Fashion and Art Essay

A controversial debate that has existed for many years, and will probably still be argued for many years to come, is the relatively close relationship that fashion and Art has. People in both the fashion and art industries (or as some artists like to call: ‘art world’) have very mixed opinions and ideas on the collaboration of fashion and art and how one may influence the other in the industry we live in today. â€Å"Art is Art and Fashion is an industry†, as quoted from in Michael Boodro’s ‘Art and Fashion’ (2007), he believes that Fashion is just a ‘man made’ craze that has only been popularised by the many followers in public that are cloned to consume the ideas of fashion. Boodro also believes that â€Å"†¦ fashion comes with no illusions attached† He believes that there isn’t a depth to fashion as there is in art, he believes art is an academia with vast depths of knowledge involved as to fashion, which is a shallow and very monochrome in it’s appearance, with no hidden messages. He goes on to explain that the interest in fashions first started in the late 1800s/early 1900s when only the rich and wealthy could afford artwork, in a form of portraits, then these painters created elaborate fashions in this paintings, learning the art of drapery and how to portray fabrics in the best possible light, For example: â€Å"Gustav Klimt, portraits of women, ‘designed’ dresses that were more prominent than his subjects†. Following on from this, Boodro then goes on to highlight some interesting links between art and fashion in how the artists has always formed the inspiration for the designer, such as: â€Å"Valentino has taken black and white geometric motifs from the Viennese artists Josef Hoffman and Koloman Mosen and embroided them in sequins and dresses† Many other examples there to highlight that a key to a designers success is by taking inspiration from previous art work by innovative and creative artists, which supports Boodro’s opinion that fashion is a follower and a form of art. â€Å"Clothes were placed in an extra-artistic sphere- where the most part they have remained†. This is taken from a contrasting piece of writing from ‘Fashion and Art’ by L. Svendsen (2006). As you can see, the Title ‘Fashion and Art’ is a reverse to Boodro’s ‘Art and fashion’, this is because, as quoted above, Clothes (fashion) were placed in an ‘extra-artistic sphere’, meaning that he sees Fashion as a seperate category to Art, and not a branched off form of art itself. Svendsen has a much more equal opinion for both sides of the opinion, he can pick out where Art and Fashion do merge into one, and also how Fashion has separated itself from art. He stated that in the early 1900’s, Fashion was very limited and boundaries were strict due to â€Å"Freedom was rather restricted, as the creations had to appeal to the aesthetic preferences of the customer†. Even though artists and art critics will strongly disagree that Fashion is a form of Art, even iconic designers such as Paul Poiret, one of the first iconic fashion designers of the early 20th Century stated â€Å"I am an artist, not a dressmaker†, designers hated how critics would limit their title to just a ‘dressmaker’, limiting their skills and talents instead of creative s that they dream to be acclaimed for. Another controversial quote though from a famous designer, Martin Margiela who insists that â€Å"fashion is a craft, not art† Moving into the 1920s and 30s with the Cubism perception in artwork replacing realism, Fashion also in turn started to become more abstarct, and this was when Haute Couture was born, designs became more elaborate and the previous boundaries that existed were lifted, giving designers a vast playground in which they could experience with their work and ideas. â€Å"Many Fashion Designers have used strategies normally associated with contemporary art rather than the world of fashion, by creating clothes that are better suited to exhibitions in galleries and museums than for actual wear†This shows a great link between fashion and art, it was evolving to become so abstract and outrageous that the best way for them to be displayed to their best potential was in galleries and museums, the same way as artwork would be, For example now in Museums such as the Victoria and Albert in London, there is now Fashion Archives, and many international designers have homed themselves there for one-off elaborate exhibitions. To conclude I think that I would categorise Fashion as a form of art, but not a direct result of art, I think many people have similar opinions of the two because they are such broad topics with an almost unlimited amount of space for creativity. I do agree that some of fashions many successful collections and campaigns stemmed from the innovative ideas of previous artists but some of the more successful fashion moments have been solely down to the creative minds of the designer If I had to categorize the fashion industry and the Designers work, I would place it under craftsmanship and creativity, as previously quoted by Martin Margiela. To finalise though I believe that art and fashion shouldn’t be labelled and the two should be able to intertwine to create magical and awe-inspiring pieces.

Qualitative research methodology Essay

Qualitative research looks at people with an objective to understand them, to interpret their information from the point of view of the subject being studied. It looks at themes or emerging patterns. Occasionally qualitative research uses a system known as the grounded theory which collects data first and then examines the data for the problems that it is looking for. Unlike a quantitative researcher a qualitative researcher could assume a partial position, and engage in the study himself. It studies people in what could be considered a complex situation or environment. Researchers can actually put  in their own structure, and could be involved in the research. Unlike quantitative research, qualitative research is not number intensive, it tends to focus on observation in order to understand important themes or patterns. It wants to build its own social realism with superimposed variables that are usually difficult to measure. The system is naturally inductive, and again focuses on multiplicity and complexity. ( Polit 1989). The researcher can get involved personally, and can use numerical information, but only minimally. Qualitative research assumes that many realism can be present in a  given situation, meaning that its acceptable for the researcher, the subjects being studied and maybe the audience to be part of the study. (Polit 1989). The researcher is actively involved with his study subjects, and actually tries to limit separation between him and subject of study as much as possible, because he sees the subjects as very valuable. He can actually verify his information by collecting information from various sources including informants. Qualitative research is use for such researches as descriptive research. It is used to develop hypothesis and to explain of illustrate the reports of quantitative research. It is difficult to use quantitative research to show cause and effect relationships. Because qualitative research is often comprehensive and intense, their result are more holistic and could produce more insights. However it is not easy to replicate or duplicate qualitative research results, so it is rather difficult to use qualitative research results as an objective instrument. It could also be very expensive and as well as time consuming. They other types of qualitative research include ethnography, ethnomethodology, sociometry, and unobtrusive measures. TRIANGULATION RESEARCH: Because of the inability to use qualitative research as an objective source of valid research results, some have argued that using triangulation, or the use of many research sources to arrive at an objective answer as the solution. (Polit 1989). By combining more than one source of research, the result will be more accurate. So the effort really is in double checking one research application with another research application, in order to make sure that there is validity in the result that has been reported. There are many types of triangulation research: Data triangulation uses many data sources , such interviews of  many informants for one study. So instead of simply depending on one sample, it uses several samples during the study. Investigator triangulation uses more than one researcher in its research. It employs more than one person to collect the data, analyze the data, and to interpret the data. The theory triangulation uses more than one theoretical point of view or to interpret one research view point. The methodological triangulation uses many research methods in solving a research question. By using triangulation the researcher is seeking to give his research objective look, and validation.

Ottoman and Safavid Empires Essay Example | Topics and Well Written Essays - 750 words

Ottoman and Safavid Empires - Essay Example Powerbase The solid powerbase is an important factor that legitimized the rule of the Ottoman and Safavid empires. They owed much of their power to the empire created by the Mongols previously as well as the political institutions that allowed for the achievement of the "military patronage state" wherein government functioned like a great military family that serve as protector of the country and its culture. The Ottoman Empire is the greater beneficiary of these Mongol legacies. Nonetheless, what can be seen here is that the prevailing political environment was already stable, systematic and influential. All it took was strong leadership to take advantage of all the policy network available as well as the existence of an effective bureaucracy that has been established long before. This last factor is particularly helpful in the case of weak Sultan who is incapable of protecting his subjects by himself. The bureaucracy assumed great powers and centralized authority that a weak leader could rule just effectively, taking authority and power from the many branches of his government (Karpat 2002, 400) Holy Mandate Another important legitimizing force for the powerbase of the Ottoman and the Safavid empires was religion - the Islamic values and laws. ... The Safavids also benefited from religion in this manner. In fact, Islam is their primary claim to authority. The primary authority of the Safavid rulers was based on the claim that the they were descendants of the seventh imam, and therefore were quasi-divine persons (Lapidus 2002, 445). Unlike the Ottomans, who benefitted in combining religious and secular approach in governance, the Safavids went as far as establishing a religious establishment that eventually used to eliminate opposition to the government and the ruler. For this purpose, Shah Ismail founded Shi'ism built up the ranks of the Shi'i ulama, which ruthlessly suppressed rivals of the state and the religious order. Shah Ismail successfully made his subjects think that he and his heirs, being descendants, of the Seventh Imam, Muza al-Kazim, were his reincarnations on earth (The Empire of the Heartlands reference 64). This cemented the authority of the Shah, becoming the head both of the state and of religion, being the T welfth Imam, in the flesh. In addition, the Safavid rulers also carefully cultivated historic images of previous glorious Persian past such as manuscript illuminations, architecture, and court literature of Iranian kings of kings (Khoury and Kostiner 1990, 36). This recall of past glory and Persian forms of monarchy strengthened the religious authority of the Safavid leaders so that they were able to consolidate power and maintain it without significant opposition from the people. In the 13th century, for example, the leadership encouraged the theory that the Safavid founder Husain married the daughter of Yazdigird III, the last Sassanian king, effectively linking the house of Ali to the Iranian monarchical tradition (Empires of the Heartland reference, 47). The Ottomans also organized

History of Food in Mexico Research Paper Example | Topics and Well Written Essays - 250 words

