Discuss Yeats’ changing attitude to ‘Romantic Ireland’

It is one of the dualities in Yeats' work that a poet renowned for the universal forlorn love lyric should be so inextricably bound to the particular identity, struggle and destiny of the Irish nation. However, on closer examination, Yeats' poetic style proves that seeming paradox is easily explained when the true nature of Yeats' idealism is taken into account. This essay shall argue the apparent political revolutionary commitment seen in the 1910's was something of an aberration, in a transitional period of his career. To locate this transition, it is necessary to start at the beginning and end of his life, and work inwards, tracing the changing portrayal of Ireland in his verse. The early Yeats was part of a strong Romantic tradition. Its liking for the emotional authenticity of folk-lore found a ready place in Yeats' work, as he exploited the rich Irish mythological tradition: his long narrative works all date from this first stage. The first collection uses the ballad form frequently, and the simplicity of poems like ‘To An Isle in the Water' – â€Å"shy one, shy one/ shy one of my heart / she moves in the firelight† – recalls traditional Irish poetry. Perhaps archetypal of Yeats' early romantic pieces is ‘To The Rose Upon The Rood Of Time'. His treatment of Ireland and formal technique come together under the auspices of traditional Romanticism: he is unapologetic about drawing from â€Å"Old Eire and the ancient ways.† The poem is populated by mythic and shadowy figures from Ireland's Gaelic past: the warrior-king Cuchulain, a druid, and Fergus, sometime King of Ulster. Despite coming from an Irish Protestant family, Yeats still paints Ireland as a Celtic idyll, and evokes it using traditional Romantic imagery – stars, the sea, woodlands, flowers. The use of the rose as a motif throughout his early work is indebted not only to the Order of the Golden Dawn, but to Blake in particular. Both shared a mystical tendency beyond Christianity echoed by Yeats' own wish to be a seer-poet in the Irish tradition: the keeper of the narrative of identity. Formally and technically, it shows the clear legacy of Romanticism too. The opening line, in solid iambic pentameter, runs as a stylized invocation – a common technique of traditional lyrical verse. The repetitions echo prayer, further intensifying the spiritual dimension of the piece. The vocabulary, whilst not necessarily archaic, is certainly that of traditional poetic diction: â€Å"thine†, â€Å"whereof†, â€Å"boughs.† There is a similar stylization in the syntax – â€Å"I would, before my time to go† – and personification of â€Å"eternal beauty wandering on her way.† This phase of his poetry, known as the ‘Celtic twilight' period, is rich in similar poems; their keynote being Irish themes and myth married to Romantic style and concerns such as unrequited love, heroism and mystical union with nature. Other pieces which use Irish mythology are â€Å"The Hosting of the Sidhe', ‘The Song of Wandering Aengus', but the idea of a Celtic idyll (derived from the Romantic's radical reshaping of pastoral idealism) runs throughout. This early work is a strong contrast to his final collections, some three or four decades later. It is impossible to characterise such an extensive body of poetry with few examples, but the progression is distinctive. His cultural frame of reference seems far wider, drawing on such diverse sources as: â€Å"a Quattrocento painter's throng / A thoughtless image of Mantegna's thought†[1] to the famous symbolism of Byzantium, representing imaginative unity and the highest form of culture. Formally, the uniform elegiac tone of the early verse (broken only by simple ballads and refrains) is replaced by much greater variety. Yeats' background in theatre comes through in many pieces relying on the dialogue form. There are also the unique and iconoclastic ‘Crazy Jane' poems, as well as series of lyrics and fragments of a few lines. The tone is far less stylised and less self-consciously Romantic: ‘Crazy Jane' represent the apex of a far more open and natural diction. The portrayal of Ireland in these poems mirrors the new progression in style. ‘Under Ben Bulben' sees Yeats' rather desperately asking young writers to â€Å"learn your trade† and â€Å"cast your mind on other days.† This strikes a more resigned tone than the early ‘To Ireland In The Coming Times' where Yeats affirmed: â€Å"I cast my heart into my rhymes† and evoked â€Å"faeries, dancing under the moon / A druid land, a druid tune!† ‘Parnell's Funeral' is not so much resigned, as starkly cynical, with Yeats stating: â€Å"all that was sung / all that was said in Ireland is a lie / bred out of the contagion of the throng.† It is an attitude shared in the acerbic ‘The Great Day' and also ‘Nineteen Hundred And Nineteen' which describes the â€Å"traffic in mockery†: â€Å"We, who seven years ago Talked of honour and truth, Shriek with pleasure if we show The weasel's twist, the weasel's tooth† The poems in The Tower and The Winding Stair, particularly, portray melancholy despair which sees Yeats retreating, whether it be to the symbolic Byzantium, or his own watchtower at Coole Park. The everyday chaos of Ireland is left behind as Yeats surrenders to reflection. Yet this also marks a continuation between the two periods; in the figure of a solitary, reflective artist: â€Å"a man in his own secret meditation / is lost amid the labyrinth that he has made† (‘Nineteen Hundred and Nineteen.') We see, too, that Yeats had lost none of his gift for the lyric.Note the solemn mysticism of â€Å"wine-dark midnight in the sacred wood† (‘Her Vision In The Wood') or the powerful spiritual aphorism in ‘Under Ben Bulben': â€Å"Many times man lives and dies / Between his two eternities.† This continuity, although at odds with the progressions already noted, helps to explain them. It is the vital thread running through his transitional phase, unifying both early and late Yeats, and provokes fresh inquiry into the so-called ‘political' poems. Yeats was always a Romantic in the Keatsian or Tennysonian reflective strain, rather than the radical political side. Hid poetry nearly always came imbued with myth, ‘otherness': he proceeded from the Late Romantic period to form a kind of Romantic Modernism more characteristic of American poets such as Hart Crane. His interest in dream symbolism and automatic writing also placed him with the impressionistic side of Modernism (eg.Surrealism) rather than the harsher or more violent wings (imagism, futurism etc.) Yeats' myth-making and political romanticism is lucidly apparent if the use of legend in the ‘Celtic twilight' phase is put under closer scrutiny. Without placing too much store on biographical details, Celticism (in the hands of Yeats and others) was double-edged. Although it did support national identity and culture, it was also reinforcing imperial stereotyping of the Celts as irrational, feminine and emotional. By using the ancient myth of Ireland, Yeats was implicitly denying that Ireland had a present; by glorifying the peasantry and the oppressed, he was implicitly affirming that Ireland's place was as a subjugated nation. This paradox has been noted in a general sense by Edward Said: â€Å"to accept nativism is to accept the consequences of imperialism too willingly, to accept the very radical, religious and political divisions imposed on places like Ireland.†[2] Yeats' is not a radical revolutionary idealism, but an imaginative idealism: running along metaphysical and mythopoetic lines; not historical or political ones. If this tendency – the tendency to escape into myth – is noted, the later pieces seem less removed from his early career. Yeats peppers his verse with references to former poets, and explicitly assumes the Romantic mantle for himself: â€Å"Some moralist or mythological poet Compares the solitary soul to a swan; I am satisfied with that, Satisfied if a troubled mirror show it, Before that brief gleam of its life be gone.† (‘Nineteen Hundred and Nineteen') He revels in the symbol of the winding stair to mythologise the poet's ascent to meditate on the turbulence of the world below. Whereas before Ireland's enchanted past was the myth, now Ireland is yoked to greater schemes. The civil war representing the violence and disillusion of existence to be set against the spiritual purity of the poet in his tower. The events in Ireland are chained to Yeats' elaborate visions of cyclical history set out in ‘The Second Coming' and ‘The Gyres.' The â€Å"violence upon the roads† (Nineteen Hundred and Nineteen† and the â€Å"rage-driven, rage-tormented, and rage-hungry troop† (‘Meditations in Time of Civil War') are local analogues for the universal â€Å"blood-dimmed tide† of ‘The Second Coming'. Yeats still does celebrate Ireland – it would be fallacy to suggest that the violence of the Civil War sickened his idealism so much he could never face Ireland again with anything but cynicism. However, his engagement was often wary, sometimes ironical – the drinking song of ‘ Come Gather Round Me, Parnellites.' Neither can it be ignored that he occasionally refashioned his old Celtic schemes, most famously in ‘Under Ben Bulben' although even here it becomes a segment of a wider schema: â€Å"gyres run on / when that greater dream had gone.† It is particularly interesting, although perhaps not surprising, that Yeats took the events of the civil war and immediately mythologised them. As mentioned above, the black-and-tan conflict becomes an antithetical tension in his meditative poems, or is encompassed into some larger historical cycle. In various pieces, the heroes of Irish independence take their historical place neatly alongside Wolfe Tone and the Celtic warriors. Even before the fate of the Irish Free State had been decided, Yeats had abstracted the civil war and the contemporary crisis into history and myth. It seems that in his poetry, Ireland had to be romantic. Which helps to explain exactly why Yeats had a seemingly ‘political' phase. Essentially, for a brief period, the reality of Ireland suddenly became equal to the romantic ideal – a struggle for an ideal and a dream, a forging of identity, a moment of historical crisis, death and beauty side by side. Yeats suddenly found that, for a moment, romantic Ireland seemed to be tentatively existent. It must be noted that the ‘political' phase coincided beautifully with the technical and stylistic transition. It would be mere speculation to try to delineate some kind of causal relationship, but it is clear that by 1914 Yeats was searching for some kind of new poetic idiom. His patchy excursions into Imagist style verse in The Green Helmet show he was dissatisfied with simply creating carbon-copy Keatsian Celtic lyrics. It was also about this time that the first dialogue poems began to appear. Emotionally, the tone of the poetry is dejected too. Yeats â€Å"grew weary of the sun† and suggests he might have â€Å"been content to live† in ‘Words'. ‘No Second Troy'rebukes Gonne: â€Å"she filled my days / with misery†, whilst the downbeat ‘Lines written in Dejection' sees him with â€Å"nothing but the embittered sun.† It is seemingly with the Civil War that Yeats found a way to harness his Romanticism to both modern Ireland and to Modernism itself. The period was one of great variety in style and theme. Culminations of his wistful melancholia appear as late as The Wild Swans of Coole (notably the title poem.) Yet they lie side by side with dubious Modernist outings like ‘The Balloon of the Mind' and more successful sparse and clean verse like (perhaps supremely) ‘Easter 1916.' Poems like ‘The Phases of the Moon' and ‘Ego Dominus Tuus' anticipate Yeats' later metaphysical and philosophical bent. And he was still glorifying the Irish peasantry in pieces like ‘The Fisherman.' As Bloom points out â€Å"the two years from late 1915 to late 1917 were the most important of Yeats' imaginative life.†[3] Surely no accident then, that such a time frame was identical to the opening of the Irish hostilities. A longer transitional period (Responsibilities to Michael Robartes) interlocks uncannily with the end of the Home Rule, the Easter Rising and the course of the Irish Civil War. Thus it appears the Ireland's revolution either spurred Yeats' poetic career on to new ground, or he exploited it to facilitate the transition. In ‘September 1913†², disillusioned by the philistine and listless middle classes (symbolised by the â€Å"greasy till†), is among the strongest glorification of the Irish revolutionary tradition: â€Å"they were of a different kind, The names that stilled your childish play, They have gone about the world like wind, But little time had they to pray For whom the hangman's rope was spun, And what, God help us, could they save?† The second in the triptych of Yeats' war poems (the other was Nineteen Hundred and Nineteen), was ‘Easter 1916', where Yeats even questions the viability of art to encapsulate the glory of the revolutionaries: â€Å"no, no, not night but death.† This is quite a reversal for an artist who is fiercely aware of the myth-making possibility of poetry, and the importance of the narrative bardic tradition to Irish identity. Yeats is quick to contrast the everyday â€Å"polite meaningless words† and the bourgeois world of â€Å"eighteenth century houses† with the sacrifice and honour of the 1916 rebels: â€Å"We know their dreams, enough To know they dreamed and are dead; And what if excess of love Bewildered them till they died? I write it out in a verse – MacDonaugh and MacBride And Connolly and Pearse.† Yet even here, perhaps at the very apex of his political phase, there is doubt – â€Å"too long a sacrifice / Can make a stone of the heart† and foreboding of an destructive, irreversible change: â€Å"changed, changed utterly: / A terrible beauty is born.† These two separate images remind us that Yeats was an imaginative (and not political) idealist, and evoke two of his emblematic concerns: stasis, and the dying moment. Both his traditional and Modernist Romanticism are rooted in an intense awareness of time and history. The ‘Celtic twilight' poems, with their exploration of myth, unrequited love, and sorrow, sensualise and unify the tension between the Romantic polarity of eternity and transience; compare with Blake's ‘Auguries of Innocence' or Shelley's ‘To A Skylark.' Whilst never fully leaving the shadow of the Romantics – consider â€Å"I meditate upon a swallow's flight† from ‘Coole Park, 1929' – he also engaged with the Modernist crisis of temporality. The Modernist project to obliterate time has an ally of sorts in Yeats. One might consider the ‘out of time' reflections of the tower poems, the instant of rape enlarged into ‘Leda and the Swan', the a-temporal juxtaposition of historical figures in ‘The Statues', and of course the apocalyptic visions of ‘The Second Coming' and ‘The Gyres.' Note, too, the vast amount of material Yeats wrote on the experiences of aging and death. It is this obsession with time that reveals Yeats' true image of Ireland. Ireland, for him at least, had to be romantic Ireland, otherwise it something to be rejected as inferior – philistine, crude, brutal – and inimical to the soul of an imaginative artist. The Ireland of Yeats' verse was always an Ireland of the past, an Ireland passing away, with one eye on the eternities of legend and history. The images of Ireland changed repeatedly yet the undertow of myth remained the same. For a brief period around ‘Easter 1916†² – a time that fortuitously coincided with and perhaps enabled Yeats' technical transition – the reality of present Ireland was seemingly equal to its mythic past. It is ironic that Yeats' most relevant and political poem was also his greatest act of myth-making. What was really â€Å"changed, changed utterly† was not the history of Ireland, but Yeats' imaginative landscape. Ireland, once again, faded to romantic legend, and was dead and gone. Yeats slotted Pearse as heir to Cuchulain in his mythic schema, and continued his intrinsically timeless and subjective quest, fusing Modernism, Romanticism – and Ireland – into his own poetic idiom.

