of the day. Should not a woman be able to pursue the same forms of excitement as a man?


Fern in her article also touches upon her religious views. God created humans equal in that everyone must follow the same Ten Commandments. She believes that the seventh commandment is meant to be followed by both men and women. Society has given men their stamp of approval to disregard God’s commandment. Society has dictated that men not only need these activities because they are physically different, but actually deserve to act out these behaviors because of their ‘lack of luster’ lives. When women work as prostitutes, not only are they breaking the laws of society and should be thrown in jail, but they are also breaking God’s laws and should be cast to hell for all eternity.


Fanny exposed the double standard of her times, but sadly enough most women also perpetuated females as not deserving life’s pleasures.


In Mrs. Adolph’s Smith Sporting, Fern comments on the shortcomings of males, in a delightful, comical, and well-written paragraph. She exposes the incapability of men to survive without women. At the same time it is clear that the woman is in charge, and has total control over the whole situation. Mother finds all missing items, feeds the family, tends to the ill, and fights the battle. Men can do one thing at a time while women perform many tasks.


Fanny’s commentary on prison life, Blackwell’s Island, differs from most of her essays in that its focus is on society’s punishment system rather than women’s role in society. This article enlightens the reader to the penal’s systems, and societies failure to serve those convicted of crimes. This seems like one of a few articles that does not paint women in need of liberation. Criminals are imprisoned for crimes and people feel they should be locked up. Fanny sees humanity in the faces of the prisoners. She questions just how people become involved in a life of crime. Is it the will of God or society? When a prison is struggling along, does society lend a helping hand? She speaks of housing (modern day half-way house??) and jobs being available. She believes that society has a duty to save itself. After serving their punishment, prisoners should not be branded as convicts, but blended back into society. She notes that society comes around passing out Bibles and shouting out God’s word, but offering no responsibility in the plight. It seems as though Fanny is a spokesperson for the mistreated beings in her society.


The article recites to the modern day reader that women in the 1800’s even Fanny, had a softer side. Women had the idea that institutions, jobs, and money would give criminals self respect. This self respect would deter them from committing crimes. This idea works for some but not for others.


Fanny again draws from some of her religious beliefs. Society should not condemn, but try to prevent further criminal acts.


In all, Fanny Fern was a woman ahead of her time. She saw the injustices of her society, took notes, and wasn’t afraid to share what she felt with the world. She was a brave woman who turned her life tragedies into a powerful force that kept her strong. She laughed in the faces of those who made it seem that women were inferior to men, and pulled the wool from the eyes of foolish women who believed that their only role in life was to serve men. She put the wheels in motion for women’s rights, and for that reason Fern has helped make the lives of women better today.





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T.Hussain � Witness


This report is a concise discussion of the tabulated results on the previous page.


The parts table shows the number of each type of crisp assembled, shipped, scrapped and rejected. It also shows that the average time taken to process a plain packet of crisps is longest whilst the average time taken to process a packet of cheesy crisps is shortest.


The Labor table shows the times that the Joe and Fred are busy or idle. It is evident that Fred is either a harder worker or his workload is considerably greater than Joe’s. Joe’s busy time is only %0.4! It also shows that Fred carries out much more work and the time taken to carry out that work is also longer.





The Buffer table shows that as parts move from B1 to B4, the parts held are reducing, however, the parts held at B5 and B6 are greater than the Buffer before them, this is due to a Bottleneck, which is Machine OP0.


We can also see from the Machine table that OP0 is idle for too long, the time taken for inventory to reach it is a lengthy process, but then also OP0 has to wait for a certain number of each of packet of crisp before it can begin processing family packs, Fred and Joe can help reduce this idle time by helping offloading tasks from the Buffers.


The conveyor length could also be reduced so parts can be processed at a faster rate, therefore increasing Output, without increasing labour time.


OP0 needs to wait for a certain number of non-bottleneck parts (different flavoured crisps) to arrive before it can make a family pack and ship any orders. I found this was a bottleneck after running the model for longer than the time suggested in the assignment (180mins/ hours). The inventory kept building up but the OP0 machine did not have the resources to process this inventory, which led to excess inventory piling up before the bottleneck, resulting in a very poor flow inventory throughout the model. I also noticed how the number of family packs was increasing steadily as more time was allowed, in other words the time taken to process a family pack became shorter each time, but this was only for a short period. After 180 mins, the output was only 1, but after allowing another 180 mins, the Output was 4! Watching the model run for approximately 15 hours, it became evident that the management of resources was very poor, especially when relating resources, i.e. excess inventory before the bottleneck (OP0). This may have been avoided with better flow of inventory throughout the model but the most obvious answer seems to be to share the workload of the bottleneck with Fred and Joe. Although Fred was busier than Joe, he was only busy for %1. of the time, which is not very much at all. They could take some responsibility for doing the same job as the OP0 manually, and therefore reduce inventory, increase Output and also decrease operating expense.





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Alfred Stieglitz is known as one of the greatest masters of photography. He photographed everything that he experienced and helped people see that art is a means of communication and expression. The way he saw an image was directly affected by his emotions at the time, and he learned how to manipulate the photographs to convey those emotions.


In the late 180s, Stielglitz recalled the painters he knew envied his medium because he could produce the same results as they could. However, they would not consider photography an art because it was machine-made.


Stieglitz worked editing the American Amateur Photographer from 18 to 186, when he founded Camera Notes, a camera club in New York. He edited for Camera Notes until 10. He exhibited work by several photographers, and established a gallery in 105. In 108, Stieglitz showed work by Matisse and some of Rodin’s drawings. His photographic vision had reached past photography and into all forms of art and expression. He exhibited work by Picasso, Georgia O’Keeffe, and some African sculpture as well. The diversity of the work he showed reflected his opinion that the newly emerging held much higher importance than repetition.


Alfred Stieglitz continued to exhibit other artists’ work as well as his own and worked with the Anderson Galleries and the Intimate Gallery, as well as An American Place. It was through these galleries that he shaped American modern art.





Stieglitz believed in true, original work and when asked if some of his prints could be reproduced he scoffed and explained that everything that makes his photographs what they are would be lost in a reproduction.