History of Food in Mexico - Research Paper Example They are also the ones who introduced chocolates to the Spanish. Regionally, north of Mexico is known for arrachera cut, carne asada dishes. The south part of the country is known for conchinita pibil. Generally, other vegetables and chicken based dishes (Mexico Adventure, 1999). Spain civilization in 1521 brought about fusion of Spanish foods such as pigs, garlic, dairy products and spices with the Mexican traditional cuisine. This was later followed by assimilation of several other cuisines like Portuguese, South Americans and French. In addition, various regions in the country experience different climatic conditions and are of different ethnicities. These are among the reasons why today Mexican foods vary with regions and are a variety (World-food-and-wine. n.d.). Despite the food variety and influence of Mexican dishes there has been the dominance of traditional spices like oregano, cumin and chill powder. The objective of meals being leisurely shared and enjoyed has still remained intact. Furthermore, there are foods mostly taken during various religious and holiday

Administration of Medications Research Paper Example | Topics and Well Written Essays - 1500 words

Administration of Medications - Research Paper Example For instance, intravenous (IV) furosemide directed too hurriedly can have adverse effect of causing deafness. In the same way, too much of topical steroids applied on the body can cause tapering of the skin and various dangerous side-effects. In the opinion of Shane (2009), medication administration can be considered as the â€Å"sharp edge† in the medication-use process, because errors occurred at the prescribing, dispensing, or transcribing stages, if not detected, will result in the patient receiving the medication in error. There are two factors that decide whether or not the medication will meet the anticipated site of action in the body of the patient. They are; The bioavailability of the drug: - Bioavailability is the amount of administrated medication that can affect the systematic circulation and thereby available for circulation to the anticipated site of action. Routes of administration: - The routes of administration consist of the method of carrying out the admini stration of drug. For the effective drug therapy and desired patient outcome, it is essential to recognize the advantages, implications, and disadvantages of the routes of administration. The administration of medication is the prime responsibility of the nurse. The procedure of administering medication involves supporting the patient with a substance given, medication, or deterrence of a clinical illness or situation. The main function of medication administration refers to the specific and absolute delivery of a medication to the patient. The nursing staff must be familiar with the large set of practices in order to attain safe and effective patient outcomes and to organize for and analyze the outcome of medication administration. The first step of medication administration starts with the prescription written by the physician and passes through different channels including nurses, nurse practitioners, and physician assistants, etc. Nursing Responsibilities in Administration of Me dication Primarily, the nurse while administrating medication should keep in mind the five rights of medications; right patient, right drug, right time, right dose, and right route of administration (Washington Poison Center, 2008). The nurses must be familiar with the responsibilities and should be duty bound to carry out these responsibilities while administering medication. The nurse should make sure that no medication is given to the patient without an accurate clinical order from a doctor clearly specifying the medication, dose, route, and schedule. To ensure the homogeneity, the medication in the solution should be shaken well before it is parted from the main drug container. In the same way, extra care should be applied while extracting drugs from large containers, and rim of the container must be wiped after taking solutions or suspensions. While administering medication, the nurse must make sure that the drugs are kept in order in a proper place, ensuring that they are not freely accessible to patients or the public. The medications must be preserved well from air, light, and moisture and only those labeled properly must be maintained in the storage. Each medication should be carefully examined regarding its storage, refrigeration and expiration dates. Hughes and Blegen (2008) point out that restricted medication like narcotics should be preserved in lockers and proper records must be maintained on the use of such medication. Nurse must be very careful while dealing with the drugs, knowing exactly the abbreviations of the mediations as well as their action, dosage, indication, route, effects, etc. It is important not to touch drugs, especially tablets and pills

Quality Assurance Essay Example | Topics and Well Written Essays - 4250 words

Quality Assurance - Essay Example Causes of shortfall in quality of air traffic control operations will also be identified to enable the management develop counteractive mechanisms to avoid future quality failures. The paper will recognise the role of quality improvement processes in ensuring NATS improves its service delivery. Strategies of managing and communicating quality improvements will be discussed in order to enable the management understand proper ways of creating awareness concerning quality improvements. Service quality primarily compares the expectations of air traffic control operations with its actual performance. The quality of a service determines the extent to which a service is tailored to meet the needs of customers (Summers, 2009). Principles of quality management are relevant to air traffic control operations since they encourage various institutions to focus on service features that can meet customer specifications. The quality of air traffic control services is determined by the strategies that navigation institutions adopt in performing their services. NATS witnessed the biggest shortfall in its service quality on December 7, 2013 caused by a breakdown in IT systems. NATS can address quality service problems through quality management processes including quality improvement cycle, total quality management, business process re-engineering and benchmarking. It is critical for NATS and the industry of air traffic control to ensure proper management and communication of qua lity improvements to both employees and customers using the tools of quality management. NATS has the potential for achieving competitiveness in service quality if the management embeds quality in its organisational culture. NATS has witnessed widespread teething problems caused by catastrophic failures of its software management systems. Passengers experienced 130,000 minutes delay with approximately 1,300 flights facing a severe delay.

History Essay Example | Topics and Well Written Essays - 1000 words

History - Essay Example Before the mother's petition was heard, the father of Richard, Cecil Reed, also filed a petition seeking to be appointed as the administrator of the estate (Lively 29). Initially, the court ruled that, since the respondent was a male, he was the most preferable to the female appellant in accordance with Section 15-314 of the Idaho Code. However, Sally Reed appealed; luckily, her appeal was handled by the District Court of the Fourth Judicial District of Idaho. In dealing with the appeal, the court held that the section challenged by Reid violated the fourteenth amendment clause on Equal protection. The decision of the court in this case was that the court held that the unequal treatment of women by the Idaho law could be regarded as a violation of the Equal Protection Clause in the constitution. Further, the court decided that the denial of equal rights to women violated the fourteenth amendment (Lively 30). The court voted that Idaho did not deny letters of administration to the wom en gender. The court also voted that women whose spouses had died had the preference over a brother, father, son, or any other male relative. The court decision in Reed vs. Reed was written by Chief Justice Warren Burger. The decision of the Supreme Court in this case has had a phenomenal impact on the society; it has led to the treatment of gender discrimination as a constitutional violation. This case became the basis for the enactment of laws that recognized the rights of women (Lively 32). Worker’s Rights A Supreme Court case that involved the rights of the workers included the Albemarle paper Company v. Moody in 1975. The respondents in this case involved a class of former as well as present employees of the paper company, mainly those of the Negro descent. The employees sought an injunction against any practice, policy, or custom at the plant, which violated the Civil Rights Act of 1964. During this case, the court held that the company has locked Negro employees in the classifications of jobs that had low pay. As such, the court ordered the petitioners (Albemarle) to implement a system that could encourage plant-wide seniority. The part of the constitution used in this court case was Title VII of the 1964 civil rights act. The decision of the Supreme Court was that the back pay could not be ordered because of the losses that the plaintiff sustained under the system of discrimination. Further, the court held that Albemarle did not breach Title VII in bad faith. The court also held that the respondents had gone wrong in delaying their back pay claim; this could be regarded as prejudice to the petitioners (Lively 42). However, the respondents appealed the decision upon which the court voted that the absence of bad faith could not be regarded as a reason sufficient to deny back-pay. The court also voted that back pay could only be denied when its general application would not act as a frustration to the central statutory processes, which Congress man ifested in enacting Title VII. Mr. Justice Stewart wrote the decisions of the court. The decision of the Supreme Court has affected the society in that the ruling has led to the transformation of labor laws (Lively 44). The relative impact of the cases discussed can be comparable in the sense that both the cases led to the enactment of numerous laws. These laws have sought to end discrimination and accord equal rights to all. Both cases championed for the

Research skills assignment Essay Example | Topics and Well Written Essays - 1250 words

Research skills assignment - Essay Example In order to reach profitability, the dynamics of the consumers and specifically the market segment of the product must play a role. In this proposal, the modality of investigating the roles played by the pricing strategy is investigated. At a more specific level, the effect of reducing the prices of the commodity by 15% on the overall market share is reviewed. The impact of reducing prices could be varied and unknown depending on the specific nature of the market. With the emergence of capitalism, the levels of competition are bound to go very high in any particular sector. The result of this capitalism and competition is a decision to create a strategy that would outdo the competitors and increase the market share and customer loyalty. In porters five forces analysis, the factors that are considered are mainly to deal with the level of competition that is exhibited by the players in the sector or business that a firm is involved. Several dynamics play important roles that are related to the segmentation of the market. An important intervention is the inclusion of an intervention mechanism in terms of pricing. The pricing mechanism employed by a firm in its products can either be beneficial or disadvantageous depending on the reaction of the overall market. The price reduction strategy is aimed at creating a best possible position in order to make the products if the company more acceptable. Its effects on the market segment can be unknown. This paper seeks to provide research into the dynamics occasioned by the prize change of the Daz detergents in the UK market. Pickard (2012) explains aims and objectives in a proposal as the core issues to be resolved in a study. It claims that for a study to be conducted, the presence of an aim or objective is imperative and as such a study cannot exist without the same. The specific definition that this study gives is related to the

Philosophical assignment 4 Essay Example | Topics and Well Written Essays - 250 words

Philosophical assignment 4 - Essay Example â€Å"Things†, on the other hand, implies the object of experience. However, in the historical context, it is profoundly imperative to comprehend what type of function the meaning of Protagoras’s statement plays as well as the influence that it has on the contemporary society. In addition, the statement advocates subjectivistic individualism, which concerns the sense perception, as well as the general truth (Ophuijsen, Raalte, and Stork 198). Plato argues that values such as morality cannot be objective but subjective similar to the matter of taste. Protagoras’ thesis offered a profound philosophical basis for the sophistic understanding of wisdom. This Protagoras epistemology disapproves the statement that if information is knowledgeable, then it should be true universally and not to a particular individual irrespective of the societal background. Additionally, Protagoras and his followers did not agree that ethical duties and morality must be universal. Thus, if it is true that knowledge is relative to a particular person, then the wisdom must be