Logistics department Essay

1. What interactions and discussion need to take place among the marketing, manufacturing, logistics, and finance departments? Explain the logistics department`s role in the introduction of the new product. The functional areas of marketing, logistics, manufacturing and finance should hold weekly sales and operations planning (S&OP) meetings to address the following: Identify firm planned orders which may be delayed to the customer. Notify key account managers and focused operations planning team(s) to expedite orders in jeopardy Address any resource constraints to meet firm planned orders for the current month and planned orders for the following three months (manufacturing capacity, labor) The focused operations planning team(s) which consists of production, procurement, manufacturing and master production scheduling (logistics) must meet daily to ensure the requirements identified in the S&OP meeting are carried out. Logistics ensures the following: – ensure that raw material inputs to peanuts arrive on time without freight damage – ensure that finished goods inventory from the manufacturing facility to the warehouse, distribution center and eventually the customer arrive on time- in full without freight damage – minimize transportation costs by utilizing full truck load (FTL shipments) and in certain instances, intermodal (rail) shipments for cross country transport 2. Why is it necessary for the logistics department to be cognizant of all the details (quality, timing) of the new product introduction? Discuss the issues that might arise (e.g. the drop in demand after the Final Four) and what responsibilities the logistics department would have as a result of these changes. This necessity comes out of the need to have the right quantity at the right time in the right place to meet customer demand. Without this close  coordination between timing and quantity, deliveries would be delayed, inventory carrying costs would increase and as a result profits would be negatively impacted. In situations where the demand drops after the Final Four, the production planning and scheduling aspect comes into play. By utilizing a master production schedule which is closely aligned with S&OP meetings, the master production scheduler can adjust the production amounts to meet decreasing demand. This ensures that product produced is delivered to the customer and does not sit in the warehouse of Pete’s. To summarize, the logistics department is responsible for reacting to market/demand changes to maintain profit margins for the business.