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Giorgio Armani is the one largest Italian designer group. Currently, they hold a billion dollars a year company in the fashion market. Their customers are mostly well-educated and wealthy individuals. Although they are doing pretty well with their current target market, it is not big enough to restore their lost market share. Their new target market will by Generation X (Armani Exchange). This segment is composed of 1% of total US population with annual disposable income of 15 billion per year.





TABLE OF CONTENTS


I. CURRENT MARKETING STRATEGY





A. INITIAL PURPOSE


B. CORE COMPETENCIES


C. CURRENT/POTENTIAL CUSTOMER/PRODUCT


D. KEY MARKET RESEARCH FINDING


II. PRODUCT FEATURES AND BENEFITS


A. PRODUCT POSITIONING


B. PRICING


C. CUSTOMER SERVICE


D. PROFITABILITY


E. DISTRIBUTION CHANNELS


F. IMAGE


G. PROMOTIONAL


III. S.W.O.T. ANALYSIS


A. KEY COMPETITORS


B. RELEVANT MACRO ENVIRONMENT


IV. SEGMENTATION, TARGETING, AND POSITIONING


I. SITUATION ANALYSIS & HISTORY


A. INITIAL PURPOSE


“Giorgio Armani began a free-lance design business in 170 with the encouragement of his close friend Sergio Galeotti, and established his own mens wear label in 174. He gradually adapted his designs for women and added the womens wear line in 175, in partnership with Galeotti.?(Krebs, 10-7)


B. CORE COMPETENCIES


There are many core competencies that Giorgio Armani possesses. Its main core competency is its bond with its customers. Being that it is the top Italian fashion designer promotes a strong positive image of its products, because of its product’s quality and the ability to design innovative features quickly.


C. CURRENT/POTENTIAL CUSTOMER/PRODUCT


Giorgio Armani offers a variety of fashion lines with high quality and both custom-made and prete-a-porter. The exclusive lines are


?Armani Alta Moda (haute couture)


?Borgonuovo 1


?Giorgio Armani


?Le Collezioni (diffusion), since 17


?Mani (diffusion)


?Emporio Armani (diffusion, younger customer, worldwide), since 184


?A/X Armani Exchange (basics, United States only)


?Giorgio Armani U.S.A. (lower priced)


?Armani Jeans


?Armani Neve (winter sportswear), since 16


?Armani Golf (sportswear), since 16


?Classico, since 16


D. KEY MARKET RESEARCH FINDINGS


Eg. There are many different types of Armani customers.


Median Age N years


Median household income $K


Median personal income $K


Male N%


Married N% (single N%, widowed /divorced N%)


Household with Children N%


College graduate or some college education N%


II. PRODUCT FEATURES AND BENEFITS


A. PRODUCT POSITIONING


Giorgio Armani’s products are highly positioned. As a high-end fashion group where high dividends come in at an extremely high cost, the wide line of products cover up all niches for the high-end target market.


B. PRICING


The price of Giorgio Armani is not cheap. The suggested retail prices range from about $100 to $100,000.


C. CUSTOMER SERVICE


The fashion shows are held throughout the world are not only for fashion magazines journalists to get together but for customers too. This also enables Armani executives to interact and get suggestion from customers to improve their products.


D. PROFITABILITY


Sales of the Armani-Group in 18 amounted to 540 billion Lira ($1574 million), up 1.4% from 1. Garments accounted for about 1700 billion Lira ($1054 million), and accessories for about 840 billion Lira ($50 million). In 001, the group sales, including sales from licensed products rose to about 500 billion Lira ($. billion). The Armani-Group also includes the Sportswear Company Simint, which handles all of Armanis informal lines. Armani himself holds 5% of the Simint assets. Simint was rated the best performing stock at the Milan exchange, with an annual increase of 1% with respect to the stock price. While Simint produces the Armani Jeans line, the Armani Junior label and the Emporio Armani mens wear, the Emporio womens clothes are produced by the Antinea (sales in 001 00 billion Lira), a 100% Armani offspring. Giorgio Armani S.p.A. develops the Armani labels. In 18, Giorgio Armani S.p.A. showed a 0% growth in sales to 10 billion Lira ($884 million), thus doubling its sales figures of 17. Two years later sales were at 10 billion Lira ($1180 million), increasing another 5% to 400 billion Lira ($1556 million) in 001. Pre-tax profits for the Giorgio Armani S.p.A. marked 650 billion Lira ($4 million). (Krebs, 10-0)


E. DISTRIBUTION CHANNELS


“The biggest export market for Armani is the United States, where Armani labels are sold at 1000 points of sale. In 15, Armani had 6 outlets carrying the exclusive Giorgio Armani and Borgonuovo-1 lines. Emporio Armani outlets numbered 11 in 15, with 54 in Italy and in Japan. This figure rose to 145 stores in 001 and is planned to be increased by 8 in the near future. A/X Armani Exchange used to be sold only in the United States. In 14, the A/X-stores were taken over by Club 1 USA, Inc., but continuously struggled to compete with lower-priced competitors like Banana Republic. Today, Armani intends to open up even more A/X-outlets, also introducing them to customers in Asia for the first time. (Krebs, 10-0)


“The first freestanding store for Giorgio Armani’s Mani by Giorgio Armani and Collezioni Giorgio Armani collections has been opened in London.?(Fallon, 11-10-01)


“Collezioni and Mani represent 7 percent of the company’s profits?(Fallon, 11-10-01)


“The London store is owned by Club 1, the retail empire of Christina Ong that owns the Emporio Armani and Giorgio Armani stores in the UK.?(Fallon, 11-10-01)


“The fundamental reason for the opening the Collezioni stores is that we wanted to present this collection of clothing and accessories for men and women together in its own unified space, he said. Collezioni customers are made up primarily of young professionals who often have little at hand to shop. Therefore a store that offers a big variety of compatible, high quality products obviously is very convenient for customers.?(Fallon, 11-10-01)


“The freestanding London store is at 4-44 New Bond Street, near to the new cK Calvin Klein store as well as the upcoming Versace Jeans Couture and Tommy Hilfiger stores. Other designer shops nearby include Polo Ralph Lauren, Emporio Armani and Ermenegildo Zegna.?= Donna Karan (Fallon, 11-10-01)


F. IMAGE


“Armanis fashions have set the tone for a global dressing down. In the corporate America of the late 0th century, he was perhaps the only man who could challenge dress-for-success guru John Molloy and win. And it is from the springboard of Armani designs that fashion will leap into the next century.