Critique two research propsals Essay Example | Topics and Well Written Essays - 750 words

Critique two research propsals - Essay Example This logical, sequential review enables the reader to follow the historical progress of this line of investigation. In discussing the study by Jonson-Reid, Fuller reports on the results that are relevant to his own study. This previous study indicated that children who were in care for less than three months before being returned to their families had increased risk of substantiated maltreatment recurrence. It is clearly stated that the purpose of this research is to â€Å"examine the factors that might predict short-term maltreatment recurrence following reunification exits from substitute care.† Fuller does this by combining administrative data with detailed information collected from case record reviews. However, no hypothesis is provided other than an assumption that the Jonson-Reid study was correct in reporting the increased risk to children in short-term care. The purpose of the study is reported, though, as providing an assistive guide to caseworkers’ decision-making at the reunification milestone while making their safety assessment. The method for this research is described as being a case-control study. It is described as selecting two groups of participants: one group is selected based on their experience of the outcome of interest – in this case maltreatment recurrence within 60 days of reunification – and the comparison group selected who have not experienced the outcome. This type of study was appropriate for the element being researched because it is particularly useful to examine the effects of a given agent in relation to an occurrence, such as maltreatment following reunification. In addition, case-control studies can match cases with controls by such things as age (children under age 5 have been shown to suffer maltreatment recurrence more often than children ages 5-10), family income levels (low income families have shown greater recurrence than