Alton Towers Audit

Section A: Environmental Pressures Political (60%) The government has the authority to make decisions that can impact the operators greatly, for example they can decline planning permission and carry out health and safety checks resulting in closures such as Alton’s Black Hole. (25%) public campaigning can affect decisions made by theme parks in an attempt to resolve negative publicity. An example is when Soils Association campaigned against the provision of unhealthy foods in tourist attractions. Since then the park has made several changes and requested advice from nutritional expect Annabelle Karmel. 1 Regulatory (85%) â€Å"Various legislatives have been added to the woe,†2 limiting parks to what they can do such as only being able to employ those who have had CRB checks since public safety is a priority. Economical (60%) Less people have domestic expenditure which resulted in outbound tourism decreasing by 15% and domestic travel increasing by 17%. In 2009 the theme park industry as a whole gained revenue of ? 315m. (25%) The decreasing value of the pound makes it cheaper and more appealing for tourists and Britons to holiday in the UK. The pound has decline by a ? against the Euro in the last 5 years. 3 Social (50%) â€Å"What was once extreme is now tame and what was once unique is now old. †4 In today’s climate visitors are more demanding and not easily satisfied resulting in most operators introduce an attraction every 12 months. (40%) consumer lifestyles cause implications, household numbers are decreasing and more people choosing to have fewer children resulting in theme parks attracting other market segments 5 Technological (60%) Technology is the catalyst that allows futuristic attractions to be created as well as software such as CAD contributing to development, saving time and saving money. 6 Alton towers has a portfolio which consists of many â€Å"firsts. † Thirteen is the latest addition to these firsts, as the â€Å"first free fall drop rollercoaster† by which Alton towers claims that â€Å"so much technology has never been combined into one ride†. 7 Competitors (40%) In order to retain or increase market share theme parks have to be actively competitive. â€Å"You can guarantee in a few months another rollercoaster will be built slightly quicker or a couple of meters higher†8 (10%) â€Å"There are 7000 museums, gardens, zoos, etc that work hard to gain a market share of voice, consumer time and wallet. †9 The other two competitive factors (USP positioning and strategic alliances) are more important as they concern direct competitors. Organisational (80%) Designers, engineers and other intellectual property are the brains behind the â€Å"beasts†. The man behind some of Britain’s iconic roller coasters is Mr. John Wardley. His designs consist of Alton Towers’ Nemesis, Oblivion, Air and Thirteen as well as Thorpe Parks’ Colossus, Saw and Stealth. 10 Alton Towers employs 2000 people and supports another 3,700 jobs which prove how labour intensive the industry is. 11 Market (70%) According to one operator if there is rain before 9 am, ? of those who intended to visit a theme park do not go. Alton is trying to resolve the issue by considering â€Å"controlling† the weather using cloud seeing technology. 12 (30%) Marketing increases awareness. In 2002, despite others being affected by weather, Drayton Manor saw their visitor numbers increase by 2-5% thanks to its biggest ad campaign. 13 Industry Competitive Structure Alton’s direct competitors are made up of 20 operators all competing with a similar target audience. Alton towers direct, indirect, potential and current competitors are summarised in appendix 1. The main competitors are Thorpe Park, Chessington, Drayton Manor, Lego-Land, Blackpool, Flamingo and Gulliver’s. Alton towers are in lead with 20. 3% which accounts for a fifth of market share (appendix 4). 14 Using appendix 4, I would classify Alton Towers as the Market leader. More than half of the UK’s adults have visited Alton towers previously. 15 The market challengers would be its 2 competitors that play the biggest threats, Thorpe and Lego-Land. Chessington however would be placed with Drayton as followers, since the majority of rides are adjustments of standardised platform designs. This is backed up by the market shares both acquire. Neichers consist of Flamingo’s and Gulliver’s who appeal to only children whilst others try to satisfy all ages. A potential direct competitor is Disney land Paris, due to the fact that apart from Alton towers, it attracts more UK visitors than any other UK parks. 16 Its proximity is close and its transport connections are excellent, however its geographical location stops it from being a current competitor since the majority of individuals would rather have the convenience of staying in the UK for day trips. Current Indirect competitors are made of 7000 other attractions, which fight for a voice of market share, consumer time and their wallets. Theme parks are the 3rd most popular type of attraction after music concerts and festivals. 17 Potential indirect competitors can include the current concepts being aired for new parks themed around harry potter, CBBC and Horrible Histories. 18 The reason for them being indirect rather than direct is due to the fact we are unsure what will be involved within the park. As you can see, in appendix 3, Alton towers, Drayton Thorpe have a broader target market by providing attractions for all age groups, whilst Flamingo, Lego, Gulliver’s Chessington appeal to the younger market. Drayton Flamingo are the cheapest with ticket prices at ? 20-? 25 whilst others are priced at ? 35-? 40. Gullivers, Lego Flamingo differentiate themselves by having a consistant theme running through the park, with others having a number of themes within their grounds or no theme at all. An adoption life cycle has been created (Appendix 5) to show that Alton and Thorpe are the innovators constantly creating thrilling and exciting rides. Whilst at the opposite end are laggards Gulliver’s Lego-Land who simply adjust basic standard ride platforms to fit in with their theme. Industry Forces In appendix 6 there is a detailed porters 5 forces for Alton Towers. The numerical weighting is divided between the 5 elements; suppliers, buyers, threats, rivalry and substitutes. This model allows us to look at bargaining powers of each force. Starting with suppliers which have received the highest percentage of 40%, there are numerous companies that contribute to theme parks from additional services such as food and merchandise to essentials such as electricity and rides. Without suppliers industry competitors would not have any product/service to offer to buyers giving suppliers a dominant bargaining power. Dependant on the product, some suppliers such as LTC (ride consultants) are dominant within their market making switching costs high. The next highest percentage was distributed to industry rivals (20%) that play a massive threat to Alton Towers since they have the ability to take potential customers. The theme park industry is intense with its 20 operators fighting for market share. Buyers had equal percentage due to the fact they have the choice of which theme park to attend and low switching costs. The lack of demand or customer base which would lead to a theme parks closure. Substitutes and new entrants both have a low percentage of 10% due to the fact if customers are won over by other indirect attractions, most likely those customers wanted to gain another benefit other than high thrill seeking adrenaline rushes. There are also high entry and exit barriers such as the lack of investment and recourses, making it difficult to actually enter compete within this market. All of the forces have been declared to be a low threat for reasons mentioned above and the fact that it is unlikely that any force would be able to set up a strong competitor due to the various product offerings, services and labour needs to do so. Product /Service Evolution Theme parks products are focused around innovation, which is extremely rare. Parks attempt to create the tallest, fastest and longest rides which in reality are variation of basic platforms. Intellectual property plays a great role in the creation of innovative products. Examples of innovative products, all designed by John Wardly, are Alton Towers Flying coaster â€Å"Air†, its first free fall drop â€Å"Thirteen† or Thorpe park’s â€Å"Stealth† hydrochloride launcher . The latter two being described as â€Å"Engineering Genius†19 The park also provides other products to accommodate visitors such as its hotels to encourage overnight stays, healthier food options, various ticket passes (e. g. fast track/annual pass) and merchandise. Technology has assisted in increasing revenue through ride photos and â€Å"Your day† DVD’s f your day. The DVDs are produced using a RFID bracelet that potential customers carry around. 25-30% of potential customers have actually purchased a DVD. 20 Other products that theme parks have invested in to boost their existent product range efficiency is the CAD software used to predict if rides are going to work successfully before its even built. Parks such as Thorpe and Lego-Land also attempt to increase customer satisfaction and value for money by introducing Q-Bot systems. This technology allocated ride times to visitors so they can do other things in the meantime. Flamingo started using a variation product called Li-Lo Q texts which works in a similar way. 21 Appendix 7 shows the hierarchy for the leisure market, as you can see product forms split into a range of product items. A few have been selected to give an idea of the current product portfolio. An example of basic platform product, is Alton’s Spin-ball Whizzer and Chessington’ Dragon fury being the same product but altered. Alton Thorpe have many innovative products that attract numerous thrill-seeking visitors such as Colossus, Oblivion, Thirteen, etc. Companies also have co-branded or sponsored product such as Alton’s Sonic Spin-ball-whizzer or Drayton’s Thomas the tank engine land. Lego-Land Chessington offer products suited mainly for children making it difficult to be innovative due to extra restrictions and it means they are not appealing to any other segments. Appendix 8 shows the position of a few Alton Towers rides on the product life cycle. Thirteen being the latest addition is placed in introduction. Nemesis, Oblivion, Air Rita being the most popular are still in maturity due to the fact that their popularity does not allow them to decline. An example of a ride just past maturity would be submission where basic  platform products are no longer that popular. Deul II and Sonic Spin-ball are modified variations created to extend its product life cycle and boost its appeal. Market Segmentation Appendix 9 summarises segmentation variables. The main conclusions drawn up from all these elements are that the main target audience are aged 16-35 most likely being full time student or partly employed. It has a classless socio-economic market however those from D/E would most likely find a day out expensive. The majority of visitors live in the midlands region, where Alton has a high penetration of 71%22. Motivations where the average customer profile consists of those who are thrill seeking risk takers or family orientated individuals. Today’s consumer are more demanding, less patient, have high expectations and seen as being loyal since 88% of those who visited theme parks in 2009 are returning customers23. The average person visiting Alton spend more than 7 hours on the computer and shop at Waitrose indicating that they are young and well to do. 24 House hold numbers are decreasing and so is the rate of birth which means which can lead to labour shortages and less potential customers. Parks have also got to consider introducing smaller family packages. Appendix 10 shows a population shift where the population of the UK is currently 61,792,000. It shows there is a bulge located with the baby boomers, Males and females are fairly and the working population is represents 62% of the mid 2009 market. This information could assist and impact decisions made by the company, for example the increase of baby boomers means that the park may have to offer more services for suited for them. Appendix 1: Detailed PRESTCOM, Numerical Weighting Justification Political . The government realise by intervening in theme parks they could be restricting competition and suppressing innovation. The government involve themselves in matters concerning the safety and well fair of the general public. The government has the authority to decline planning permission, heavily fine theme parks and close them down if they feel it is necessary to do so. 60 *The government themselves are the most important factor due to their high authority and ability to make necessary decisions to restrict or enhance the industry and its competitors. *Reputation is more important than the political climate as it can create more damage to the brand in the long run. *The political climate can affect sales but only for the short term. The public themselves can cause havoc and protest against theme parks which can have an effect on the reputation and decisions made by the theme parks themselves in order to satisfy needs and keep a positive reputation. 25 The political climate itself can have an impact on a theme park sales, activities and management. 15 Regulatory Aspects of theme parks are under tighter control resulting in more red tape concerning employment, machine games, fire safety and CRB. 85 *Numerous regulations have been created for trading bodies to abide by. Recently theme parks are under tighter restrictions which obviously would have a massive impact in how they are run and in some cases what they provide. *There are only a number of people aware of the RFID tags privacy issue and it doesn’t impact theme parks to a huge extent. Connected to technology, there are concerns over privacy rights due to the introduction of RFID tags. 15 Economical Dependant on whether a country is in a boom or a recession it can affect the amount of disposable income an individual has and the unemployment rate of the country as a whole. The current recession has had a major impact on the visitor numbers and sales revenue. The current economic climate has had a positive effect on theme parks. 60 *The economical state of a country is vital to the growth and revenue of all industries. It is the most important economical factor as it means there is lower income rates and less spending power. *Having a weak exchange rate causes outbound tourism to decline and inbound tourism to flourish, both positive contributions to the increase of visitors to UK theme parks. *Inflation can influence sales rates. Exchange rate – the weak sterling rate increases inbound tourism due to the UK being a cheaper holiday destination. 25 Inflation is high causing admissions to rise by 16 % in the next 4 years. Expected to have 4. 7 million admissions 15 Social As time goes on there are shifts in demographics as well as people’s expectations and taste change continuously. Theme parks try to conquer this social factor by providing a variety of attractions to satisfy all needs. 50 *Socially, demographics, expectations and taste play the largest role in motivating people do to particular actions. *Life style also effects the actions of an individual and is nearly almost as important influencing people’s behaviour. *The fact that some individuals are afraid of rides/heights has little impact to those that do and doesn’t significantly decrease the number of visitors. Numerous people are afraid of rides and heights which influence sales, this isn’t helped by the fact that there are incidents where technical faults have caused injuries/deaths. These incidents could also damage a brands reputation. 10 The lifestyle of individuals has changed over the years due to a number of reasons but plays a big part in motivations for certain behaviour and attitude 40 Technological Technology has allowed the internal functioning of the organisation to be more efficient and less time consuming. 20 *Technology is the most important change impacting theme parks. It is the catalyst behind innovation, production and operation. *It has also assisted theme a parks to be run efficiently, make communication more effective and increase revenue through merchandising but obviously, they have had a smaller impact. Technology has also allowed theme parks to be more innovative when creating rides/attractions, improve existing rides and enhance the safety of rides. 60 Technology can assist theme parks to increase revenue through merchandise and convenience. 10 It has also made communication more efficient. 10 Competitive Direct competitors have a major impact on theme parks activities and visitor no’s. Alton Towers main direct competitors consist of Thorpe Park, The Adventure World of Chessington, Legoland, Drayton and Blackpool 40 *Direct competitors cause theme parks to respond in a competitive manner in an attempt to be the best. The USP positioning extra competitive facilities have an equal impact due to both having the ability to attract visitors and influence their decisions. Theme parks team up with other organisations can also increase awareness/attention The USP positioning has a major influence of how its run and if there successful in positioning accurately then how visitors perceive the brand/theme park. 20 Indirect competitors consist of other leisure activities. The UK leisure sector is a very competitive industry attracting various sorts of people. 10 Theme parks team up with other brands, organisations and companies to give themselves a competitive advantage. 10 Some theme parks have extra facilities to give them a better competitive advantage 20 Organisation Man power – the intellectual property that the theme park has can vastly influence the designs and construction of attractions. Theme parks are also very labour intensive industries. 80 *Intellectual property is a key factor to the success of theme parks; The brains behind the big ideas and the production of them. *The costs influence the organisation, their budget, margins and decisions. Higher overheads such as the increase of electricity cost and higher staffing costs have has an impact on theme parks margins. 20 Market Sales are vastly influenced an uncontrollable factor; the weather 70 The weather is the biggest influence of visitor attendance. Marketing comes second to it due to its ability to increase awareness. Marketing can influence the success of the theme park, especially with those outside local regions. 30 Appendix 2 – Direct Indirect Competitors LOWER COST DIFFERENTATION BROAD TARGET Drayton Alton Towers Thorpe Park NARROW TARGET Flamingo Lego Chessington Gulliver’s Blackpool DIRECT INDIRECT CURRENT Thorpe Park Chessington Gulliver’s Drayton Flamingo Blackpool London Eye Cadburys Sea Life Centre Tower of London Holidays POTENTIAL Disney Paris CBBC park Horrible Histories park Appendix 4 – Market Share (Created using source: Mintel, Theme Parks, Feb 2010) Appendix 5 – Adoption Life Cycle Appendix 6 – Porters 5 Forces Numerical Weighting Appendix 7 – Hierarchical Decomposition of the Leisure Attraction Industry Appendix 8 –Product Life Cycle Appendix 9 – Segmentation table (Created using Mintel Data/Sources) Demographics Geographics Physcographics Behaviouralistic Age – Visitors peak among 16 and 35 year olds. 16-24 year olds account for 21. 4% and 25-34 year olds account for 23. 3%. The data shows that as the age group gets older there is a decrease in the number of visitors. Region- Alton Towers attracted 19. 1% of those from the Midlands region. Followed up by the North West visitors of 17. 5% and then London at 13. 2%. Motivations – can be numerous. It could be for a social day out with friends, for the thrills of sky high rides, for family fun, for a change of scenery or value for money through incentives. Regular visitors – 1 in 4 people went to a theme park in 2009. 88 % were returning to that theme park whilst 12 % were first timers. Consumers are l were satisfied previously and also new targets have been attracted. Gender – 47% of those who went to Alton Towers were female with 53% being males. This shows that it has products to appeal to both genders. Population numbers have increased to 61. 8m. it has been predicted that in the next 4 years we shall see a increase of 10 year olds and over 50’s. Personality – Alton Towers is geared up for those who are energetic, lively, hrill seeking socialisers. They also appeal to family orientated individuals. According to the data 50% of theme Alton Towers visitors spend 7 + hours using the internet per day which indicates that our users are young. Occupation – 19% of those attending Alton Towers were full-time students with and 17. 7 being part time employed. This shows that it attracts many students and those between ages of 16 and 30 years. Climate – has a massive effect upon the attendance. According to one operator 1 out of 4 of those intended to come, get put off of coming if they see it rain before 9 am. 12 % of individuals claim that theme parks simply have no interest to them; theme parks have to try and find ways around this. There has been a high correlation between those that shop at Waitrose and those that attend the Alton theme park. this could indicate that visitors are quite well off as Waitrose prices are high compared to their competitors. Socio-Economic Class – It is classless, Alton towers attracts a number of various people from all sorts of backgrounds. However it has been found that majority D/E segments find it expensive. Today’s consumers are more demanding, less patient and get easily bored. The product life cycle is a lot shorter than it once was due to competitor increase and innovation change. This can be backed up by the fact that rides are now introduced every 12 months rather than every 2/3 years. Lifestyle : household numbers are decreasing. Less people chose to marry and settle down with children affecting the target audience of theme parks in the long run. We currently live in a digital world where people have a hectic life revolved around money and have no time to waste. Ethnicity Religion – attracts all types of people and even has allocated days for example â€Å"Muslim Day† Appendix 10 – Population Shifts