If French designer Gabrielle Chanel liberated women from stays and long dresses, it was Armani who offered them professional fashion equality without bending their gender.?Griffin, 5-5-00)


“What made Armani a star among designers was his unpadded, unstructured jacket. At a time when Italian men still were battling a stereotypical greasy image, Armani single-handedly cleaned up the look.?(Griffin, 5-5-00)


“After years of rummaging through 0th-century styles to turn out retro-inspired trends, fashion designers have run smack into the designs most women still have in their closets power suits.?(Griffin, -0-00)


“Now theyve taken a flying leap into the mid-180s, era of the career woman, with strong suits, high heels and pricey accessories.?(Griffin, -0-00)


“Women probably will not be able to recycle whats left in their closets from the 80s, however. Key changes, sometimes ever so slight, make all the difference in the look.?(Griffin, -0-00)


“Next, he translated the jacket for a womans body, then tossed it over easy skirts and trousers. It gave modern woman an alternative to uptight luncheon suits with peplums and stiff fabrics. While the shoulders, lapels, vents, fit, lengths, fabrics and closures _ all the design elements of the jacket _ have changed through the years, the words Armani jacket instantly conjure an image in the minds of the fashion cognoscenti.?(Griffin, 5-5-00)


“There are no warpaint, feathers or beads, but mens clothes tell everyone what tribe theyve in.?Teliga, -5-8)


“EMPORIO ARMANI The less expensive label of the Italian designer Giorgio Armani, renowned for his elegant soft tailoring and deconstruction of the stiff business suit. Colin Bertram, menswear manager, Emporio Armani?(Teliga, -5-8)


“The look For menswear its very straightforward, nothing overtly fashiony yet more body-conscious (this season). It is always Armani so it is always going to be understated.


The customer Anyone between 18 and 70 who is interested in fashion and style but wants to wear the clothes rather than the clothes wearing them. Tends to be an urban customer - advertising executives to merchant bankers.?(Teliga, -5-8)


G. PROMOTIONAL MATERIALS


“The crowning coup of his advertising strategy this sprung will be to underwrite the entire issue of Time Atlantic’s 75th anniversary edition, slated to hit newsstands March and reach more than 65000 readers in Europe, Africa and the Middle East.?(Forden, -0-8)


“This operation is in the Armani tradition of taking dominant or exclusive positions in key issues of important magazines.?(Forden, -0-8)


“Armani appeared on the cover of the magazine in April 18 and aha advertised there over the years to reach a broad readership, particularly men, who are mote difficult to target with traditional positions in fashion magazines.?(Forden, -0-8)


“The Time project is the kingpin in a veritable blitz of ventures across Europe in which Armani is the sole advertiser. Last fall, he took the entire section of The Sunday Times of London. In Italy last month, Armani appeared as the exclusive advertiser in weekly news magazine L’Espresso, Milan financial Il Sole 4 Ore, daily newspaper La Republicca and its weekly weekend magazine D. Armani bought an entire issue of Le Monde last month to the opening of the Emporio Armani boutique and caf?in the legendary Publicis drugstore site on Paris?Left bank.?(Forden, -0-8)


“Time has agreed to send the issue to a VIP list of some 10,000 people, including heads of state in Europe, the Middle East and Africa; chief executives officers of Fortune Global 500 companies; members of the European Parliament, and senior managers across Europe.?(Forden, -0-8)


At the 70th Academy Awards, “Armani dressed Matt Damon and Ben Affleck, Oscar winners for best original screenplay for Good Will Hunting.?(Williams, -5-8)


“Nabbing these two was clearly a coup for Armani. Affleck and Damon could be the Gen X’s version of Paul Newman and Robert Redford.?(Williams, -5-8)


II. S.W.O.T. ANALYSIS


STRENGTHS?Strong positive image of the product ? WEAKNESSES?Inability to access secondary markets.?


OPPORTUNITIES?Aiming for the smallest consumer segment of all- the individual? THREATS?Fashion industry is not a stable market. ?


A. KEY COMPETITORS


Giorgio Armani’s main competitors are Italian and French houses of design.


“He is known as a workaholic, who can sometimes be rude and arrogant. His dislike of fellow Italian designers Gianni Versace and Valentino has recently been suppressed for the benefit of the international press.?(Krebs, 10-7)


“The freestanding London store is at 4-44 New Bond Street, near to the new cK Calvin Klein store as well as the upcoming Versace Jeans Couture and Tommy Hilfiger stores. Other designer shops nearby include Polo Ralph Lauren, Emporio Armani and Ermenegildo Zegna.?= Donna Karan (Fallon, 11-10-7)


“In 14, the A/X-stores were taken over by Club 1 USA, Inc., but continuously struggled to compete with lower-priced competitors like Banana Republic.?(Fallon, 11-10-7)


B. RELEVANT MACRO ENVIRONMENT


“Price has become important in the 17 Italian fashion market. The Italian lira is at a 0% high rate because of its re-entry in Europe’s Exchange Rate Mechanism. Italian consumers have also become value conscious and fashion designers Giorgio Armani and Gianfranco Ferre plan to decrease their prices accordingly. Armani will decrease prices 10% to 0%.?Conti, 1-1-6)


?Italy and the EU partners agreed last month to fix the lira at 0 against the mark ?a rate that is still competitive, but not as much as before?The French, who had lobbied in Brussels last month for an even stronger lira, said their Italian competitors had an unfair edge when it came to exports.?(Conti, 1-1-6)


“In fact, some fashion houses are looking at the bright side of the new lira. Imports such as leather, cotton and silk will cost less, companies will no longer have to play a guessing game about the lira’s exchange rate when they fix their prices for the next year, and the Italian economy as a whole will be perceived as more stable.?(Conti, 1-1-6)


?EU nations taking part in the European Monetary Union, scheduled for Jan. 1, 1.?(Conti, 1-1-6)


IV. SEGMENTATION, TARGETING AND POSITIONING


MISSION


Eg. Giorgio Armani’s mission is to build a trusting relationship with its business partners.