Love Triangles and Betrayal in Carmen Essay Example for Free

Love Triangles and Betrayal in Carmen Essay The creation of operas from pre-existing literary texts is a complex process implicating the original author, the librettists, the opera directors, the publishers, and the composer. In the process of transformation, the involved parties consider prevailing cultural values as well as their own artistic ideals. These considerations weigh all the more heavily on the process when the literary text involves complex romantic relationships. Georges Bizet’s Carmen (1875), Giuseppe Verdi’s Otello (1887), and Claude Debussy’s Pelleas et Melisande (1902) provide examples of this transformation process. In all three of these works, love triangles figure prominently. These love triangles, though they share some superficial similarities, are extraordinarily different in terms of their composition and the ultimate fate of the characters. Carmen When the directors of the Opera-Comique, a venue with repertoire typically geared towards an extremely conservative, family-oriented, bourgeois audience (McClary, 1992, p. 15-16), commissioned Bizet to write an opera in 1872, Bizet suggested Prosper Merimee’s novel Carmen as a possible subject (Macdonald, 2010). The directors of the Opera-Comique were divided in their support of this work as a subject for an opera. De Leuven, in particular, was against this choice, citing the scandalous nature of the story and the conservative nature of the venue’s target audience as reasons behind his disapproval: â€Å"Carmen! The Carmen of Merimee? Wasn’t she murdered by her lover? At the Opera-Comique, the theatre of families, of wedding parties? You would put the public to flight. No, no, impossible. † (as cited in Jenkins, 2003). Indeed, it appears that the on-stage death was of particular consternation for the director: â€Å"Death on the stage of the Opera-Comique! Such a thing has never been seen! Never! † (as cited in Nowinski, 1970, p. 895). The choice of Carmen ultimately played a role in de Leuven’s resignation from his post in 1874 (McClary, 1992, p. 23). The source text for Carmen is a novella by Prosper Merimee. The author originally published this work in 1845 in the Revue des deux mondes, a non-fiction journal. The author had previously published travelogues in the same journal, and this work contained no indication that it was a work of fiction (Boynton, 2003). Instead, the work reads as a â€Å"true† story of Merimee’s voyage to Spain in 1830. In the midst of his travels, the author-narrator encounters Don Jose, the man who, after succumbing to Carmen’s seductive powers, kills her in a jealous rage following her confession of a love affair with Lucas. The librettists for Carmen, Henri Meilhac and Ludovic Halevy, at the time that they were commissioned to write this work for the Opera-Comique had already successfully worked together as a team on a number of works (including Offenbach’s La Belle Helene and La Vie parisienne) for the Parisian boulevard theatres (McClary, 1992, p. 18). In their previous librettos, the team had split the work: Meilhac wrote the prose dialogue, and Halevy supplied the verse (McClary, 1992, p. 18). In operatic settings, the prose would typically be left as spoken dialogue (for the Opera-Comique) or set as recitative. In transforming Merimee’s novella into a libretto, Meilhac and Halevy made numerous changes. Unfortunately, there is a lack of primary source evidence detailing the minutiae of the collaborative process which would shed further light upon the reasons behind these changes (Jenkins, 2003). These changes include minimizing Carmen’s criminal activities, adding the character of Micaela, and eliminating Merimee’s framing device. The removal of Merimee’s framing device (accomplished by not including a narrator) and the introduction of Don Jose before his downfall make Carmen, and not Don Jose, the focus of the story (Jenkins, 2003). Indeed, the Carmen of the libretto, with her voice not being interrupted by the narrator’s commentary, speaks directly to the audience (McClary, 1992, p. 21). Carmen was composed as a four-act opera comique, originally with spoken dialogue (as opposed to recitative). The dialogue was transformed into recitative by Guiraud for a production in Vienna, and it was performed this way for many years before producers reverted to Bizet’s original spoken text (Macdonald, 2010). Further changes to Merimee’s original resulted from Guiraud’s involvement. Meilhac’s original dialogues at times quoted directly from Merimee’s Carmen, and these instances of direct quotation were largely eliminated in Guiraud’s version (McClary, 1992, p. 45). With the addition of Micaela, the librettists created a moralizing character, the polar opposite of Carmen, with whom the Opera-Comique audiences could readily identify (McClary, 1992, p. 21). The addition of Micaela complicates the love triangle. In Merimee’s original, the love triangle included the characters of Carmen, Don Jose, and Lucas. In the operatic version, both Don Jose and Escamillo are in love with Carmen, and both Carmen and Micaela are in love with Don Jose. The librettists also substantially changed Carmen’s character. Though they downplayed Carmen’s involvement in criminal activities (she is no longer the leader of the smugglers as Merimee portrayed her) arguably in order to make her more sympathetic, they focus almost exclusively on her sexuality (to the exclusion of her healing powers and intelligence as presented in the original) (McClary, 1992, p. 22). Bizet’s music underlines the differences in characters and underlines the complex nature of the interlocking love triangles in the opera. Micaela is presented as a sweet, pure, innocent woman. Her entrance is conventional, and her music is marked by neither intense chromaticism nor indications of exoticism (McClary, 1997, p. 120). Carmen’s entrance, in contrast, disrupts the formal procedures Bizet set up from the beginning of the opera, and her music is largely chromatic and marked with features typically associated with the exotic (McClary, 1997, p. 120). Her music, like her body and personality, is irresistible to any man she sets her sights on. Don Jose’s music is different from that of both of his female admirers. His melodic lines are long, irregularly phrased, and lacking in regular cadences (McClary, 1997, p. 124). Additionally, he, unlike Escamillo, lacks a signature melodic line (McClary, 1997, p. 127). McClary points to the incompatibility of Carmen’s and Don Jose’s musical styles as evidence of the ultimate failure of their relationship. In contrast, Carmen’s brief duet with Escamillo in act four seems sincere because their musical styles are compatible (McClary, 1997, p. 125). Ultimately, Don Jose kills Carmen in a fit of jealousy over her relationship with Escamillo, and Micaela is deprived of her true love as he gives himself up to the police following his murder of Carmen. Otello Though the two Shakespeare aficionados Giuseppe Verdi and Arrigo Boito met as early as 1862, it was not until 1879 that the events leading to the composition of Otello were set in motion (Aycock, 1972, p. 594). The four-act Otello received its premiere on February 5, 1887 in Milan. In transforming the play into opera libretto, Boito eliminated six of the fourteen characters and cut the entire first act (Aycock, 1972, p. 595). Boito also cut Othello’s statement of self-defence following his murder of Desdemona from the end of the play (Aycock, 1972, p. 596). This last cut serves to keep the opera’s focus on the tragic love story. This love story principally revolves around the actions of Othello, Desdemona, and Iago. When the opera opens, Desdemona and Othello are newly married. However, Roderigo (Iago’s friend) still loves Desdemona. Iago, upset with Cassio who has been promoted over him, fabricates proof of Desdemona’s infidelity with Cassio in order to play on Othello’s jealous nature. The proof of this infidelity, in both the play and the opera, is a handkerchief. Othello murders Desdemona, and when he learns that his belief in his wife’s infidelity was mistaken, he kills himself. In this story, both Roderigo and Othello are in love with Desdemona. Given Roderigo’s minimal role in the opera, however, Iago takes his place in the dramatic situation of the love triangle. It is his betrayal and deception that leads to the demise of the two main characters. The end of the first act contains a conventional love duet between Othello and Desdemona. As Aycock (1972, p. 595) remarks, the love between these two principal characters is mature and predicated on confidence in each other’s fidelity. The climax of this love duet, on the words â€Å"un bacio†¦Otello! un bacio,† features a new melody in the orchestra. This melody reappears only in the last act, most notably when Othello commits suicide (Lawton, 1978, p. 211). The character of Iago in the opera is much more the creation of Verdi and Boito than of Shakespeare. Iago’s Credo, where he proclaims his devotion to a cruel God and admits that he is unquestionably evil, was entirely the invention of Boito (Aycock, 1972, p. 600). For Verdi, the emphasis on this character allowed him to confirm to Italian operatic tradition, which called for a baritone villain role (Aycock, 1972, p. 601). Pelleas et Melisande Maurice Maeterlinck’s play Pelleas et Melisande received its Parisian premiere at the Theatre des Bouffes-Parisiens on May 17, 1893, and Claude Debussy was in attendance (Grayson, 1985, p. 35, 37). By the fall of the same year, he had already begun composing what would later become Act IV scene 4 (Grayson, 1985, p. 37). In the case of this operatic transformation, there was no librettist acting as a middle-man. Instead, Debussy constructed the libretto himself, from Maeterlinck’s original text. The composer remained true to the original play, changing nary a word. He did, however, cut some scenes, and these cuts were made with the Maeterlinck’s authorization. In November 1893, the composer travelled to Ghent to meet with the author, and the two men discussed several possible cuts. Debussy reported to Ernest Chausson that Maeterlinck had given him â€Å"complete authorization to make cuts and even indicated some which were very important, even very useful† (as cited in Grayson, 1985, p. 37). From Maeterlinck’s original play, there were only four scenes that Debussy did not set: Act I scene 1, Act II scene 4, Act III scene 1, and Act V scene 1 (Grayson, 1985, p. 38). These scenes appear to have been cut because they are unrelated to the central narrative, leading to the demise of both Pelleas and Melisande. While Debussy used Maeterlinck’s original text, he did, in some instances, cut some of the text to make the libretto more concise. Act III scene 3, for example, was cut so heavily so that only one third of the original text remained (Grayson, 1985, p. 40). Two further cuts came in 1902. During Pelleas et Melisande’s first season at the Opera-Comique, Debussy was forced to cut one scene from the performances: Act IV scene 3 (Grayson, 1985, p. 39). This almost purely symbolic scene features Yniold (Golaud’s son from a previous marriage). At the end of the scene, Yniold, wishing to share his experiences with Melisande, unwittingly reveals to Golaud that she is not in her room (Grayson, 2003, p. 76) – in essence, he signals her disloyalty to her husband. The scene was reinserted in its second season. Also, at the dress rehearsal, the Director of Fine Arts, censored the work, calling for the suppression of Act III scene 4, a scene where Yniold is forced, by his violent father, to spy on the suspected lovers (Grayson, 2003, p. 80). Pelleas et Melisande begins with Golaud discovering Melisande by a fountain in a forest. She seems to be lost and confused, and she follows Golaud on his wanderings. The two get married in secret and return to the castle of Golaud’s father. There, Melisande meets Golaud’s brother Pelleas, and these two fall in love. In one scene, Golaud happens upon Pelleas caressing Melisande’s hair streaming out from a tower window, and he realizes that his brother has betrayed him. Golaud, blind with jealousy, kills his brother in Act III. At the end of the opera, Melisande also dies, but not before giving birth to a daughter. The plot, then, revolves around the love triangle of Melisande, Golaud, and Pelleas. The unquestioning inclusion of on-stage deaths demonstrates how much the Opera-Comique had changed since the 1875 premiere of Carmen. From the time of Debussy’s first draft of Act IV scene 4 in the fall of 1893, it took almost a decade for the opera to reach the stage of the Opera-Comique. Debussy worked intensely on the opera in 1895 and completed a short score of the opera in August of that year (Grayson, 2003, p. 78). Though he had a completed opera, he had major difficulties finding a suitable venue for the performance of the work. Albert Carre, the director of the Opera-Comique, accepted Pelleas â€Å"in principal† in 1898, but he did not give Debussy written confirmation of the deal until 1901 (Grayson, 2003, p. 79). Though Debussy was ambivalent about Wagnerian leitmotive techniques, he does employ leitmotivs in Pelleas. While most of these leitmotivs are connected to ideas, each major character has his or her own leitmotiv (Nichols and Smith, 1989, p. 81). Melisande’s motive, for example, is comparatively lyrical, wandering, and typically played by oboes or flutes while Golaud’s motive consists of two notes in alteration with a more pronounced rhythmic emphasis. These motives are typically associated with different harmonic fields. Melisande’s melody is pentatonic but is typically harmonized with a half diminished seventh chord (Nichold and Smith, 1989, p. 91). Golaud’s motive, because of its sparse melodic line consisting of only two notes, is more harmonically flexible. Debussy uses it in a variety of harmonic contexts including whole-tone, dorian, and minor. Comparison of Works These three works present a widely diverse picture of operatic life in late nineteenth century France and Italy. In terms of source texts, there is a novella (Carmen), a play in verse (Otello), and a play in prose (Pelleas et Melisande). In two of the cases (Carmen and Otello), neither the composer nor the librettist knew the author of the original literary work. In the case of Pelleas, the composer had direct contact with the original author and constructed the libretto himself. These three operas were then composed in different forms: an opera comique in versions with both spoken dialogue and sung recitative (Carmen), a hybrid of continuous action with set pieces (Otello), and a largely through-composed work with one aria (Pelleas). In each instance, the transformation process reveals that it was not only the librettist and composer who were involved in the opera’s ultimate form: opera directors, publishers, and censors also had some hand in the final product. One shared trait amongst these three works was the need for the librettist to cut considerable amounts of literary material from the original text. This phenomenon is understandable given that it takes a considerably longer period of time to sing a text rather than say it. In choosing sections of texts to cut, the librettists were faced with the challenge of leaving enough of the narrative design so that it would remain comprehensible to the audience. The composer could then use musical devices to fill in some of the gaps that this missing text created. For example, Bizet could use different musical styles to highlight differences in race and class (McClary, 1997). Similarly, Debussy could use different harmonic languages (whole tone, pentatonic, modal) to indicate subtly differences in the quality of light (Nichols and Smith, 1989). A second shared trait is that two of the composers appear to have made decisions based on operatic convention in their composition of the opera. Bizet’s concession to operatic convention takes the form of the introduction of the character of Micaela, a character absent from Merimee’s original but whose presence, as mentioned above, was deemed necessary to make the work suitable for the conservative Opera-Comique audience. Verdi’s concessions are evident in the finale to Act 3, where he asked Boito to alter the libretto to make room for a traditional grand concertato finale (Parker, 2010) as well as in the changes to Iago’s character mentioned above. A third shared trait is that these three works focus on love triangles, with an act of betrayal or jealousy leading to the deaths of one or more of the principal characters. In Carmen, the primary love triangle revolves around Carmen, Don Jose, and Escamillo. In the end, Carmen dies. In Otello, the love triangle of Othello, Desdemona, and Roderigo has a tragic ending with the death of both Othello and Desdemona. Similarly, the Pelleas-Melisande-Golaud triangle results in the death of two of the characters: Pelleas and Melisande. In each case, the composer highlights one of the romantic relationships as being more viable or more sincere than the others. Bizet, as noted, employs different musical styles for each of the characters, with only Escamillo’s language being compatible with Carmen’s. Verdi wrote a traditional love duet for Othello and Desdemona, the sincerity of which is highlighted with its aforementioned reappearance in the final act. Debussy employs a technique similar to that of Bizet: he has Pelleas and Melisande sing together in octaves in Act IV scene 4). The similarities between the presentations of the love triangles stops with this characteristic, for the relationship dynamics within the central triangles are quite different in these works. In Carmen, the title character is both the primary female love interest and the character responsible for the betrayal. She betrays Don Jose’s love for her, however ill-founded it may be, by confessing her love for Escamillo. In contrast to the other operatic heroines studied here, Carmen is a femme-fatale. In Verdi’s Otello, the love between Othello and Desdemona is sincere, and neither one carries on an affair with someone else. The primary reason behind their deaths is Iago’s treachery. However, Othello does, in a sense, betray Desdemona by believing Iago’s lies. His acknowledgment of this betrayal can be seen in his committing suicide. In Debussy’s Pelleas, the guilty party is less clearly identified. Melisande, though she betrays her marriage by falling in love with Pelleas, is not depicted as a femme fatale. Instead, she is presented as an innocent, idealized woman (Smith, 1981, p. 105). Pelleas betrays his brother by having an affair with his wife. Though Debussy, as mentioned above, sympathizes with their love and highlights the love Pelleas and Melisande have for each other by having them sing together in octaves. It appears that these characters are not to be held accountable for their actions because their love was inevitable, foretold in advance by fate. ? References Aycock, R. E. (1972). Shakespeare, Boito, and Verdi. The Musical Quarterly, 58 (4), 588-604. Boynton, S. (2003) Prosper Merimee’s novella Carmen. New York City Opera Project: Carmen. Retrieved from http://www. columbia. edu/itc/music/NYCO/carmen/merimee. html Grayson, D. (1985). The Libretto of Debussy’s Pelleas et Melisande. Music and Letters, 66 (1), 35-50. Grayson, D. (2003). Debussy on stage. In The Cambridge Companion to Debussy. Ed. Simon Trezise. Cambridge: Cambridge University Press, pp. 61-83. Jenkins, C. (2003). Carmen: The Librettists. New York City Opera Project: Carmen. Retrieved from http://www. columbia. edu/itc/music/NYCO/carmen/librettists. html Lawton, D. (1978). On the ‘Bacio’ theme in Otello. 19th-Century Music, 1 (3), 211-220. Macdonald, H. (2010). Carmen (ii). Grove Online. Retrieved from http://www. oxfordmusiconline. com/subscriber/article/grove/music/O008315? q=carmensearch=quickpos=22_start=1#firsthit McClary, S. (1992). Georges Bizet, Carmen. Cambridge: Cambridge University Press. McClary, S. (1997). Structures of identity and difference in Bizet’s Carmen. In The Work of Opera: Genre, Nationhood, and Sexual Difference. Ed. Richard Dellamora and Daniel Fischlin. New York: Columbia University Press, pp. 115-130. Nichols, R. Smith, R. L. (1989). Claude Debussy, Pelleas et Melisande. Cambridge: Cambridge University Press. Nowinski, J. (1970). Sense and sound in George Bizet’s Carmen. The French Review, 43 (6), 891-900. Parker, R. (2010). Otello (ii). Grove Music Online. Retrieved from http://www. oxfordmusiconline. com/subscriber/article/grove/music/O003882. Smith, R. L. (1981).