Management Essay Example | Topics and Well Written Essays - 1500 words - 20

Management - Essay Example The introduction of a new Legoland theme park in Paris, France would require taking into consideration a wide variety of factors, including the impact on all stakeholders for such a new business venture. Will the company be able to maintain enough profit to cover all of the costs of operating and building the new facility, thus making this new theme park budget-conscious and sustainable for long-term business activity? This question can be answered by reviewing the revenues of other international Legoland theme parks from 2002-2003 and comparing these revenues to the current operating environment for Lego company. For instance, Legoland Deutschland, in 2003, experienced a significant drop in sales volume after only its second year of operations due to less consumer patronage and an unusually-hot summer (Annual Report, 2003). Though the Legoland Deutschland park appeared to be a rather instant success for consumers in this country during the park’s first year, this excitement a ppeared to have worn off rather quickly, likely making executive leadership at the company take a second look at whether Legoland theme parks are sustainable business concepts for long-term profitability. However, despite these statistics, the Paris, France operation requires an examination of stakeholder interests involving each group. The consumers/patrons will likely dictate whether or not the Legoland park is a continued success. Consumer attitudes fluctuate rather unexpectedly based on social and economic trends (Kurtz, 2006), thus making patronage levels extremely difficult to predict, especially in the difficult economic climate being experienced across the globe today. Suppliers, also, who would be responsible for distributing various foods and beverages associated with the new Legoland Paris theme park also have an active interest in whether the new park is successful. The supplier business’ longevity and profit margins

How Victimization Evolves to Empowerment Essay Example | Topics and Well Written Essays - 3500 words

How Victimization Evolves to Empowerment - Essay Example All the same, King chooses a moderate and democratic viewpoint of empowerment, while Malcolm presents a more militant path. What Malcolm says about racial discrimination is that black people suffer â€Å"political oppression at the hands of the white man, economic exploitation at the hands of the white man, and social degradation at the hands of the white man.†2 King on the other hand remarks that black are denied their â€Å"constitutional and God given rights† under racial discrimination.3 It can be seen from the above statements that while King views the system as the culprit, Malcolm points his fingers to the mainstream white. It is in the backdrop of the racially discriminatory Jim Crow laws that both make their above-mentioned statements. Malcolm calls Jim Crow laws, a â€Å"segragationist conspiracy† and prescribes black to break them, while King calls for fighting against the segragationist laws as a part of a civil disobedience movement so that it can be transformed into a political struggle. While Malcolm thus stresses retaliation, King stands for collective political action. Martin Luther King realizes that for the process of empowerment to begin, first the black and the society should fully understand the dimensions of victim status. In â€Å"The Letter from Birmingham Jail,† when Martin Luther King writes an open letter to the eight white religious leaders, he is answering their allegations against him and the agitating black people as well, but also is making use of the opportunity to discuss the issue of racial segregation of black people.4 This forced entry of the black narrative into main public discourse is first step in the process of empowerment. This is an attempt to get the mass society acknowledge that black are real victims. This assertion of victim status then also becomes a prelude to the forthcoming empowerment process. King in his letter is trying to make both white and black people see the facts about bla ck victimisation.5 King was arrested and put in Birmingham jail for taking part in a demonstration against racial violence and discrimination.6 He wrote this letter in response to the statement issued by eight white religious leaders of the South, expressing concern over the â€Å"untimely† and violent nature of black protests.7 King utilizes his chance to reply to the white leaders so that he can show the wider public the ground realities of black life, a picture usually suppressed in mainstream narratives. In this manner, King by tailtoing a mainstream discourse, tries to win the attention of the mainstream audience, in order to make them see a marginalised issue. This method adopted by King stands proof to the fact that it is only through making victims as well as perpetrators acknowledge the victim status of the black, that the process of empowerment can begin. From this point of view, the letter of King can be viewed as addressed to both black and white people. King asse rts the need for black unity for the sake of their empowerment, and anchors his arguments on the universal value of justice to get wider support for them. King declares that he presumes the eight white leaders to be genuine and sincere in their concerns.8 This is a demand, and warning in disguise, that the white leaders are expected to adhere to the declared genuinity of their concerns. By making such a demand, King shows black that they have every right and courage to demand justice.

IN ADULT VENTILATED PATIENTS, WHAT ARE THE EFFECTS OF CHLORHEXIDINE Essay

IN ADULT VENTILATED PATIENTS, WHAT ARE THE EFFECTS OF CHLORHEXIDINE VERSUS TOOTH BRUSHING IN PREVENTING VENTILATOR RELATED LUNG - Essay Example The role of the critical care educator and the critical care nurse is to be aware that ventilator associated pneumonia impacts more people than just the patient; it also influences the patient’s family, and the institution in which care has been given. Through nursing intervention, ventilated patients may have a reduction in the rate of respiratory infections and a decreased length of hospitalization with an increase in the quality of life. Table of Content Background†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...5 Problem Statement†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦5 Research Question†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦5 Significance of Problem†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦5 Relevance to Nursing†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦7 Methods†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦9 Search Strategy†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦9 Definitions†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦10 Findings†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.11 Inclusion and Exclusion Criteria†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦13 Coding†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..14 Validity†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.15 Recommendation for Nursing†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..15 Educating Nurses and Healthcare providers†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..16 Further research†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...16 Summary†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.17 Conclusion†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 18 ATTACHMENTA†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..19 ATTACHMENTB†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦21 a. Rapid Critical appraisal questions b. APACHEII/SORT In Adult Ventilated Patients, What are the effects of Chlorehexidine versus Tooth Brushing in Preventing Ventilator-Associated Pneumonia? The aim of this literature review is to assess the ways oral care affects adult ventilated patients and the development of hospital acquired pneumonia in comparison to no oral care in ventilated patients. Additionally, if oral care has a positive or negative effect on length of intensive care days, mortality and morbidity? Previous

Smokers in great Britain and USA are increasingly treated as social Essay

Smokers in great Britain and USA are increasingly treated as social pariahs - Essay Example In Britain, following the ban on smoking; merchants have reverted to selling cigarettes in disguise to avoid confrontation with the government agencies who have vowed to eliminate smoking not only in the public places but also in private environments. The book creates scenarios of the possible implications of smoking ban in Britain. This makes the book reliable, authoritative, and objective for the research. Scenarios are conceivably the best practical analysis of social phenomena since it enables the creation of foresight into the societal issues. This literature details the health campaigns by the American Authorities to advocate for the elimination of smoking due to its contribution to cancer. It further depicts the discrimination that smokers encounter in seeking employments and sustaining such jobs. It captures the deliberate denial of civil rights in disguise for health campaigns and the resulting effects of the denial of civil rights on the smokers. In this light, it is reliable, authoritative and objective for the research. In a nutshell, the literature analyses the implications of reduced smoking on the economy, health standards, and the general welfare of the citizens. The book contains the elaborate steps employed by the American Authorities to at least minimize the use of certain drugs such as cigarettes. It recounts the intrigues in the banning of smoking in virtually all public places and that possibly with time, smokers would be registered as pedophiles. Berman, P.S, Neckerman, and K.M &Wright, elucidate the con tribution of health campaigns in changing the societal perception about smoking in America. In more precise terms, the book covers the risk perception about smoking among the early America smokers and the proceeding causes of changes in risk perception currently. The authors expose the earlier misconceptions that predisposed American to smoking such as the use of Menthol cigarettes to