MARKETING GOALS CONSISTENT WITH MISSION


Eg. The main marketing goal of Giorgio Armani is spreading. In order to support their mission, they need to achieve the following satisfy customer desires, strengthen their relationships with customers, and improve the quality of their designs as well as keeping up with the increasing demand.


“With a group of well-diversified customers, Giorgio Armani has a highly differentiated market segment. Each product is designed according to the needs and desire of their customers, in order to fit them within their segments.


Armani wants to expand the number of his stores significantly. Most visibly, he opened up two huge flagship stores in New York City on Madison Avenue, one for the top line and one for Emporio Armani. Armani seemingly pursues the establishment of a lifestyle brand Armani. This movement is reflected in the various attempts to offer a wide variety of products under the Armani-label. Such as the in 16 introduced Armani Neve winter sportswear line, the Armani Golf sportswear line (both produced previously by Skinea and now by Simint), and the introduction of custom-made bridal gowns, as part of the Borgonuovo-1 line. Also, Classico, a new luxurious and costly line for men and women will be introduced. Here, Armani wants to offer modern interpretations of classic designs. In addition, Armani sells a wide range of home accessories under the Emporio Armani-label. In 17, the first Armani Jeans store in Rome, Italy also included a Armani book shop, selling publications about various artistic subjects, like fashion and photography.?(Krebs, 10-7)


“Top Italian fashion houses plan to expand sales and distribution by moving into secondary markets outside of the key fashion centers. Giorgio Armani and Versace, for example, plan to open boutiques in cities to sell toned-down fashions priced 0% to 40% less than their top lines.?Forden, -4-8)


“Many of Italy’s major apparel houses are working on ways to further penetrate their traditional markets in Europe and the US by moving into secondary cities.?(Forden, -4-8)


“It also means they can achieve a more capillary penetration in areas where the top collection can’t go.?(Forden, -4-8)


PRICING


Eg. When considering what pricing strategy to use, there were several steps that needed to be followed in order to come up with a price that would satisfy both the target market and Armani itself. When identifying pricing constrains, I took into consideration that there is an increasing demand for Armani cloths.


DISTRIBUTION


Eg. Giorgio Armani has an indirect channel distribution where licensed dealers act as the intermediary between the manufacturer and its customers.


PROMOTION


Traditionally, Giorgio Armani has somewhat only used traditional advertising to market their lines. This would reach only a selected group of customers, mainly those who are very enthusiastic about fashion. The goal is to target a whole new segment of possible fashion enthusiasts, Generation X. To do this they need to change the way they have been advertising their products.


Armani has rarely used television and radio for promoting their products. I agree in continuing with that concept, to an extent. In targeting the generation X, they need to find a medium which the Xers use frequently. Television is the biggest medium for this group. However because Armani should not lose their mysterious image, they should not use commercials. Instead they should use a more “slick?way. I thought about using prime stars from TV shows such as “Friends? “Seinfield? and “ER?those that generation X watches, to project the “ideal?Armani image. The popularity of the shows and the role that these shows play in shaping the lives of people is tremendous. Xers identify themselves with the people that they see on television. The actors have made certain hairstyles popular, and even the type of clothes they wear popular. Therefore, by having the cast wearing their designs in the shows, should encourage Xers to want to own a Harley too.


The other medium is magazines. The magazines that I would use to target this segment are Sports Illustrated, GQ, Cosmopolitan, Esquire, Business Week and so on.


BIBLIOGRAPHY


Krebs, Jost Giorgio Armani. Hyper Fashion - October 17 Ed. http//www.unibw-muenchen.de/campus/WOW/v1041/hyper/armani.html


Conti, Samantha GFT license for Armani women’s lines not settled. WWD - April , 17. v17 n78 p17 (1)


Daily News Record, Armani, GFT weigh name change for NY-based unit.- Sara Gay Forden, July 16th , 17. v7 n85 p15 (1)


WWD, Armani, GFT weigh new name for Giorgio Armani Fashion Corp.-Sara Gay Forden, July 15th, 17. v174 n10 p1(1)


WWD, It’s time for Armani ad blitz.- Sara Gay Forden, Feb. 0th, 18. v175 n p1(1).


Daily News Record, New Sunshine Boys, The, Stan Williams.-March 5, 18. n6 p8 (1)


Houston Chronicle, Accent Armani The man behind the jacket, Linda GillanGriffin. May 5,17. p.


Houston Chronicle, Welcome back WONDER WOMAN.-Linda Gillan Griffin. March 0, 7. p1


Sydney Morning Herald. Tribes Man. Jane De Teliga. Feb.5, 7. p1


WWD. Italian’s far-reaching plans.-Sara Gay Forden. Feb. 4, 18. v175 n5 p4B


Daily News Record London store sets new marketing direction for Armani; first freestanding unit for Collezioni and Mani collections. James Fallon. Nov. 10, 17. V7 n15 p


WWD Italian fashion houses beset by higher lira, tight-fisted shopper. Samantha Conti, Dec. 1, 16. v17 n1 p1.


C. HISTORY


Late events “Giorgio Armani Fashion Corp (Armani USA) is entirely controlled by GFT, as well as the overseas distribution of the men’s and women’s diffusion collections, Giorgio Armani Le Collezioni, and the men’s bridge line, Mani.?(Forden, 7-16-7)


“Turin based GFT, also manufactures for Valentino, Calvin Klein, Emanuel Ungaro, Joseph Abboud and Nino Cerruti, among others.?(Forden, 7-16-7)


“The Giorgio Armani business represents around $64 million of GFT’s total sales. GFT’s US Armani business totals around $185 million.?(Forden, 7-15-7)


“Talks of the change comes when the industry is rife with speculation over the future of Armani’s women’s license with GFT, which has been up for renewal since March 17.?(Forden, 7-15-7) As rumors indicate, “Armani was beefing up capacity at Antinea, his directly owned manufacturer. The facility currently produces the Emporio Armani collection and there is speculation that it could also take on production of the women’s diffusion collection next year.?(Forden, 7-15-7)