Oli Analysis for Disney Into China Essay Example for Free

Oli Analysis for Disney Into China Essay Under the  Berne Convention for the Protection of Literary and Artistic Works, the signatory states are required to provide copyright protection for a minimum term of the life of the author plus fifty years, but they are permitted to provide for a longer term of protection. (The  United States  did not become a Berne signatory until 1988, but had previously provided for the minimum copyright term the convention required in the  Copyright Act of 1976. ) The Walt Disney Company created numerous classical animation images which all enjoy copyrights. In other words, Ownership advantage relating to the possession and exploitation of monopoly power,which undoubtedly created an entry barrier. B)resourceamp;capability Pixar Animation Studiosa subsidiary of The Walt Disney Company, is an American  computer animation  film studio  based in California. The studio is best known for its  CGI(Computer Graphics Interface)-animated feature films. Pixar has produced  thirteen feature films, beginning with  Toy Story  (1995). It was followed by  A Bugs Life  (1998),  Toy Story 2(1999),  Monsters. Inc. 2001),  FindingNemo  (2003),  The Incredibles  (2004),  Cars(2006),  Ratatouille  (2007),  WALL-E(2008),  Up  (2009),  Toy Story 3  (2010),  Cars 2  (2011), and  Brave (2012). Twelve of the films have received both critical and financial success. The sudio has earned 27  Academy Award,seven  Golden Globe Awards, and eleven  Grammy Awards,among many  other awards and acknowledgments. In o ther words,ownership advantage relating to the possession of scarce,unique and sustainable resources and capabilities, which helped Disney to attain market power and cost advantage. One of the major risks of joint ventures is the probability of a partner stealing the other’s capabilities in order to later compete on its own. Nonetheless, Disney’s resources and capabilities are so rare and inimitable that this risk should not be reason enough for considering other options. In other words, technology risk is almost non-existent for Disney, since other companies might copy the rides, but they will never be able to copy the Disney experience, which is attributed to its resource;amp; capability. 2,The human resource is another key ownership advantage of Disney. ecruiting the right and instilling in them Disney culture an essential part of building a unified workforce. â€Å"we hire for attitude, not aptitude. † Disney recruits, selects, and trains everyone who works with the company in the same way—whether cast members or third-party employees. Disney uses its unique corporate culture to unite all workers in a common goal: to help the gues t. Competencies of managers Disney cast members aren’t just hired for a job; they play a role in the â€Å"show. † Every aspect of the casting (hiring) process is a presentation of the Disney culture. In essence, Disney begins the training process even before a new cast member is hired. For example,the whimsy of the casting building is designed to ease the minds of anxious applicants, while communicating the rich Disney heritage. Early in the process, candidates can view a film depicting what it is like to work at Disney. The film also communicates conditions of employment. After viewing it, a small percentage of candidates self-select out of the process. This is a good thing, since those candidates might not be â€Å"right fit† for the culture—and Disney might not be right-fit for them. This process not only saves time and money, but it leaves the applicants feeling good about themselves and Disney company. During the interview process, casting professionals will base the hiring decision on work experience, personality and educational background. By the time they go through their interview, candidates will have a basic picture of the Disney’s culture and expectations. Disney shows their employees how their efforts affect the overall resident experience—even if they don’t interact with residents directly. When the staff sees the big picture, they also see how vital their roles are in the business. Teaching employees how they fit into Disney’s overall operation and demonstrating how their role contributes to Disney facility’s overarching goal breeds unity and solidifies the corporate culture. At Walt Disney World ® Resort alone, there are over 2,000 job classifications, but everyone understands the goal and operates on the same page. Disney trains every cast member in the same way, no matter what job, and goes to great lengths to ensure that cast members understand the company’s heritage and purpose. This helps them feel connected to the company, and to their jobs. Disney has a Center for Excellence which is geared to help cast members succeed in their role of delivering exceptional quality service. In addition, Centers for Excellence serve as local learning sites that offer a variety of technical, job skill, and interpersonal training courses which cast members can take online free of charge. The end result is a team of cast members that is equally skilled and guest-focused. Training is reinforced through ongoing efforts, such as mentoring, continuing education, and leadership training, contributing greatly to a culture of excellence. Location advantage As global as possible,as local as necessary. First,In the case of Disney, it is a horizontal FDI, thus it may be profitable for Disney to be close to their consumers. The reasons are as follows: – the existence of trade barriers in the form of tariff quotas, transport costs etc. – on-site provision of the services is an inherent part of the Disney’ business (e. g. recreation facilities) Second, production costs is lower in Hong Kong, the reasons are as follows: – lower wages in developing countries(In Hong Kong Disneyland case, there is cheap labor force flow from Eastern coastal provinces) – better infrastructure and close ties to external input suppliers from mainland China. Third, demand related variables (market potential) China has the world’s largest population and one of the fastest growing economies, which makes it an extremely attractive market for Disney. Disney’s animated characters are popular throughout the country; Mickey Mouse Magazine is the number one children’s magazine in China. According to the statistic in Chinese government, The population under 15 years old child is around 221,640,000 in 2011, which means there is a large market potential in China. (In 2005, it’s a major milestone in their approach to China, with the successful grand opening of Hong Kong Disneyland. This phenomenal new theme park introduces Disney to a broad new audience. ) In theory Disney should be capable of running the park by itself, but the power and influence of the Chinese government is so high that a joint venture seems to be the less risky option . Asia is a complicated market and it usually pays to not only have the government on your side, but to have it as a major investor. It also benefits the venture to have a local partner with deep knowledge of traditions and customs. Thus, from an institutional and cultural point of view the selection of a joint venture was justified. Internalization advantage For Disney, In-house production is more profitable than outsourcing, licensing, etc. The reasons are as follows: – Contractual imperfections induce Disney to exploit its ownership advantage internally rather than licensing its product/process to a third party. To capture coordinating