Computer Sciences and Information Technology in Business Essay

Computer Sciences and Information Technology in Business - Essay Example Low financial growth of the company was a problem due to various reasons. To begin with, the company had stagnated on its financial gains over five years and at some point had an experience of losses. The organization was at a level where it generated little income to cover the operational costs and make profits. Financing the growth of the company is a major problem in such a scenario, if there is no financial growth, then the organization starts losing its market share because of competition. To make the situation worse, the existing customers are lost to the competition. Financial growth of a company fails if there are insufficient sales. To solve this problem it, is necessary know why the problem occurred in the first place. In the organization, the problem arises because of poor sales from the sales people. The poor sales result from cutting back on the marketing budget thus there are few leads. Another issue is poor training of sales people in the company and clients cutting down their budgets. An innovative solution is necessary to solve this problem. Such a problem needs urgent solving to save the company (Baumgartner, 2013). The firm requires generation of more income, which is only possible through selling more of the products that the company makes. Information technology is important in making more sales. To get more leads the sales people will require more training and higher access to information. Technology today has made success of companies to be easy. The company needs to employ the use of technology such as use of the internet to train the sales people and look for more leads.

MODIGLIANI AND MILLERS ADVICE ON DEBTS IGNORED BY COMPANIES Essay

MODIGLIANI AND MILLERS ADVICE ON DEBTS IGNORED BY COMPANIES - Essay Example The split between the Shiism and the Sunnism has been based on an ideological aspect that still exists. This separation, nevertheless, has been unbreakable by the national, the ethnic, political, socio-political, social, and yet economic partitions in the context of the Islamic world. It has also been influenced during historical times in cases of some Islamic rulers, Islamic politicians as well as Islamic colonialists to provide their own direct interest (Haji-Yousefi, 115). Due to all these social, political and economic reasons it has also been argued that the division between these two branches of Islam is still at large in the world. This division is also cultural in the sense that the cultural aspects of Islam from the point of view of these two divisions are regarded to be different at significant level. Also the economic orientation of these two branches and the interest of Islamic people are still so much dominant that the difference has become almost impossible to ignore (H aji-Yousefi, 115). Answer 2: To be certain, globalization has been regarded as a compound occurrence, which includes a great diversity of propensities as well as movements in respect to the economic, social as well as cultural areas. It has been a multidimensional nature and therefore does not provide itself to the distinctive definition. For the purpose of ease, it can be described as rising as well as intensified streams between nations of ‘goods, services, capital, ideas, information and people’ that produce different cross-border addition of a number of social as well as cultural activities. However, in the context of the developing countries, this is creating significant amount of negative effects on the societies of these countries. These countries are largely losing their respective social identity. This is revealed by the fact that globalization is incorporating greater number of people having different social aspects and activities which are creating divergence among the local peoples’ social identity (Bertucci and Alberti, 1). Also the existence of globalization is creating negative effects on the social organizational structures of developing nations. Transfer of old and used technologies from the developed part of the world to developing countries are creating detrimental effects

Memory Keepers Daughter Literary Analysis Essay Example for Free

Memory Keepers Daughter Literary Analysis Essay Kim Edwards shows through the whole book that we are only human, the themes that life is beyond our control and through the connection between suffering and joy. Edwards uses plot to set up a sort of life schedule. It goes in order into the future but occasionally skips years ahead. She also cleverly sets the book up so that each year, or â€Å"chapter† has both sides of the story, that of Caroline who is raising Phoebe and then the life of Norah and David raising their son Paul. As the book starts off it is that of a happy tone with Norah giving birth and then leading to a depressing and melancholy tone as Dr. Henry lies to his wife telling her that their daughter has died, to save her from the pain of their daughter having down syndrome. Norah gains more and more depression as the years go on, always wondering â€Å"what if†. With all the depression going on in the story line of Norah there is a gain of strength in Carolines story line as she raises Phoebe. This shows the theme of suffering and joy. The idea that even though the character is suffering they are the one with the most joy. Norah Henry has it all: the doctor husband, money and a healthy son but still wants what she never had; her daughter. Caroline has struggled with at first the decision to keep Phoebe and raise her as her own, then struggling with actually raising this baby girl with down syndrome alone and with no one, but she is joyful in the book never having the depression that plagues Norah and her marriage with David Henry. When Caroline finally sees David 18 years later, she says: You missed a lot of heartache, sure. But David, you missed a lot of joy. In the theme that life is beyond our control the author Kim Edwards has the book move through the years rapidly and at a fast pace in order to demonstrate how life flys by. Throughout the book Edwards uses photography as a metaphor showing the character Davids growing obsession with taking photographs as a desperate attempt to make time stand still: Photo after photo, as if he could stop time or make an image powerful nough to obscure the moment when he turned and handed his daughter to Caroline Gill. Life may also feel as it is out of their control with there being a constant aura of uncertainty or â€Å"what if† quality. That being said, the characters in the end will always wonder what life would have been like if David had never given his daughter away, but find it exhausting to wonder once they are brought together in the end after the death of David. As Paul reflects at the end of the novel: His mother was right; he could never know what might have happened. All he had were the facts. Life was also seeming to be out of anyones control with the struggle of the melancholy tone through the novel with Norah becoming more and more depressed becoming that of a drinker in Pauls young life and then being so unhappy with her marriage with David for him being so distant that she has an affair with a man while she is on a trip to Aruba with her job. Even with the tone the author seems to have it progress in a rapid fashion just as the years fly by in the story line. Life is inevitable, people make mistakes, and the mistakes people make have great impact and effect not only them, but the people around them; just as David Henrys mistake haunted his life and tormented that of his wifes. In day to day life there are always the people that make mistakes with good intentions. The authors point wasnt to completely make David the antagonist in the story but yet he was that one person whos mistake was made with half hearted good intentions, he wanted to spare his doting wife the pain of having to raise one child with down syndrome, he didnt want her to think that it was her fault in anyway. David just wanted the problem to go away not fully realizing that the problem wasnt his daughter it was him having to deal with his own past. David Henrys sister died at the young age of twelve and she had down syndrome as well, it is really sad that this character couldnt deal with his own past so much that he ruined his present and his future. He knew the pain that his sister having down syndrome had left on him and her death that not only was he trying to spare his wife the pain of having a daughter with down syndrome but yet the author was trying to convey to the reader that he also did it to protect his son from it as well. Norah becomes the character you feel bad for not a protagonist but yet just that good character whos life unfolding before her is the result of decisions from those around her. She is constantly depressed from thinking she lost her daughter, then she is also gaining more and more eternal sadness with her husband not letting her gain any sort of closure with this or even to simply tell her the truth of his actions and what he had done. The relationship between Norah and David grows further and further apart with him setting himself more distant from her as time goes on due to his guilty conscious eating away at him. Then on a happy note you have Caroline, she turned her whole life around for the life choices of David and that of herself. She raises Phoebe alone at first always fighting for more advanced learning abilities for down syndrome, she gains a man in her life named Al who helped her in the very beginning get to shelter when she had decided to keep the baby but then her car wont start in the middle of a blizzard, he becomes her knight in shining armor. Al becomes a big character having sought out Caroline after years and years of that first encounter with her and stays in her life loving and caring for both her and Phoebe, he becomes the father figure Phoebe never got to have. Kim Edwards set up all the right kind of characters for this plot and in every right way to develop the novel. In the end the themes of life being out of our control and the connection between suffering and joy are evident throughout the story. Kim Edwards used immense characterization that helped to develop those following themes with having the right selection of types of characters. The plot definitely has to do with developing the story, for it ties in with the life is out of our control theme having time go by so rapidly demonstrating that life is always constant and never stopping or standing still like a photograph for anyone or anything. Photos represent memories in life, David became enthralled with taking photographs in an effort to make time stop, maybe capture the memory he had when he made the decision to give his daughter away. The metaphor of David and his taking pictures ties into the Title â€Å"the memory keepers daughter† for he was the memory keeper, the keeper of the biggest life secret and lie. Kim Edwards made everything tie together with literary elements of metaphor, characterization, and Plot.