“GFT managing director, .., announced the formation of Gruppo Industriale Marzotto, which will be GFT’s new parent company.?(Conti, 4--7)


GIM (Gruppo Industiale Marotto), was “created from the fusion of HPI - - an industrial holding that contains GFT and Fila - - and Marotto.?(Conti, 4--7)


“Armani is GFT’s most important licensee.?(Conti, 4--7)


“The main Armani lines are produced by Italys largest manufacturer of designer garments, Gruppo GFT. Armani garments account for about 0% of GFT sales and are therefore GFTs most important license. In 14, Armani tried to take over GFT with the help of American investors, presumably to help out Armanis sportswear affiliate, Simint, which had gotten into financial trouble at the time. Simint is now recovering, after cutting its staff, changing its distribution structure, and concentrating its production in Italy. An economic turnaround could be achieved, which resulted in 15/16 in sales of 55 billion Lira ($160 million) and turning a loss of 4 billion Lira ($16 million) in the previous year to a net profit 5.4 billion Lira ($.5 million). Sales for the fiscal year 16/17 are expected to be 180 billion Lira ($117 million). Armani is said to be interested in expanding his own production capabilities. For that purpose, Armani is expected either to shift the production of his main lines from GFT to Simint or Antinea or he might take over stock from GFT, who are expected to make such an offer in order to keep their most profitable client.?(Krebs, 10-7)





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Henrik (Johan) Ibsen (188-106) was born at Skien, a small lumbering town of southern Norway. His father was a well-known general merchant in the community until 186, when he suffered the horrible disgrace of going bankrupt.(Ibsen, 8) As a result, he sank into more debt and the family suffered. There was no redeeming the family misfortunes; as soon as he could, aged just 15, Henrik moved to Grimstad. It was there that he began to write. He supported himself meagerly as an apothecarys apprentice while studying nights for admission to the university. As he waited patiently he began to write plays. It was from this first writing that he began a career that would carry him through the nineteenth century and into today.


Writers are often called names. Some of these names aren’t so nice. To be called “the father” of something can only mean that you must have what it takes in your writing to define the very term that you are being associated with. Joan Gassner has decided that Henrik Ibsen is “the father of modern drama”.(Gassner, 1) But is this title worthy? What is it about Ibsen’s work that seems to fit so well into this mold? Also, why is Ibsen so closely tied to realism? These are questions that I hope to answer in the following text. So to begin, we must first define what is realism?


From 185 to 100 most of the plays that were being produced were melodramas, spectacle plays, comic operas and vaudevilles. (Wilson, 7). The theatre was alive and well and was taking many different forms. And then something happened. Charles Darwin published The Origin of Species in 185 and began to stir up the scientific community. Darwin believed that people were controlled by heredity and environment and that most of human behavior was out of our control. For the first time people were beginning question the origins of man. There were more questions than answers. August Comte, a prominent sociologist developed a theory known as Positivism, which was based on cause and effect. This was another principle that had not really been looked upon at the time. This was beginning to influence those people in the philosophy community. Karl Marx was teaching a new brand of political philosophy that stressed equality in wealth. The atmosphere was just right for a new kind of theatre.


Realism, in its most basic form, attempts to create the illusion of everyday life onstage (Wilson, 7). Even thought the audience knows that they are watching a play, the actors onstage present a very pure form of theatre. There are actions and reactions that create a cause and effect relationship between the characters. It’s not abstract or absurd, but very linear and scientific. It may seem to some that all theatre is real, but this is was not the case at the time. Melodramas and spectacle plays were “bigger than life” and therefore were not very realistic. This was a new era for theatre and Henrik Ibsen used this principle in most of his work. There were other writers that used realism at the time.





Emile Augier(180-188) wrote plays about contemporary conditions and Alexandre Dumas fils was writing “thesis plays” about some of the social problems at the time. Ibsen is recognized as a pillar of the realism movement because every one of his plays is a model to some degree of realism.(Johnston, )


In 1881 he wrote Ghosts which deals with the sins of the father that are transferred to the son in the form of syphilis. This was the first time that such a secretive subject had been presented to the public. Pillars of Society deals with the concept of war and business, and A Doll’s House the main female character leaves her family at the end of the play to pursue a new life. All of these plays deal with human nature and contemporary theatre students often analyze their content. They offer us a glimpse of the very reality that became a halmark of Ibsens work.


One of the most important differences from Ibsens plays and the plays that proceeded him was the way that Ibsen treated the inner “secret lives” of some of the characters. (Ibsen, 11). The effects that Ibsen created were not based on most of the ordinary dramatic action. Ibsen wanted to expose the secret inner lives of the characters. He wanted the audience to see the very things that are often hidden by people in everyday life. One critic wrote that Ibsens work is a “drama of the mind”(Ibsen, 1) Much like an iceberg, the largest portion of the story remains unseen by the naked eye. You have to dig really deep to get all the meaning that is found in an Ibsen play. Everything has a story that needs to be told. Ibsen felt that the actors must sustain a consistent, unbroken line of thought. This makes some of his plays seem very intense. The characters are very focused. Stanislavski would of agreed to the acting style that Ibsen preferred for his actors. He felt they should mirror the actions of humans and should create the illusion of reality on the stage.


One of Ibsen’s best examples of realism is in the play A Doll’s House. Even the title of the play gives us an example of some of the symbolism that he used throughout his work. There weren’t many things that Ibsen found worthy of imitation.(Lebowitz, ) In A Doll’s House Ibsen shows the audience the spiritual awakening of Torvald, the husband and Nora his wife. Both of the characters live in a false reality. Everything in the first scene seems perfect. The way they talk to one another and there actions tell the story of the perfect couple. As the play moves forward we begin to see that although Nora seems to have it all, in reality she is not happy with her situation. She is a woman that is trapped in this doll’s house that her husband has created. There is a lot of shock value in the last scene. Nora says goodbye to her family and all she has known and leaves the “Doll’s House”. Audiences at the time were so shocked that they erupted at the end of the play (Goldman,15). It is not as shocking now, but at the time it was just unheard of for a woman to leave her family. This play represents many different facets of realism. It is a tribute to all that is wrong with some relationships. What makes the play work is the dialog. You learn a great deal about the two main characters from the things that they say. There is nothing new about the problems that are presented, but it was new to present them so openly. There is a definite cause and effect relationship in most of Ibsens work. A problem is presented and worked through.