Simply Supported And Cantilever Beams

Simply Supported And Cantilever Beams A beam is a structural member which safely carries loads i.e. without failing due to the applied loads. We will be restricted to beams of uniform cross-sectional area. Simply Supported Beam A beam that rests on two supports only along the length of the beam and is allowed to deflect freely when loads are applied. Note see section A of unit. Cantilever Beam A beam that is supported at one end only. The end could be built into a wall, bolted or welded to another structure for means of support. Point or Concentrated Load A load which acts at a particular point along the length of the beam. This load is commonly called a force (F) and is stated in Newtons (N). A mass may be converted into a force by multiplying by gravity whose value is constant at 9.81 m/s2. Uniformly Distributed Load (UDL) A load which is spread evenly over a given length of the beam. This may be the weight of the beam itself. The UDL is quoted as Newtons per metre (N/m). Beam Failure If excessive loads are used and the beam does not have the necessary material properties of strength then failure will occur. Failure may occur in two ways:- Calculating Shear Forces (we must use the shear force rule). When looking right of a section : downward forces are positive and upward forces are negative. When looking left of a section: downward forces are negative and upward forces are positive. Starting at point A and looking left: (note: the negative sign (-) means just to the left of the position and the positive sign (+) means just to the right of the position.) SFA = 0 kN SFA + = 6 kN An alternative method of drawing the shear force diagram is to follow the directions of each force on the line diagram.SFB = 6 kN SFB + = 6 kN SFC = 6 kN SFC + = 6 kN SFD = 6 kN SFD + = 6 12 = -6 kN SFE = 6 12 = -6 kN SFE + = 6 12 = -6 kN SFF = 6 12 = -6 kN SFF + = 6 12 = -6 kN SFG = 6 12 = -6 kN SFG + = 6 12 + 6 = 0 kN Note: the shear force at either end of a simply supported beam must equate to zero. Calculating Bending Moments (we must use the bending moment rule). When looking right of a section : downward forces are negative and upward forces are positive. When looking left of a section: downward forces are negative and upward forces are positive. section F F section F + F + Hogging Beam Sagging Beam Starting at point A and looking left: BMA = 0 kNm BMB = (6 x 1) = 6 kNm BMC = (6 x 2) = 12 kNm BMD = (6 x 3) = 18 kNm BME = (6 x 4) + ( -12 x 1) = 12 kNm BMF = (6 x 5) + ( -12 x 2) = 6 kNm BMG = (6 x 6) + ( -12 x 3) = 0 kNm Note: the bending moment at either end of a simply supported beam must equate to zero. The following page shows the line, shear force and bending moment diagrams for this beam. Simply Supported Beam with Point Load 6 m F E D C G B A 6 kN 6 kN F =12 kN Shear Force Diagram (kN) 0 0 -6 6 0 Line Diagram 12 12 18 6 0 6 Bending Moment Diagram (kNm) Max Tensile Stress SAGGING (+ve bending) Max Compressive Stress F F A maximum bending moment of 18 kNm occurs at position D. Note the shear force is zero at this point. Simply Supported Beam with Distributed Load UDL = 2 kN/m F E D C G B A 6 m RA The force from a UDL is considered to act at the UDL mid-point. e.g. if we take moments about D then the total force from the UDL (looking to the left) would be: (2 x 3) = 6 kN. This force must be multiplied by the distance from point D to the UDL mid point as shown below. e.g. Take moments about D, then the moment would be: (-6 x 1.5) = -9 kNm 1.5m UDL = 2 kN/m D C B A 3 m Taking moments about point D (looking left) We must first calculate the reactions RA and RG. We take moments about one of the reactions to calculate the other, therefore to find RA: Take moments about RG ÃŽ £Clockwise moments (CM) = ÃŽ £Anti-clockwise moments (ACM) RA x 6 = 2 x 6 x 3 RA = 6 kN now, ÃŽ £Upward Forces = ÃŽ £Downward Forces RA + RG = 2 x 6 6 + RG = 12 RG = 6 kN section F + F F F + Calculating Shear Forces (we must use the shear force rule). When looking right of a section : downward forces are positive and upward forces are negative. When looking left of a section: downward forces are negative and upward forces are positive. Starting at point A and looking left: (note: the negative sign (-) means just to the left of the position and the positive sign (+) means just to the right of the position.) SFA = 0 kN SFA + = 6 kN SFB = 6 (21) = 4 kN SFB + = 6 (21) = 4 kN SFC = 6 (22) = 2 kN SFC + = 6 (22) = 2 kN SFD = 6 (23) = 0 kN SFD + = 6 (23) = 0 kN SFE = 6 (24) = -2 kN SFE + = 6 (24) = -2 kN SFF = 6 (25) = -4 kN SFF + = 6 (25) = -4 kN SFG = 6 (26) = -6 kN SFG + = 6 (26) + 6 = 0 kN Note: the shear force at either end of a simply supported beam must equate to zero. Calculating Bending Moments (we must use the bending moment rule). When looking right of a section : downward forces are negative and upward forces are positive. When looking left of a section: downward forces are negative and upward forces are positive. section F F section F + F + Hogging Beam Sagging Beam Starting at point A and looking left: BMA = 0 kNm BMB = (6 x 1) + (-2 x 1 x 0.5) = 5 kNm BMC = (6 x 2) + (-2 x 2 x 1) = 8 kNm BMD = (6 x 3) + (-2 x 3 x 1.5) = 9 kNm BME = (6 x 4) + (-2 x 4 x 2) = 8 kNm BMF = (6 x 5) + + (-2 x 5 x 2.5 = 5 kNm BMG = (6 x 6) + + (-2 x 6 x 3) = 0 kNm Note: the bending moment at either end of a simply supported beam must equate to zero. The following page shows the line, shear force and bending moment diagrams for this beam. Simply Supported Beam with Distributed Load 4 2 0 -2 -4 UDL = 2 kN/m 6 m F E D C G B A Shear Force Diagram (kN) 0 0 -6 6 0 Line Diagram 8 8 9 5 0 Bending Moment Diagram (kNm) 5 6 kN 6 kN Max Tensile Stress SAGGING (+ve bending) Max Compressive Stress F F A maximum bending moment of 9 kNm occurs at position D. Note the shear force is zero at this point. Simply Supported Beam with Point Loads 6 m F E D C G B A RA RG F = 15 kN F = 30 kN We must first calculate the reactions RA and RG. We take moments about one of the reactions to calculate the other, therefore to find RA: Take moments about RG ÃŽ £Clockwise moments (CM) = ÃŽ £Anti-clockwise moments (ACM) RA x 6 = (15 x 4) + (30 x 2) RA = 20 kN now, ÃŽ £Upward Forces = ÃŽ £Downward Forces RA + RG = 15 + 30 20 + RG = 45 RG = 25 kN section F + F F F + Calculating Shear Forces (we must use the shear force rule). When looking right of a section : downward forces are positive and upward forces are negative. When looking left of a section: downward forces are negative and upward forces are positive. Starting at point A and looking left: (note: the negative sign (-) means just to the left of the position and the positive sign (+) means just to the right of the position.) SFA = 0 kN SFA + = 20 kN SFB = 20 kN SFB + = 20 kN SFC = 20 kN SFC + = 20 -15 = 5 kN SFD = 20 -15 = 5 kN SFD + = 20 -15 = 5 kN SFE = 20 -15 = 5 kN SFE + = 20 -15 30 = -25 kN SFF = 20 -15 30 = -25 kN SFF + = 20 -15 30 = -25 kN SFG = 20 -15 30 = -25 kN SFG + = 20 -15 30 + 25 = 0 kN Note: the shear force at either end of a simply supported beam must equate to zero. Calculating Bending Moments (we must use the bending moment rule). When looking right of a section : downward forces are negative and upward forces are positive. When looking left of a section: downward forces are negative and upward forces are positive. section F F section F + F + Hogging Beam Sagging Beam Starting at point A and looking left: BMA = 0 kNm BMB = (20 x 1) = 20 kNm BMC = (20 x 2) = 40 kNm BMD = (20 x 3) + (-15 x 1) = 45 kNm BME = (20 x 4) + (-15 x 2) = 50 kNm BMF = (20 x 5) + (-15 x 3) + (-30 x 1) = 25 kNm BMG = (20 x 6) + (-15 x 4) + (-30 x 2) = 0 kNm Note: the bending moment at either end of a simply supported beam must equate to zero. The following page shows the line, shear force and bending moment diagrams for this beam. 0 20 -25 0 Shear Force Diagram (kN) 5Simply Supported Beam with Point Loads 6 m F E D C G B A 20 kN 25 kN F = 15 kN F = 30 kN Bending Moment Diagram (kNm) 0 0 45 40 20 50 25 Max Tensile Stress SAGGING (+ve bending) Max Compressive Stress F F A maximum bending moment of 50 kNm occurs at position E. Note the shear force is zero at this point. Simply Supported Beam with Point and Distributed Loads (1) 6 m F E D C G B A RA RG 15 kN 30 kN UDL = 10 kN/m We must first calculate the reactions RA and RG. We take moments about one of the reactions to calculate the other, therefore to find RA: Take moments about RG ÃŽ £Clockwise moments (CM) = ÃŽ £Anti-clockwise moments (ACM) RA x 6 = (15 x 4) + (10 x 2 x 3) + (30 x 2) RA = 30 kN now, ÃŽ £Upward Forces = ÃŽ £Downward Forces RA + RG = 15 + (10 x 2) + 30 30 + RG = 65 RG = 35 kN section F + F F F + Calculating Shear Forces (we must use the shear force rule). When looking right of a section : downward forces are positive and upward forces are negative. When looking left of a section: downward forces are negative and upward forces are positive. Starting at point A and looking left: (note: the negative sign (-) means just to the left of the position and the positive sign (+) means just to the right of the position.) SFA = 0 kN SFA + = 30 kN SFB = 30 kN SFB + = 30 kN SFC = 30 kN SFC + = 30 15 = 15 kN SFD = 30 15 (10 x 1) = 5 kN SFD + = 30 15 (10 x 1) = 5 kN SFE = 30 15 (10 x 2) = -5 kN SFE + = 30 15 (10 x 2) 30 = -35 kN SFF = 30 15 (10 x 2) 30 = -35 kN SFF + = 30 15 (10 x 2) 30 = -35 kN SFG = 30 15 (10 x 2) 30 = -35 kN SFG + = 30 15 (10 x 2) 30 + 35 = 35 kN Note: the shear force at either end of a simply supported beam must equate to zero. Calculating Bending Moments (we must use the bending moment rule). When looking right of a section : downward forces are negative and upward forces are positive. When looking left of a section: downward forces are negative and upward forces are positive. section F F section F + F + Hogging Beam Sagging Beam Starting at point A and looking left: BMA = 0 kNm BMB = (30 x 1) = 30 kNm BMC = (30 x 2) = 60 kNm BMD = (30 x 3) + (-15 x 1) + (-10 x 1 x 0.5) = 70 kNm BME = (30 x 4) + (-15 x 2) + (-10 x 2 x 1) = 70 kNm BMF = (30 x 5) + (-15 x 3) + (-10 x 2 x 2) + (-30 x 1) = 35 kNm BMG = (30 x 6) + (-15 x 4) + (-10 x 2 x 3) + (-30 x 2) = 0 kNm Notes: the bending moment at either end of a simply supported beam must equate to zero. The value of the maximum bending moment occurs where the shear force is zero and is therefore still unknown (see Shear Force diagram). The distance from point A to this zero SF point must be determined as follows:- x = 2 15 20 x = 1.5 m Total distance from point A = 2 + 1.5 = 3.5 m therefore, BM max = (30 x 3.5) + (-15 x 1.5) + (-10 X 1.5 x 0.75) = 71.25 kNm The following page shows the line, shear force and bending moment diagrams for this beam. 70 71.25 35 30 60 70 0 0 Simply Supported Beam with Point and Distributed Loads (1) 2 m x 30 -5 Shear Force Diagram (kN) 0 -35 15 0 6 m F E D C G B A 30 kN 35 kN 15 kN 30 kN UDL = 10 kN/m 20 kN Bending Moment Diagram (kNm) Max Tensile Stress SAGGING (+ve bending) Max Compressive Stress F F A maximum bending moment of 71.25 kNm occurs at a distance 3.5 m from position A. Simply Supported Beam with Point and Distributed Loads (2) 1 m RB 12 m E D C F B A 8 kN RE UDL = 6 kN/m UDL = 4 kN/m 12 kN We must first calculate the reactions RB and RE. We take moments about one of the reactions to calculate the other, therefore to find RB. Take moments about RE ÃŽ £Clockwise moments (CM) = ÃŽ £Anti-clockwise moments (ACM) (RBx10)+(6x1x0.5) = (4 x 4 x 9) + (8 x 7) + (12 x 3) + (6 x 3 x 1.5) RB = 26 kN now, ÃŽ £Upward Forces = ÃŽ £Downward Forces RB + RE = (4 x 4) + 8 + 12 + (6 x 4) 26 + RE = 60 RE = 34 kN Calculating Shear Forces Starting at point A and looking left: SFA = 0 kN SFA + = 0 kN SFB = -4 x 1 = -4 kN SFB + = (-4 x 1) + 26 = 22 kN SFC = (-4 x 4) + 26= 10 kN SFC + = (-4 x 4) + 26 8 = 2 kN SFD = (-4 x 4) + 26 8 = 2 kN SFD + = (-4 x 4) + 26 8 12 = -10 kN SFE = (-4 x 4) + 26 8 12 (6 x 3) = -28 kN SFE + = (-4 x 4) + 26 8 12 (6 x 3) + 34 = 6 kN SFF = (-4 x 4) + 26 8 12 (6 x 4) + 34 = 0 kN SFF + = (-4 x 4) + 26 8 12 (6 x 4) + 34 = 0 kN Calculating Bending Moments Starting at point A and looking left: BMA = 0 kNm BMB = (-4 x 1 x 0.5) = -2 kNm BM 2m from A = (-4 x 2 x 1) + (26 x 1) = 18 kNm BM 3m from A = (-4 x 3 x 1.5) + (26 x 2) = 34 kNm BMC = (-4 x 4 x 2) + (26 x 3) = 46 kNm BMD = (-4 x 4 x 6) + (26 x 7) + (-8 x 4) = 54 kNm BM 9m from A = (-4 x 4 x 7) + (26 x 8) + (-8 x 5) + (-12 x 1) + (-6 x 1 x 0.5) = 41 kNm BM 9m from A = (-4 x 4 x 8) + (26 x 9) + (-8 x 6) + (-12 x 2) + (-6 x 2 x 1) = 22 kNm BME = (-4 x 4 x 9) + (26 x 10) + (-8 x 7) + (-12 x 3) + (-6 x 3 x 1.5) = -3 kNm BMF = (-4 x 4 x 10) + (26 x 11) + (-8 x 8) + (-12 x 4) + (-6 x 4 x 2) + (34 x 1) = 0 kNm Point of Contraflexure At any point where the graph on a bending moment diagram passes through the 0-0 datum line (i.e. where the BM changes sign) the curvature of the beam will change from hogging to sagging or vice versa. Such a point is termed a Point of Contraflexure or Inflexion. These points are identified in the following diagram. It should be noted that the point of contraflexure corresponds to zero bending moment. Turning Points The mathematical relationship between shear force and corresponding bending moment is evidenced on their respective graphs where the change of slope on a BM diagram aligns with zero shear on the complementary shear force diagram. Thus, at any point on a BM diagram where the slope changes direction from upwards to downwards or vice versa, all such Turning Points occur at positions of Zero Shear. Turning points are also identified in the following diagram. Simply Supported Beam with Point and Distributed Loads (2) 1 m 26 kN 12 m E D C F B A 8 kN 34 kN UDL = 6 kN/m UDL = 4 kN/m 12 kN 2 6 2 -4 22 -10 Shear Force Diagram (kN) 0 -28 10 0 F F SAGGING (+ve bending) -3 22 41 54 46 34 18 -2 Bending Moment Diagram (kNm) 0 0 F F HOGGING (-ve bending) Points of Contraflexure The maximum bending moment is equal to 54 kNm and occurs at point D where the shear force is zero. Turning points occur at -2 kNm and -3 kNm. Cantilever Beam with Point Load 6 m F E D C G B A RA 12 kN Free End Fixed End In this case there is only one unknown reaction at the fixed end of the cantilever, therefore: ÃŽ £Upward Forces = ÃŽ £Downward Forces RA = 12 kN Calculating Shear Forces Starting at point A and looking left: SFA = 0 kN SFA + = 12 kN SFB = 12 kN SFB + = 12 kN SFC = 12 kN SFC + = 12 kN SFD = 12 kN SFD + = 12 kN SFE = 12 kN SFE + = 12 kN SFF = 12 kN SFF + = 12 kN SFG = 12 kN SFG + = 12 12 = 0 kN Note: the shear force at either end of a cantilever beam must equate to zero. Calculating Bending Moments NB for simplicity at this stage we shall always look towards the free end of the beam. Starting at fixed end, point A, and looking right towards the free end: (the same results may be obtained by starting at point G and looking right) BMA = -12 x 6 = -72 kNm BMB = -12 x 5 = -60 kNm BMC = -12 x 4 = -48 kNm BMD = -12 x 3 = -36 kNm BME = -12 x 2 = -24 kNm BMF = -12 x 1 = -12 kNm BMG = 0 kNm Notes: the maximum bending moment in a cantilever beam occurs at the fixed end. In this case the 12kN force in the beam is trying to bend it downwards, (a clockwise moment). The support at the fixed end must therefore be applying an equal but opposite moment to the beam. This would be 72 kNm in an anti-clockwise direction. See the following diagram. The value of the bending moment at the free end of a cantilever beam will always be zero. -12 -24 -36 -48 -60 -72 Bending Moment Diagram (kNm) 0 0 12 125 Shear Force Diagram (kN) 0 0 72 kNm 72 kNm 6 m F E D C G B A 12 kN 12 kN The following shows the line, shear force and bending moment diagrams for this beam. F F HOGGING (-ve bending) Max Tensile Stress Max Compressive Stress A maximum bending moment of -72 kNm occurs at position A. Cantilever Beam with Distributed Load UDL = 2 kN/m 6 m F E D C G B A RA To calculate the unknown reaction at the fixed end of the cantilever: ÃŽ £Upward Forces = ÃŽ £Downward Forces RA = 2 x 6 RA = 12 kN Calculating Shear Forces Starting at point A and looking left: SFA = 0 kN SFA + = 12 kN SFB = 12 (2 x 1) = 10 kN SFB + = 12 (2 x 1) = 10 kN SFC = 12 (2 x 2) = 8 kN SFC + = 12 (2 x 2) = 8 kN SFD = 12 (2 x 3) = 6 kN SFD + = 12 (2 x 3) = 6 kN SFE = 12 (2 x 4) = 4 kN SFE + = 12 (2 x 4) = 4 kN SFF = 12 (2 x 5) = 2 kN SFF + = 12 (2 x 5) = 2 kN SFG = 12 (2 x 6) = 0 kN SFG + = 12 (2 x 6) = 0 kN Note: the shear force at either end of a cantilever beam must equate to zero. Calculating Bending Moments Starting at fixed end, point A, and looking right towards the free end: (the same results may be obtained by starting at point G and looking right) BMA = -2 x 6 x 3 = -36 kNm BMB = -2 x 5 x 2.5 = -25 kNm BMC = -2 x 4 x 2 = -16 kNm BMD = -2 x 3 x 1.5 = -9 kNm BME = -2 x 2 x 1 = -4 kNm BMF = -2 x 1 x 0.5 = -1 kNm BMG = 0 kNm The following page shows the line, shear force and bending moment diagrams for this beam. Cantilever Beam with Distributed Load8 6 4 2 36 kNm 36 kNm 12 105 Shear Force Diagram (kN) 0 0 -1 -4 -9 -16 -25 -36 Bending Moment Diagram (kNm) 0 0 6 m F E D C G B A 12 kN UDL = 2 kN/m F F HOGGING (-ve bending) Max Tensile Stress Max Compressive Stress A maximum bending moment of -36 kNm occurs at position A. Cantilever Beam with Point and Distributed Loads RG 2 m 10 kN B C D E A F G 4 m UDL = 10 kN/m To calculate the unknown reaction at the fixed end of the cantilever: ÃŽ £Upward Forces = ÃŽ £Downward Forces RG = (10 x 6) + 10 RG = 70 kN Calculating Shear Forces Starting at point A and looking left: SFA = 0 kN SFA + = 0 kN SFB = -10 x 1 = -10 kN SFB + = -10 x 1 = -10 kN SFC = -10 x 2 = -20 kN SFC + = (-10 x 2) + (-10) = -30 kN SFD = (-10 x 3) + (-10) = -40 kN SFD + = (-10 x 3) + (-10) = -40 kN SFE = (-10 x 4) + (-10) = -50 kN SFE + = (-10 x 4) + (-10) = -50 kN SFF = (-10 x 5) + (-10) = -60 kN SFF + = (-10 x 5) + (-10) = -60 kN SFG = (-10 x 6) + (-10) = -70 kN SFG + = (-10 x 6) + (-10) + 70 = 0 kN Note: the shear force at either end of a cantilever beam must equate to zero. Calculating Bending Moments Starting at point A, and looking left from the free end: (the same results may be obtained by starting at point G and looking left) BMA = 0 kNm BMB = -10 x 1 x 0.5 = -5 kNm BMC = -10 x 2 x 1 = -20 kNm BMD = (-10 x 3 x 1.5) + (-10 x 1) = -55 kNm BME = (-10 x 4 x 2) + (-10 x 2) = -100 kNm BMF = (-10 x 5 x 2.5) + (-10 x 3) = -155 kNm BMG = (-10 x 6 x 3) + (-10 x 4) = -220 kNm The following page shows the line, shear force and bending moment diagrams for this beam. 70 kN 2 m 10 kN B C D E A F G 4 m UDL = 10 kN/m 0 0 Shear Force Diagram (kN) -60 -70 -10 -20 -40 -50 220 kNm 220 kNm -30Cantilever Beam with Point and Distributed Loads 0 0 Bending Moment Diagram (kNm) -220 -5 -20 -55 -100 -155 F F HOGGING (-ve bending) Max Tensile Stress Max Compressive Stress A maximum bending moment of -220 kNm occurs at position G.