The Philosophy Of Death

The Philosophy Of Death The Death of Ivan Ilych, by Leo Tolstoy provides a literary portrait of a mans life and death. This exercise aims to analyse denial and the inevitability of death, both its meaning and context, in The Death of Ivan Ilych, using the philosophy of Martin Heidegger in Being and Time. The Death of Ivan Ilych In the study of literature, The Death of Ivan Ilych is generally regarded as one of the most influential works on death and dying. The story is a classic study of how acceptance of mortality can change how individuals approach not only life, but also death. Structurally, The Death of Ivan Ilych is a simple text. It begins with what would be the end of the story, Ivans funeral, and then records his life from childhood to his illness. In this way, Tolstoy suggests that Ivan Ilych is not really alive until he confronts the deterioration of his being. Ivan Ilychs life had been most simple and most ordinary and therefore most terrible (Tolstoy, 235). The chronicle of Ivans life begins with this line. Ivan Ilych consumed his life by just playing a role, formality and propriety were imperative to him, more so than any kind of human emotion. Serving as a judge, he had a career with influence and standing, and a respectable middle-class family. Then, a mysterious illness befalls him, one that no amount of skilled doctors can accurately diagnose. Whilst all are in agreement that his condition is terminal, they defer from telling him and insist that the treatments will one day have him back on his feet. Ivan Ilych is ultimately reduced to lying on a sofa, eased only by opium and the goodness of his servant, Gerasim, who says, Its Gods will. We shall all come to it some day (Tolstoy, 235). The novel follows the course of Ivans slow deterioration and his inability to deal with the inevitable approach of death. He tries for a long time to look away from it, to hide, but he cannot. Ironically, as he begins to sense the looming spectre of death, Ivan questions the dismantling of his comfortable life and the rightness of how he lived. Ivan wonders, Why must I die and die in agony? There is something wrong! Maybe I did not live as I ought to have done (Tolstoy, 273). In the midst of his desperate screaming, two hours before his death, Ivan feels the tears of his son on his hand. After months dwelling on his own torment, he feels pity for his son and asks for forgiveness. It is at this moment that he is released from the mental anguish that has engulfed him, and in place of death, there was light (Tolstoy, 279). Heidegger and the Inevitability of Death One of these days one will die too, in the end; but right now it has nothing to do with us (Heidegger: 297). Death is an inevitable event. Someday, we will all die and ultimately confront the inescapable reality of our own mortality. German philosopher, Martin Heidegger, gives new meanings to our understanding of death in Being and Time. Heidegger argues that by confronting the inevitability of death, we adjust our perspectives and alter our approach towards life. We become beings-toward-death who are able to re-examine life and embrace our world. The discussion in Being and Time depends on understanding the use of the term, Dasein, commonly translated as existence or more literally as being there, it could be said that Dasein is an individual human being. As Dasein, we are each an existing entity and have the ability to consider how we shall be in the world. By Heideggers analysis of being-towards-death, Dasein understands what it means to exist. Heidegger suggests that rather than facing the reality of death, Dasein may flee from it, back into the absorption of everyday life. By running away from the reality and the finitude of our existence, we may collapse into a state of anxiety and bring forth anguish in Daseins being; we may despair when confronted with the actuality of our death. According to Heidegger, angst enables us to have an understanding of our eventual demise and anticipation in the face of death makes an authentic life possible. When we choose to accept the inevitable, we realise the possibilities of life and we discover a truth; we can find meaning at least for ourselves. By breaking the illusions of death, we can conquer life. This is the difference between living authentic and inauthentic lives. While we cannot know what death itself will be like, we can look ahead towards our dying. By accepting that one is constantly moving towards death and understanding that mortality is fundamental to who we are, Heidegger states something authentic is uncovered, a moment that will truly be ones own. Through this insight, Heidegger shows that death is an individual event in that it is something that every person must go through. Nobody can die my death It is unique to each one of us. To each it is given and cannot be denied. A Heideggerian Approach to Ivan Ilych In Being and Time, Heidegger makes use of Tolstoys story in his own analysis of death. He says in a footnote, In his story The Death of Ivan Ilyitch Leo Tolstoi has presented the phenomenon of the disruption and breakdown of having someone die (Heidegger: 495). Early in the novel, Ivans death is presented as an inconvenience and a burden. His wifes attitude to his failing condition is that it was his own fault and was another of the annoyances he caused her (Tolstoy, 254). This parallels Heideggers thoughts on the everyday relationship with death, Indeed the dying of Others is seen often enough as social inconvenience, if not even a downright tactlessness, against which the public is to be guarded (Heidegger, 298). In the story, death is seen as a social inconvenience, disrupting everyday life. From Heideggers perspective, the story of Ivan Ilych demonstrates a case of an individual that lives an inauthentic existence. Ivan Ilych, his wife and family, and even the doctors have all missed the point that death is certain; one cannot escape the inevitability of death. It is perhaps only Gerasim, a simple peasant, who is able to maintain an authentic and reflective stance towards death. Gerasim is not interested in upholding the trivial social concerns that everyone else seems to he recognises that death is a reality. Half way through the story Ivan remarks, Gerasim alone did not lie; everything showed that he alone understood the facts of the case and did not consider it necessary to disguise them (Tolstoy, 264). From a Heideggerian perspective, Gerasim alone displays a compassionate and meaningful existence in the story. As Ivans condition slowly deteriorates, it (the pain, the spectre of death) becomes something that he can no longer ignore, although he is still being told that he will recover. At a certain point, however, he begins to ask, Why deceive myself? (Tolstoy, 257) When Ivans brother-in-law visits before New Years, he is so disturbed by his condition that he is unable to be in his presence. He says to Ivans wife Why, hes a dead man! Look at his eyes theres no light in them (Tolstoy, 256), though she denies this change. For her, he is merely sick; he will get better with time. Heidegger lets us understand this when he says, This evasive concealment in the face of death dominates everydayness so stubbornly that, in Being with one another, the neighbours often still keep talking the dying person into the belief that he will escape death and soon return to the tranquillized everydayness of the world of his concern (Heidegger, 297). Though Ivans family appear to be trying to comfort him, reall y they are only denying what Ivan has now realised he will soon face his own death. When Ivan truly realises that his condition is incurable, he reflects on a presentation of death he had learnt from Kiezewetters Logic, Caius is a man, men are mortal, therefore Caius is mortal, had always seemed to him correct as applied to Caius, but certainly not as applied to himself. That Caius man in the abstract was mortal, was perfectly correct, but he was not Caius, not an abstract man, but a creature quite quite separate from all others (Tolstoy, 259). This comparison to Gaius Julius Caesar demonstrates that Ivans attitude towards death is severely misunderstood. For Heidegger, this statement would seem to imply Ivan Ilych fell into the inauthentic way of life, unable to face his death with acceptance and bravery, preferring instead to be coddled and pitied. Conclusion The Death of Ivan Ilych is primarily a meditation on the nature of death. For Heidegger, death brings our lives into focus. Referencing Leo Tolstoys The Death of Ivan Ilych as an example, Heidegger argues that most people go through life in avoidance of the reality the possibility to end all possibilities ones death. Heidegger is confident that by anticipating death, we can ensure an authentic way of being.

Gregors Guilt in Franz Kafkas The Metamorphosis :: Metamorphosis essays

Gregor's Guilt in The Metamorphosis Humans feel obligated to do certain things. It makes them feel good, or worthwhile. If these responsibilities are not met or to the obligator's own standards then guilt comes upon them. In The Metamorphosis, by Franz Kafka, Gregor's self-condemnation keeps him trapped. Gregor is enslaved to his family. Therefore Gregor's guilt emerges from the families' burden. The excerpt below is a key passage to understanding Gregor's guilt: "'Believe me, sir, there's something the matter with him. Otherwise how would Gregor have missed a train? That boy has nothing in his mind but the business. It's almost begun to rile me that he never goes out nights. He's been back in the city for eight days now, but every night he's home. He sits there with us at the table, quietly reading the paper or studying timetables."(10) Guilt can be from many different situations. Gregor's guilt was from his obligation to work. Even Gregor's mother, a bystander, could see his dedication to his job. Life without amusement becomes stressful and unpleasant. Throughout the novel Gregor finds himself stressed out because of his dissatisfaction with his ability to provide for his family. Gregor, finally near the end of the novel, finds satisfaction in something: his sister's violin. The novel is set on Gregor being placed into the fatherly role. From there stems all the problems from the novel. One in particular comes up. Gregor does not go out at night. This is his recreational time, his time to relax and unwind. Instead Gregor stays working even when he is away from his job. Work without relaxation is dangerous. Even ancient texts talk about a day of rest. Guilt is deadly. Gregor's guilt actually leads him to his death. The stress built up from his guilt was part of his death. Because of the stress and guilt Gregor did not eat much. He became malnourished. Many tragedies have been written on the guilt of a person. In the tragedy the guilt kills them.

Essay --

Postmodernism has always been somewhat present during every generation of people in America. In fact, it alludes to future ideas that are cutting edge when compared to the theologies of the modern times. The Emergent church can be classified as postmodern, because it is in fact an â€Å"emerging† movement. Perhaps the question we should ask is if it’s just a phase in America, or is it here to stay? We should first answer the questions that it brings up, before we can answer what it actually represents. However, there is one thing we do know, which is that the name comes from the fact that this â€Å"movement† is gradually changing the philosophy of Christianity. In every sense, the Emergent church is at least, improvisational. It takes Christianity, and not only challenges the traditional ways of the religion, but alters it in order to appeal to a new generation of non-believers as well as believers. The emerging church is used to describe the new and rapidly growing amount of mission Christian congregation. It is a name given to those who believe that God is the truth alone, but the old ways of exposing that fact are no longer useful in today’s society. Such things include worship, prayer, preaching, and outreach. The emerging generation sees these aspects as very flexible features of the Christian church since the old forms of expression don’t seem to have as much of an effect on society today than it did decades ago. In this logic, the emergent church is seeking alternative forms of spiritual formation that are controversial to, and within Christianity, which is making it a misunderstood movement. Like every other ty pe of movement, this effort had just started as a conversation among its leaders. Some of the first people to... ...nce of homosexuality. Which makes it seem like the Emergent church is not representing significant conversion growth, but instead are gathering upset Christians and making alternative beliefs. Which is why it has become vital to try and understand this movement, so that assumptions can’t be made that could potentially cause a chasm in Christianity. The Emergent Church has both positive and negative effects. It’s beneficial in the way that it is adapting to today’s culture to assist with evangelism, but it isn’t a totally comfortable concept to grasp. Neither is postmodernism, which the emerging movement basically represents in its theologies and ideas. The fact is that for as many questions that it can answer in Christianity, it raises twice as much. However, whether or not the culture accepts this movement, the one thing that seems inevitable, is its growth.