Ghosts also caused quit a bit of furor. There was much criticism at the initial presentation in 181. On critic called the piece “an open drain; a loathsome sore unbandaged; a dirty act done publicly”. And more attacks came even years after the play was produced. Why did Ibsen’s plays create so much controversy? What about his work made people stand up and yell?


Ibsen was very open about how he wrote. He repeatedly spoke of his main purpose in writing dramatic dialog was to make it “completely faithful and realistic” (Ibsen, 0) This is what made Ibsen’s work seem so shocking. Ibsen tended to start with a theoretical problem or a theme. After this he would begin to shape the raw material into actions and visual symbolism. His characters are very gritty and I think that he showed us what was behind some of the masks that we wear in everyday life. Perhaps people at the time were just not ready to see what they already knew existed. Life is not one big happy play, and although we all may play a part, the story is often a tragedy.


Drama is “ a series of real events having dramatic unity and interest.” It also means to do or to act. In a dramatic piece the characters are interacting with each other as they work towards developing the plot. There are also many different types of dramas. Man versus nature. Man versus himself. Good versus evil. With a good drama the audience suspends their disbelief and the true magic of theatre happens. Henrik Ibsen was great in writing this kind of drama. His characters are full of life and vitality. The words seem to bring the characters to life and the problems seem very real.


Ibsen wrote An Enemy of the People as a direct response to some of the critisims that he had recieved from Ghosts. (Ibsen, ) In a letter to his publisher he wrote “I have enjoyed writing this play...” An Enemy of the People has always been one of his more popular plays and often finds it’s way into the readings in college theatre classes. It was immediately produced in Scandinavia and Germany. It has also remained very popular in England. It is another tale of lies and deceit and how they play a part in our everyday lives.


The Wild Duck was produced in 1884 and it illustrates many of the techniques used by Ibsen. It was a reproduction of the actions of middle and lower class people. Once again Ibsen turned for the common man for entertainment. Ibsen, in the dialog, abandoned some of his older asides and soliloquies. Instead the characters reveal themselves as they would in life with indirect statements (Brockett, 15). As Ibsen got older he used this technique more and more. He liked The Wild Duck and in a letter to his publisher Ibsen wrote “For the last four months I have worked at it every day and it is not without a certain feeling of regret that I part from it.” This has remained one of theatre student’s favorite plays.


In Rosmersholm, Ibsens next play, her created one of the most provocative and dramatic female characters-Rebekka West. The play is packed with hidden forces, statements and shadowy characters that seem to shift before our eyes (Ibsen, 0). It also has a lot of meaning in it. Like most of Ibsen’s plays there are undertones, lies, and exposure. Some critics have compared it to Macbeth because of its structure. It was also popular at the time of its release.


Ibsen went on to produce The Lady from the Sea, Hedda Gabler, and The Master Builder. Of these three plays many believe The Master Builder to be the most timeless. IT could have been produced 50 years ago or ten. When he was writing this play he was just getting over an Austrian girl that he had spent a year with. There is also a great deal of Ibsen himself in the character Solness,. This was his most autobiographical writings and you can learn a lot about Ibsen just by listening to the characters in this play.


Like all great artists, Ibsen was a man with a thousand faces. He was very complex and although a lot of people knew him, only his wife understood him fully. He had as many secrets as some of his finest characters. In a speech to students at Oslo in 1874 Ibsen made a very important and revealing statement “All I have written...I have mentally lived through. Partly I have written on that which only by glimpses, and at my best moments I have felt stirring vividly within me as something great and beautiful.” (Ibsen, 1)


Ibsen’s work is great and it is beautiful. He produced a total of 1 plays during his lifetime. He should be known as the “father of realism”. His work in this field and his approach to theatre mirror the very essence of this art form.


In realism, as discussed earlier, the artist attempts to create “the illusion of everyday life onstage”. Ibsen’s plays do this and they do it in a way that is natural. From A Doll’s House to An Enemy of the People Ibsen explores those inner secrets and the hidden desires of characters. The plays reveal the more secretive side to life. If Darwin stirred up the scientific community by asking them to change there perception of humanity then Ibsen did the same with the artistic community. Positivism was teaching a cause and effect relationship and Ibsen was showing it onstage. Marx was preaching about equality in wealth and Ibsen was showing us the lower and middle classes. I feel that Ibsen used realism to create the illusion of reality. Because reality is so harsh we have to understand that it is only a play, but we are left to ponder the difference between our own lives and the characters on stage. This is what realism is all about. It makes us ask ourselves what is the true drama in life. Why is fact stranger then fiction? Why do people enjoy watching other people so much?


Ibsen answered all of these questions at some time or another in his work and we have him to thank for his contribution. Although Henrik Ibsen was never fully appreciated during his lifetime, he has since come to be recognized as one of the great dramatists of all time and the Father of Modern Drama. His plays will continue to find their ways into the hands of young theatre students and teachers a like. His work will live on and continues to thrive in theatres across the country.


Works Cited


Ibsen, Henrik. Eight Plays by Henrik Ibsen. Trans. Eva Le Gallienne. New York Modern Library, 151.


Wilson, Edwin. Living Theater An Introduction to Theater History. New York McGraw-Hill, 18.


Brockett, Oscar G. Plays for the Theatre. Second Ed. New York Holt, Rinehart and Winston, Inc., 174


Lyons, Charles R. Critical Essays on Henrik Ibsen. Boston G. K. Hall, 187.


Lebowitz, Naomi. Ibsen and the Great World. London Louisiana State Press, 10.


Goldman, Michael. Ibsen The Dramaturgy of Fear. New York Columbia University Press, 1.