Health Issues of Indigenous Australians Essay -- Sociology

As health professionals, we must look beyond individual attributes of Indigenous Australians to gain a greater understanding and a possible explanation of why there are such high rates of ill health issues such as alcoholism, depression, abuse, shorter life expectancy and higher prevalence of diseases including diabetes, heart disease and obesity in our indigenous population. Looking at just the individual aspects and the biomedical health model, we don’t get the context of Aboriginal health. This is why we need to explore in further detail what events could have created such inequities in Aboriginal health. Other details that we should consider are the historical and cultural factors such as, ‘terra nullius’, dispossession and social Darwinism, early attempts of genocide towards Indigenous Australians, segregation and the ‘protection’ legislation, the assimilation policy, self-determination and â€Å"the emergence of Indigenous protest† (Psych ology and Indigenous Australians, Foundations of Cultural Competence, 2009, pp.84) as well as the limiting factors of being part of a low socioeconomic status group and statistical health differences between Indigenous Australians and non-Indigenous Australians compared to other countries Indigenous and non-Indigenous populations. By encompassing all of these details, we can begin to establish why Aboriginal’s tend to have more health issues and what can be done to improve these health inequities. When the English settlers arrived on Australian shores in 1776 (The Story of the Australian People, 2010), they didn’t see anything that represented that the land was owned, so they claimed it as their own under ‘terra nullius’ in 1776. â€Å"In International Law 'terra nullius' describes territory that n... ...=33 Australian Museum. (2011). Indigenous Australia Timeline - 1901 to 1969. Retrieved May 5, 2012, from http://australianmuseum.net.au/Indigenous-Australia-Timeline-1901-to-1969 Department of Sustainability, Environment, Water, Population and Communities. (2008). Wave Hill Walk-Off Route more information. Retrieved May 6, 2012, from http://www.environment.gov.au/heritage/places/national/wave-hill/information.html Australia Bureau of Statistics. (2010). ADULT HEALTH: RISK FACTORS AND SOCIOECONOMIC STATUS. Retrieved May 6, 2012, from http://www.abs.gov.au/AUSSTATS/abs@.nsf/lookup/4704.0Chapter750Oct+2010 Australia Bureau of Statistics. . (2010). ACCESS TO HEALTH AND COMMUNITY SERVICES: ACCESS TO HEALTH SERVICES. Retrieved May 6, 2012, from http://www.abs.gov.au/AUSSTATS/abs@.nsf/lookup/4704.0Chapter955Oct+2010 Indigenous Health Lecture, Slide 8.