Johnston, Brian. Realism and A Doll’s House. Retreaved May 8th from http//ibsenvoyages.com.00


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Creating and Sustaining a Healthy Organizational Culture


All organizations have a work culture made up of unspoken values, customs, and practices. To run an effective business, a healthy organizational culture is necessary for the leadership to ensure everyone knows he or she is running a healthy organization. Leaders know the importance of the workplace culture and to successfully guide one, they must issue a written statement of the core values and policies and procedures to deal with specific instructions how the work is to be done, that convey the company’s vision. At “You Name It,” the corporate values are to operate in accordance with the highest standards in all relationships with customers, suppliers, environment, and the community (Dessler, 00).


There are two different leadership styles our company has chosen with the goal to create a healthy organizational culture. The styles of leadership are task-centered and considerate. Task oriented emphasis to employees the need to understand what is expected and how their contribution fits into the company’s goal of servicing our customers effectively. Considerate leaders develop trust, build teamwork, and help employees with problems. Combining both styles will keep us focused on our goal in offering excellent service to the clients and at the same time allow latitude without loosing focus of the organization’s values (Dessler, 00).


Leaders influence the workplace culture by the shadow they cast; who they are and how they behave speaks louder than words. To sustain the right corporate culture the leaders must reflect the company’s values, and set the standards because healthy organizations attract productive employees, and productive employees help build a successful organization (Dessler, 00).





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Critical Opinion of The Eve Of St.Agnes by John Keats Louise Acker, 1AY


Keats was born in the time of the Romantics, and as such his inspiration originated from such long-forgotten myths as King Arthur and Robin Hood. Keats also celebrated the gothic, the imaginative and the strange; inspired by Medievalism itself. This celebration can be seen very clearly in The Eve of St. Agnes, which plays with ideas of Romantic and courtly love, myths and Arthurian tales, as Keats sets up his (some would say somewhat unoriginal) chivalric narrative.


For his subject Keats chose the Eve of St. Agnes, which is still celebrated today. On the twentieth of January, the pure ‘Brides of St. Agnes’ will fall asleep before midnight and hope to wake in the morning beside the love of their life. Some critics would say that Keats is using excessive language and metaphors without purpose to mock this legend, however I believe that to come up with such emotive and powerful descriptions as


‘And still she slept an azure-lidded sleep,





In blanched linen, smooth, and lavendar’d’,


and such expressive imagery as


‘A cloth of woven crimson, gold, and jet’,


Keats must have believed in his cause.


The mood of the poem changes throughout, progressing and moving with the current theme and plotline. I think this is necessary to keep a momentum going as, basically, the poem would otherwise seem to crawl into nothing.


In the first stanza all the reader’s senses are aroused ‘bitter chill’ and ‘numb’ for touch, ‘silent’ for hearing, ‘sweet’ and ‘frosted breath’ for taste, ‘pious incense’ for smell and ‘Virgin’s picture’ appeals to the sight. By overloading the reader with these stimuli, Keats creates a sensuous and deep feel to the poem even within the first stanza. The tone is religious and negative, emphasised by the slow pace of the verse and the unhappy language


‘chill’, ‘a-cold’, ‘frozen grass’, ‘limp’d’ (also an inference to death, showing that Keats’s distraction of mortality cannot be held back for long). The language is archaic (‘was a-cold’) and Keats had used a punchy pause and exclamation mark in the first line to emphasise the extent of the cold and the importance of the date


‘St. Agnes’ Eve � Ah, bitter chill it was!’


Sibilance is also used here to create a soft, quiet and negative atmosphere, with words like ‘silent’, ‘grass’, ‘pious incense’ and ‘censer’. In a way this prepares the reader for what is to come and negates the expectation that this poem ends happily. The title and the references to religion such as ‘pious’, ‘rosary’, ‘beadsman’, ‘holy’ and ‘incense’ introduce us to what feels like the religion of love, which will unfold later between the young lovers. By comparing their attachment to a religion Keats seems to be doing a number of things it is as though love is a never-ending cycle, and that, whether good or bad, its ending is inevitable; that love is about faith; that love is a tradition and a myth, a perfect place such as Heaven, but somewhere unreachable and transcendent. It suggest further that rituals are involved (the fruit on the table and her actions later on in preparation), that this is a necessary thing, and that you can cling to love, like a religion. Keats also appears to criticise religion as it is through following the religion of love that Madeline finds disappointment, heartache and ruin.


The next stanza continues the downbeat steps of the old Beadsman, again using sibilance to emphasise slowness, and talking about a crypt like he is in Hell and cannot escape, that the rails are ‘purgatorial’. It also mentions the statues and that he is praying ‘in dumb orat’ries’ to people that will never hear him. This presents the man’s life as pointless, like he no longer has purpose and cannot help his fate. Such a depressing idea is reflective of Keats’s obsession with his own death.


In the third stanza there is a sudden change of atmosphere; the poem becomes lively and colourful, full of energy, with bright language like ‘Music’s golden tongue’, ‘scarce three steps’ and the use of ‘rung’ and ‘sung’ instead of the present tense, which would have much less of an impact. This mood brings hope that is soon dashed with the lines


‘Another way he went, and soon among


Rough ashes sat he for his soul’s reprieve.’


This again reflects the main theme of the poem that life, hope and dreams are short-lived and that in the end death will prevail.


Further on in the poem we see the arrival of youth


‘At length burst in the argent revelry,


With plume, tiara and all rich array’.


These descriptive lines contrast the earlier image of the slow and weak old man with ideas of beauty, youth and richness. The excitement of this builds up throughout the poem; Keats uses manipulation of language such as ‘honey’d middle of the night’, ‘couch’ as a verb and ‘adorings’ as a noun, twisting the rules of English to create more of an effect and bring attention to the sensuality and sexuality of the poem.


‘The Eve of St. Agnes’ is indeed highly charged with erotic undertones such as ‘honey’d’,


‘Anxious her lips’and ‘her breath quick and short’. Tension within this sexuality is built up with phrases like


‘So, purposing each moment to retire,


She linger’d still.’,


‘The lover’s endless minutes slowly pass’d’,


‘She clos’d the door, she panted all akin’.


The other way tension is achieved is that from the tenth stanza through to the nineteenth, Keats concentrates on the actions of the old dame and Porphyro, creating an intensely electric air and allowing the reader to truly feel his frustration. Added to this build-up is Porphyro’s heroic crossing of the rough grounds ‘across the moors’, arriving in true romance and more strongly in love with Madeline than ever


‘with heart on fire’.