Painting Analysis in Jane Eyre Essay

From the opening chapter of Charlotte Brontà «Ã¢â‚¬â„¢s Jane Eyre the reader becomes aware of the powerful role that art plays. There is something extraordinary about the pictures Jane admires from other artists, as well as the work she creates herself. Her solitary pastime often operates as an outlet of pain, either past or present, and offers her the opportunity to deal with unpleasant emotions and memories. Jane’s art transcends her isolation by bringing her into contact with others who see it; it functions as a bridge between her desire to be alone and her need for companionship. Despite her struggles with inner conflict and the people in her life, Jane’s art helps her find personal power, marking her true identity as her own woman. Whether it is her love of drawings or the creations of her own, artwork has provide Jane a means of agency to survive the harrowing conditions afforded to the orphan child, allowing her to emerge as a wealthy, independent social equal. The first glimpse of Jane’s resourcefulness and mental escape comes from one of the first activities in the novel. She escapes from her powerless place in the hostile Reed household temporarily through a book â€Å"taking care that it should be one stored with pictures† (2). She retreats to a solitary window-seat, â€Å"having drawn the red moreen curtain nearly close†¦ shrined in double retirement,† and buries herself in Berwick’s A History of British Birds (2). The window offered protection, but not separation from the outside: â€Å"At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon† (2). Through the images and quotes contained therein, Jane manages to acquire the only kind of power to she access to- knowledge, â€Å"Each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting† (3). Her interpretation of the illust rations provides training for the young girl, who will later produce her own images. Her quest for identity and power has begun, and the young orphan begins to discover how she can begin her journey to find her place as a social equal. Interrupting her happy retreat, looking at the pictures, is her wretched cousin John Reed. He claims that Jane, as a dependent in his household, has no right to look at books without his permission. As punishment for her transgression, he throws her favorite Berwick’s Birds at her, physically knocking Jane down with its force (3-5). A fight ensues, with Jane comparing Reed’s actions to those of murderers, slave drivers, and Roman emperors. Adults intervene; Jane is blamed for the conflict and is confined to the â€Å"red room† where she experiences terrible suffering. In this incident, Jane’s visual pleasure takes the form of looking at art objects in prints and illustrated books. Instead of being a harmless leisure activity, â€Å"this looking is regarded by the male character as a provocation, setting off various stratagems aimed to reconfirm rights of ownership by laying down restrictive or subordinating conditions of access† (Kromm 374). Confron tations between Jane and male authority would follow her from her removal from the Reed home to her schooling at Lowood. Early on in her education at Lowood, Jane finds herself in a situation similar to that of the breakfast room incident at Gateshead. Trying to escape the notice of the headmaster Mr. Brocklehurst. With no massive curtain to shield her this time, she â€Å"held [her] slate in such a manner as to conceal [her] face† (62). The â€Å"treacherous slate† slipped from her grasp and crashed to the floor. As she â€Å"rallied [her] forces for the worst. It came† (62). In a humiliating flight of indignation, Mr. Brocklehurst, placing Jane on a stool for all to see, publically admonishes her for dropping school property. He further attempts to ostracize her from the others by condemning her a liar (information he received from Mrs. Reed, Jane’s wretched benefactress). Jane serves the time, designated by her punisher, sobbing and full of shame. She realizes that this wrongdoing would eliminate Miss Temple’s promise to teach her drawing and to learn French. Jane descends from the stool in search of Miss Temple, her beloved superintendent, who often â€Å"listens to Mr. Brocklehurst’s sermonizing in ladylike silence with her mouth ‘closed as if it would have required a sculptor’s chisel to open it’† (Gilbert 784). Miss Temple kindly allows Jane to speak in her defense, such an unfamiliar concept coming from the Reed residence. Once Jane’s story is corroborated she is rewarded with beginning lessons in drawing and French. Her subsequent years at the Lowood Institution, although glossed over by Brontà «, are when Jane emerges as an artist. Her first sketch is landscape with a crooked cottage whose graphic limitations bring about a daydream that evening in which she envisions a feast of â€Å"more accomplished imagery†(72). Each imaginary scene is one she anticipates producing with her own hands: picturesque landscapes with ruins, lowing cattle that recall Dutch painters like Cuyp, butterflies hovering near roses, birds pecking at fruit. Through this elegiac, bucolic, wish-fulfilling dreamscape, she sees herself become adept at making â€Å"freely-penciled,† rather than minutely copied, renderings of the natural world intensively and expansively observed. (Kromm 377-378) Jane’s goal is clearly much higher than reproducing other’s works. She sees herself acquiring the skills of a professional artist. Jane learns at Lowood that she can create and lose herself in alternate worlds when she draws and paints. She shows the ability to envision a cheerful life different from her circumstances. However, following Miss Temple’s departure from Lowood, Jane returns to feelings of isolation. Once again she finds solace gazing out a window, realizing the promise the other side has to offer . Her â€Å"restless desire† of life outside the classroom leads Jane to seek employment elsewhere. It is through her preparations to leave Lowood that the reader learns of Jane’s growth and achievement as an artist. Her â€Å"pictorial facility is a landscape, a watercolor given to the superintendent of Lowood, who had interceded on her behalf with Brocklehurst to obtain for Jane a reference and permission to leave the school† (Kromm 379). The painting was framed, and placed prominently â€Å"over the chimney-piece,† in the parlor at Lowood. Her painting is one of several accomplishments that impress Bessie, the Gateshead servant who visits upon learning of Jane’s departure for her next job at Thornfield. Bessie thinks the painting is beautiful: â€Å"It is as fine a picture as any Miss Reed’s drawing-master could paint, let alone the young ladies themselves, who could not come near it† (90). Jane now possesses the accomplishments of a lady, and â€Å"to a degree which will ensure her economic independence as a teacher. The picture Bessie sees is not described; it has no significance for Jane other than as a social gesture†¦it functions simply as a milestone on her advance to independence† (Milligate 316). Jane’s artistic confidence and her newly acquired â€Å"social status,† follow her to her next adventure at Thornfield. During her time as a governess, Jane’s art continues to gain the attention of others. Shortly after Rochester’s first appearance at Thornfield, he summons Jane and tries to get to know Jane’s qualifications as governess for Adà ¨le. Rochester asks to view again some of her work the young girl had shown him, adding, â€Å"I don’t know whether they were entirely of your doing: probably a master aided you?† (124). Jane vehemently denies his accusation, yet Rochester remains skeptical. He orders Jane to â€Å"fetch her portfolio,† and investigates her work, promising her, â€Å"I can recognize patchwork† (124). Somewhat satisfied after his perusal, that the work is from one hand, a hand that she confirms is her own. Focusing his attention on three watercolors he asks Jane, â€Å"Where did you get your copies?† When Jane replies â€Å"Out of my head,† he continues to goad her, â€Å"That head I see now on your shoulders?† (124). Jane passes his critical judgment without becoming unsettled. She offers her own critique of her work that is occupying Rochester’s attention: â€Å"her judgment upon them was ‘nothing wonderful’ because her manual skill was not quite able to capture the vivid subjects that she had imagined with her ‘spiritual eye’† (Gates 36). The watercolor landscapes, although produced at Lowood, are far from the scene that been so admired: â€Å"A seascape, a landscape, and polarscape respectively, each fantastic natural setting has the disturbing feature of a dead, fragmented, or cropped figure† (Kromm 379). In the seascape, a wrecked ship’s mast rises above the water in â€Å"composition dominated by rough seas and clouds.† A lone cormorant sits on the mast with a sparkling bracelet in its mouth â€Å"pecked from the arm of a woman’s corpse lying almost submerged in the foreground† (Kromm 379). The second painting shows a leafy, grassy hill with a large stretch of dark blue twilight sky. â€Å"Rising into the sky† is a bust-length view of a woman: â€Å"She is an allegorical figure, her gauzy lineaments and crown justifying her description as a ‘vision of the Evening Star.’ The pleasant otherworldliness of this princess-like delineation is subverted by the account of her features, which include wild-looking eyes and hair streaming in enervated disarray† (Kromm 379). The third watercolor is a polarscape whose winter sky is â€Å"pierced† by the peak of an iceberg against which a gigantic head rests, its forehead supported by two hands. The focus â€Å"is entirely placed on the singular head whose black, bejeweled turban registers a note of orientalist exoticism. The eyes of this giant are glazed, fixed, blank, communicating only a sense of despair† (Kromm 379). Her descriptions of her work display the limitless depths of her imagination. They are, as Rochester observes, like something Jane â€Å"must have seen in a dream† (126). He asks whether she was happy when she painted them and remarks that she must surely have existed â€Å"in a kind of artist’s dreamland while [she] blent and arranged these strange tints† (126). â€Å"Here Rochester catches the essence of surrealistic art, which tends toward the kind of involuntarism best known in dreams, aiming at automatism and toward the unconscious. Jane of course was not aiming anywhere† (Gates 37). Jane says she was simply ‘absorbed† and her subjects has â€Å"risen vividly on [her] mind† (126). Jane has the visions but lacks the skill to accurately portray them: â€Å"whereas the superintendent’s picture indicated accomplishments with social and economic value, these pictures reveal Jane’s emotional status†¦she has made little progress† (Millgate 316). Jane is still maturing. The paintings may evidence a halt in her artistic promise, however, the conversation with Rochester, about her artistic promise, ignites a sense of equality between the pair. Jane views Rochester’s investigatory comments as a, â€Å"breath of life†¦ he is the only qualified critic of her art and soul† (Gilbert 352). Jane and Rochester’s shared love of art plants the seeds of their mutual affection and appreciation of one another. Besides using her art as a means to access Jane’s thoughts, Rochester offers Jane’s work to the public. Rochester becomes, â€Å"the link that enables Jane to expand her ability to share imagination† (Cassell 112). She informs her reader, â€Å"One day he had company to dinner, and had sent for my portfolio; in order, doubtless, to exhibit its contents† (129). â€Å"Jane placidly accepts Rochester’s display of her work, perhaps as an affirmation of the value of her talent, or perhaps as a means to communicate her imaginative self with a larger audience† (Cassell 112). Jane takes a risk and allows herself, through her work, to be vulnerable to society’s scrutiny. Personal scrutiny, in addition to public, accompanies Jane’s work as it transitions from the familiar natural landscapes, to the unfamiliar world of portraiture. Here Jane uses her art as a sort of punishment for not seeing reality. The way Jane’s creative imagination goes to work on its materials is quite precisely revealed in the genesis of the pictures she actually completes while at Thornfield, those contrasting portraits of ‘a Governess, disconnected, poor, and plain’ and of ‘Blanche, an accomplished lady of rank’ which she intends as medicine for a mind which love of Rochester has infected with wishful thinking. (Millgate 317) Jane’s ivory miniature of Blanche Ingram is executed before Jane has laid eyes on Blanche and is based upon Mrs. Fairfax’s flattering description of her. When Jane asks Mrs. Fairfax for her opinion of Rochester, she says of the woman’s response, â€Å"There are people who seem to have no notion of sketching a character, or observing and describing salient points, either in persons or things: the good lady evidently belonged to this class† (104). However, when describing Jane’s rival for Rochester’s affection, Mrs. Fairfax’s word is bond. Studying her own face in the mirror, she finishes her a charcoal self-portrait in less than two hours, â€Å"omitting none of what she calls her defects, the harsh lines and displeasing irregularities of her face, refusing to exercise the artist’s option to use the chalk to soften or blur the sharp planes of her features† (Kromm 382). Jane paints Blanche’s portrait on smooth ivory, â€Å"taking a fortnight to finish it, and the result is a Grecian beauty whose features are called smooth, soft, sweet, round, and delicate† (Kromm 382). Looking at both portraits, she asks herself which woman Rochester would prefer: â€Å"The contrast was as great as self-control could desire† (162). The painting exercise becomes a means of self-discipline, and â€Å"a way of representing social hierarchical position through the creation of concrete images† (Azim 192). Contemplating the two works, and their disparities, she puts herself firmly in her place. She scolds herself for her romantic fantasies about Rochester that could ruin herself and her career. The contrast between the real and the ideal â€Å"is imagined and put forth, to keep in mind the distance between desire and reality†(Azim 193). Here Jane paints out of her mind’s eye, not in order to indulge her imagination, but to control it. Jane returns to Gateshead to visit her dying Aunt Reed. Bessie greats her kindly, but Jane otherwise receives a cold greeting from her aunt and cousins. Returning to such a disheartening place, coupled with missing Rochester, Jane uses her art as a means of comfort. She carries her art with her because art supplies her with â€Å"occupation or amusement† (250). â€Å"Her first sketch there shows her thoughts in line with Rochester’s as she sketches the characters that he often associated with her† (Cassell 116). She draws: â€Å"Fancy vignettes, representing any scene that happened momentarily to shape itself in the ever-shifting kaleidoscope of imagination: a glimpse of sea between two rocks; the rising moon, and a ship crossing its disk; a group of reeds and water-flags, and a naiad’s head, crowned with lotus-flowers, rising out of them; an elf sitting in a hedge-sparrow’s nest, under a wreath of hawthorn-bloom. (236-237) Her fantasies shift to real possibility, she sketches a face-Rochester’s, all in heavy black pencil and complete with flashing eyes (237). Jane describing her own work and the qualities she seeks to emphasize in the portrait – strength, determination, flexibility and spirit – reinforce what Jane finds attractive in Rochester. The portrait of Rochester is involuntarily made and, in fact, â€Å"helps to close the gap between the mind and the representational object: spontaneity, imagination, sexuality, and sexual desire combine to produce a portrait that faithfully represents the painter’s state of mind† (Azim 195). In a time of emotional need, she unconsciously conjures up â€Å"a speaking likeness† of the man she loves (237). After leaving Thornfield, following the interrupted marriage ceremony, Jane’s art provides a temporary asylum, as she grieves for Rochester. During her stay at the Moor house, her artwork earns her the admiration of Diana and Mary Rivers. They are so impressed with her talents that they give her all of their drawing supplies (360). Once again Jane attributes her talents with social status when she remarks, â€Å"My skill, greater in this one point than theirs, surprised and charmed them† (360). Their appreciation of her artistic skills, and their generosity help strengthen Jane’s weakened disposition. As Jane struggles to cope with losing everything that mattered to her, her artwork enlivens those around her-especially Rosamond Oliver. Jane’s art excites admiration, impressing Rochester with its â€Å"peculiar† power and â€Å"electrifying† Rosamond with surprise and delight. Jane’s painting and sketching quietly â€Å"satisfy an impulse toward a kind of display that is itself subordinated to pleasure in looking, as when she happily agrees to sketch a portrait of Rosamond: ‘I felt a thrill of artist-delight at the idea of copying from so perfect and radiant a model’† (Newman 157). Jane’s first description of Rosamond presents a figure seen entirely from an artist’s angle: â€Å"eyes shaped and colored as we see them in lovely pictures†¦the penciled brow†¦the livelier beauties of tint and ray†¦Ã¢â‚¬  (372). â€Å"The ease with which this terminology is manipulated shows a new detachment in Jane, as well as suggesting a certain superficiality in the figure she exams† (Millgate 319). Even though Jane can use her imaginative faculties to alleviate the pain of reality, she does not separate from reality (Cassell 116). She grieves constantly for the loss of Rochester and her identity. Her art does not offer the same gratifying rewards that it once did. Her work has continued to mature and is evident by Rosamond’s portrait. Mr. Oliver and St. John Rivers authenticate the precision of the portrait. The painting also â€Å"causes St John to admit to Jane what she already knows – that he is in love with Rosamond – and it is while he gazes at the picture that he allows himself to give way to his feelings for a set period of time – ‘a little space for delirium and delusion’, he calls it† (Losano 256). The painting also serves another function. The portrait of Rosamond Oliver brings to fruition, Jane’s aspirations for independence. St. John recognizes her as the rightful heir of a fortune. His proof of her identity consists of a signature in â€Å"the ravished margin of [a] portrait-cover,† which Jane confronts as if it belonged to another: â€Å"He got up, held it close to my eyes: and I read, traced in Indian ink, in my own handwriting, the words ‘JANE EYRE’† (392). Jane construes her signature as â€Å"the work doubtless of some moment of abstraction† and thus disowns it as the product of her own volition, even as it fulfills the conditions of he uncle’s will and her own desires to be financially independent and to belong to a family (Marcus 217). Jane Eyre’s art is mode of self-expression, revealing in rare glimpses her depth of character and aspirations for independence. As Millgate suggests, â€Å"her work is one means of charting her growth to maturity† (315). Beginning in the window-seat at Gateshead, a ten-year-old girl escapes abuse and neglect by escaping through images in her beloved books, through twenty years of creating herself through her art, Jane ends her career as an artist when she becomes Mrs. Jane Rochester. In the account of her married life in the final chapter, all her imaginative activity and visionary skill are devoted to the task of embodying in words, for the benefit of her blind husband. Her gift of words helps her to create a new artist identity-a storyteller. Works Cited Azim, Firdous. â€Å"Rereading Feminism’s Texts in Jane Eyre and Shirley.† The Colonial Rise of the Novel: From Aphra Behn to Charlotte Brontà «. London: Routledge, 1993. Brontà «, Charlotte. Jane Eyre. New York: Barnes and Noble, Inc, 2001. Cassell, Cara. The â€Å"Infernal World†: Imagination in Charlotte Brontà «Ã¢â‚¬â„¢s Four Novels. Diss. Georgia State University, 2001. Gates, Barbara. â€Å"Visionary Woe and Its Revision: Another Look at Jane Eyre’s Pictures.† ARIEL, Vol. 7 (1976): 36-49. Gilbert, Sandra. â€Å"Plain Jane’s Progress.† Signs, Vol.2 (1977): 779-804. Kromm, Jane. â€Å"Visual Culture and Scopic Custom in Jane Eyre and Villette.† Victorian Literature and Culture, Vol. 26 (1998): 369-394. Losano, Antonia. The Woman Painter in Victorian Literature. Columbus: Ohio State University Press, 2008. Marcus, Sharon. â€Å"The Profession of the Author: Abstraction, Advertising, and Jane Eyre.† PMLA, Vol.110 (1995): 206-219 Millgate, Jane. â€Å"Narrative Distance in Jane Eyre: The Relevance of the Pictures.† The Modern Language Review, Vol.63 (1968): 315-319. Newman, Beth. â€Å"Excepts from Subjects on Display.† Charlotte Brontà «Ã¢â‚¬â„¢s Jane Eyre: A Case Book. Ed. Elsie Browning Michie. NewYork: Oxford University Press, 2006. Starzyk, Lawrence. â€Å"The Gallery of Memory†: The Pictorial in Jane Eyre.† Papers on Language and Literature, Vol.33 (1997): 288-307.