This means that Porphyro’s final meeting with his lady is all the more important, and that her undressing becomes all the more painful and sexually charged.


The moments when Madeline removes her clothes slowly and with care are a key point in the poem in my opinion. For me, Keats’s writing here is intense; the words are delicate and beautifully placed, the extent of Porphyro’s admiration is utterly complete, the lady is innocent and pure, the entire scene is exploding with sexual tension on his part and yet he will make no move


‘silken, hushed and chaste’,


‘And threw warm gules on Madeline’s fair breast’,


‘Rose-bloom fell on her hands’,


‘She seem’d a splendid angel, newly drest’.


Also there is the description of the window overlooking


‘blushing with blood of queens and kings’.


These are beautiful examples of Keats’s passionate writing and careful eroticism, and make up the perfect conditions for this engagement of the couple in courtly love.


Porphyro then sets up a table and fills it with exotic fruits for Madeline. These act as a symbol of their mutual ripeness, fertility and sensuality, and are also reminiscent of a religious feast such as The Last Supper in Christianity. This seems to suggest that their ‘religion of love’ will soon come to an end, and that this is their last feast whilst still virgins. It adds to a number of hints from Keats that sex will end your life.


Their have been many different opinions as to where exactly in the poem the actual sexual act takes place; Keats wanted to change a stanza to make the consummation more clear, but his publishers preferred the more subtle approach. In the poem now, the scene becomes that of the window instead of them directly, discretely covering up the act to retain the romance of the poem as well as contrasting the harsh outside world of reality with their safe dream world.


However I believe that the actual act is somehow unimportant; it is the inevitability of the consummation that seams to matter, and her reaction to his presence. She wakes and is deeply disappointed; her dreams have been dashed because he is not what she has hoped for


‘At which fair Madeline began to weep,


And moan forth witless words with many a sigh’.


The atmosphere is so negative here, heavy and relentless, with depressing words and long, quiet sounds such as ‘sigh’, ‘eye’ and references to entrapment as well as the mutability of beauty and youth with words like ‘keep’ and ‘joined’.


Suddenly the two become unreal, the speed slows down, the tone is woeful and the sibilance becomes somehow pessimistic (‘witless words’), when contrasted with the harsher, more stark and metallic consonants such as ‘pallid, chill and drear!’, ‘dark’ and ‘iced gusts’. Keats also mentions a ‘chain-droop’d lamp’ and ‘horsemen, hawk and hound’ to insinuate that they are being hunted by time. However they are not constrained by reality in the end, they are ‘phantoms’, all part of one Beadsman’s gloomy dreams


‘And they are gone’.


The last rhyming couplet sums up the hopelessness and predestination of the lovers, hitting the reader hard to hammer home the message


‘The Beadsman...told,


For aye…his ashes cold.’


The Beadsman’s death is cold and self-denying, which contrasts with the warmth of the poem to be found in its middle parts and creates a picture of doom. It seems that the only way to escape this doom is to live in a dream such as Madeline’s and to experience perfection through fantasy.


I have read some criticisms that Keats wrote this poem ‘to experiment with a specific rhyme-scheme’. It is true that the poem is structured very carefully in Spenserian stanzas (consisting of nine lines, using an ABABBCBCC rhyme-scheme). In my opinion Keats has used this strict formation as a sort of outer coating to his poem, to contain his expressive, colourful words; without such a structure the emotion could burst out of control.





There are many words and phrases in this poem that even I, in my small knowledge of Shakespeare, can recognise from that famous playwright the repeated suggestions of fairies, charms and spells such as ‘pale enchantment held her sleepy-eyed’, ‘moonshine’, ‘seraph’ and ‘charm’; the inferences of ‘Romeo and Juliet’ in that there is a young and handsome boy who engages in courtly love with the girl of his dreams, in that her family obviously dislike him


‘All eyes by muffled, or a hundred swords


Will storm his heart’, and


‘…not one breast affords


Him any mercy, in that mansion foul’,


and even in the small detail of the dame, who, just as the nurse in ‘Romeo and Juliet’, is the only woman who will tolerate him. This sort of unmistakable plagiarism seems to send columnists diving for their keyboards, although Shakespeare himself did borrow from those before him and, in any case, Keats has never kept to Shakespeare’s words but has twisted the tale; in Keats’s poem the lady is disappointed with her lover


‘How chang’d thou art! how pallid, cold and drear!’.


I have read opinions saying that this variation may have been a deliberate cover-up of Keats’s ‘eclectic borrowing’ of Shakespeare’s story; to me this opinion is too shallow and superficial for Keats. I believe the poet has used the change to emphasise that nothing can be everlasting, that everything, even the greatest literary works and the best romances, is mutable. Keats was obsessed by his own mortality from an early age and wanted to write a poem so amazing that it would defy death for him. I think that in recalling themes from Shakespeare, King Arthur and so on Keats is allowing those great myths and writers of the past a chance at morality, as if hoping that some day his work will too be re-iterated at least, if not treasured.


In ‘John Keats � A Beginner’s Guide’, David Edwards writes


‘…his best poetry explores the fine lines between dream and reality, the ideal and the actual, tempering an aptly adolescent intensity with a cool distanced self-awareness’.


This completely describes how I look at the story of ‘The Eve Of St. Agnes’ and is, in my opinion, an extremely tight and insightful comment on the poet. In this poem the adolescents are the young Porphyro and his Madeline. When describing Madeline, Keats uses exquisite language full of fruitfulness, beauty and richness, and Porphyro always comes over as gallant and romantic. This is fitting for the poem, neatly obeying the criteria of courtly love.


Although I feel drawn to the dreamy romanticism in ‘The Eve Of St. Agnes’, when I look at


the poem overall I see it as a pessimistic view on life, based around the idea of fate that you cannot affect, dreams that you cannot keep and ideals that are no longer valid; it is a poem that reaffirms the mutability of life, for me. However the language is deeply sensuous, the atmosphere is intoxicating and the poem in itself is generally pleasing, until broken down into its hard message and echo of mortality.





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