Slapshots And Turns :: essays research papers

Slap shots and Turns   Ã‚  Ã‚  Ã‚  Ã‚  A downhill skier gracefully completes another turn while an ice hockey player checks an opponent into the glass. The skier sails off a jump like an eagle, just as the hockey player absorbs the blows of opposing players like a tank. The skier lands the jump with precision, as the hockey player stumbles towards the opposing goal. The skier gracefully passes the finish line and stops just as the hockey player shoots the puck. As the skier notices the time of his run, he cries tears of joy because he has just won the gold medal. The hockey player hears the horn sound as his puck sails into the goal. He spits blood out of his mouth as his teammates tackle him because they have just won the Stanley Cup. Both of these athletes have won the highest prize in each of their sports. Both will be hailed by children as gods in the sporting world. However, because these two men are in different sports they will never meet each other. Both will go home and celebrate their accompl ishments in different ways. The public will celebrate along with these two athletes, unaware that they both accomplished the same feat. The public believes these two athletes participated in totally different sports. The public believes that one played the graceful sport of downhill skiing, while the other played the brutal sport of ice hockey. At a superficial level it may appear that these two sports are different, however digging deeper proves that the sports of ice hockey and downhill skiing are quite similar in their technique. Ice hockey and downhill skiing are similar in that both utilize the same method to perpetuate motion. An ice hockey player wears a skate that posses a sharp blade at its base. This blade is believed to merely cut through the ice when movement occurs. This belief is false. In actuality the pressure applied to the blade via the weight of the hockey player causes the blade to melt a small of amount of ice underneath it. Then the blade proceeds to hydroplane over the small film of water melted by the skate. Immediately after the skate has passed over the small film of water it freezes again into ice. This is the reason the ice needs to be smoothed after a match, because it did not freeze into a flat, level surface.

Rockets and Space Travel Essay -- Space Exploration Essays

Flying into orbit, at times, seems just an ordinary event. We have been launching objects into orbit for several decades now. Over time, it seems that the knowledge of the first attempt to send an object into the atmosphere was lost. One lone American was very absorbed into the science of this very thing. He had an obsession about him. John Goddard spent endless hours trying to perfect a small rocket launch. Though it sounds simple, lighting a fire underneath a small projectile, and make go in a straight line toward the heavens, is very detailed orientated. In a book written by Arthur C. Clark, he talks about early work that was done in the world of rocketry, but at the time it was only for entertainment. It happened hundreds of years ago. One of the first experiences with rockets came from â€Å"thirteenth century Chinese† (Clarke 71). Today, the technology is so advanced; flights of hundreds of miles are not uncommon. In the beginning of rocket experimentation, there were many trial and errors. They would fire up the engine of a projectile in hopes of a spectacular launch into the atmosphere. Many times it would only result in some kind of explosion. Catastrophe, if anything, is the nature of launching any projectile. Mans attempt to send objects toward the clouds has sparked interests in going further than ever before. The moon and the outer planets of our solar system have now become an obsession with not only the science community, but with a lot of ordinary folks as well. In order to satisfy this obsession, ways had to be found in order to get to these distant objects. The world we live on is small compared to the surrounding planets and universe but it is large compared to the complexities of ways to leave its ... ..., the commander will create a steeper angle of descent to minus 20 degrees (almost seven times steeper than the descent of a commercial airliner) (http://science.howstuffworks.com)†. This is only a small glimpse of what goes on before and after the lift off of the space shuttle. Details of micro gravity during the orbital maneuver and the interaction of the crew during its mission can add volumes to this report alone. In the end, the space shuttle is a very versatile instrument. From experiments in human research to inserting the Hubble space telescope into orbit. What would it be like in another 200 years when man has established colonies on mars or the moon? What an interesting life our future children will have. Works Cited: Arthur C. Clark http://science.howstuffworks.com http://science.howstuffworks.com Physics, a worldview, Kirkpatrick and Wheeler,

Comparing Confucianism and Christianity Essay -- Christianity Confuciu

Comparing Confucianism and Christianity The premise of Confucian teachings are centered around the idea of Jen or the  ³virtue of humanity (Ching 68). ² To accomplish this divinity, five relationships must be honored: ruler and minister, father and son, husband and wife, elder and younger brother, and friend and friend (Hopfe). These relationships led a push for a revolution of the political system to adopt the methods of Jen. Confucius sought to revive the ancient Chinese culture by redefining the importance of society and government. He described a society governed by  ³reasonable, humane, and just sensibilities, not by the passions of individuals arbitrarily empowered by hereditary status ² (Clearly). He felt that this could be achieved through education and the unification of cultural beliefs. He believed that a nation would be benefited by citizens that were  ³ cultivated people whose intellects and emotions had been developed and matured by conscious people ² (Clearly). He felt that those born into the feudal system were had a personal duty to excel socially by means of power. Those who were of lesser class should also seek out education to better themselves. All purposes for betterment of man and society as one whole is known as Li. Li means  ³the rationalized social order ² (Yutang). Confucius felt that love and respect for authority was a key to a perfect society; this strict respect was practiced through rituals and magic (Smith). The Confucius traditions have caused a tradition to set within its institution and is extremely active. It has, unfortunately, allowed the political institution to manipulate the Confucius system. As with Christianity. Christianity also preaches a divine, brotherly love. Modern Christianity seeks to discover a  ³rational understanding of the person ² as did Confucius (Ess ed. 381); yet, Christianity feels that faith in the Jesus Christ as a personal savior is essential to this enlightenment. It was also under the guise of Christianity that it had to confront totalitarian systems  ³[dehumanize] uses of power in its sphere of influence (state and church, and [these] systems triumphed under the banner of de-Christianization (Ess ed. 384). Unlike Confucius reformers of their corrupt state pushed the beliefs of the true ideals of Confucius, Christians believed in an  ³Absolute against all absolvi... ...942. Hughes, E. R. and K. Religion in China. Hutchinson's University Library, London; 1950. Kelen, Betty. Confucius: In Life and Legend. Thomas Nelson INC., New York; 1971. King. Hans and ed. Christianity and the World Religions. Doubleday, New York; 1986 McCuen., Gary E. The Religious Right. Hudson, Wisconsin; 1989. O'Briare, S. J. Fifty Years of Chinese Garment. Lutterworth Press, London; 1951. Siu, R. G. H. The Man of Many Qualities: A Legacy of the I Ching. Smith, Huston. The Religions of Man. Harper & Row, New York; 1958 Smith, Howard. Confucius. Charles Scribner's Sons, New York; 1973 Soper, Edmund Davison. The Religions of Mankind. Abingdon Press, New York; 1966. Toynbee, Arnold. Christianity Among the Religions of the World. Charles Scribner's Sons, New York; 1957 Weber, Max. The Religion of China. The Free Press, New York; 1951. Wieger, L. History of Religious Belief and Philosophical Opinions in China. Catholic Mission, Hsein-sein, China; 1927. Yang, C. K. Religion in Chinese Society. University of California Press, Berkeley and Los Angeles; 1961. Yutang, Lin. The Wisdom of Confucius. The Modern library, New York; 1938.

Dove: evolution of a brand Essay

The aim of this case study, written by John Deighton, is to highlight and explain the revolutionary brand evolution strategy at the basis of the extraordinary Unilever’s Dove results, achieved in 2007. Overview: Masterbrands as part of the â€Å"Path to Grow† strategy Unilever is a leading multinational company active in the food, home and personal care sectors. It has been developing globally during the years, creating several of the most successful brands of the world. Its expansion allowed a geographical diversification but also brought some problems of controls; especially the brand portfolio had grown in an unstructured way and required a change of course. Indeed, in February 2000 Unilever began the so called â€Å"Path to Growth†, a five-year strategic activity which included the reshaping and the reorganization of the brand portfolio. More precisely, the company planned to reduce its more than 1,600 brands to 400 and, among them, select a small number of â€Å"Masterbrands† responsible for creating a clear and global identity to be shared with the range of products, included under each Masterbrand name. In this broad strategy it is situated the outstanding evolution of one of the survived brands, Dove, which was selected to become the â€Å"Masterbrand† for Unilever personal care products, beyond the beauty bar category and including hair care products, deodorants, body lotions etc. Dove Masterbrand strategy development Dove, until February 2000, had always been orienting to meet its costumers’ needs, providing them products, with a scientifically proven functional superiority. As a logical consequence, its advertisements had always been centered in promoting the cited higher functionality, preferring natural-looking women rather than fashion model icon in order to communicate honesty and authenticity. But a marketing strategy to build a unique Masterbrand identity could no longer be based on functional superiority, as explained by Deighton; it should create a meaning for Dove, as a â€Å"Masterbrand†, to be applied to all its products. Pursuing the best way to develop the proper image, the management had to slightly change the approach to the promotion. Elements such as â€Å"client need†, â€Å"scientific research†, â€Å"the employment of natural-looking women† and â€Å"honesty and authenticity† survived as central aspects, but they were reassembled and combined differently to accomplish the mentioned goal. The scientific research was no longer used to prove product functionality; but, it was the starting point of the new strategy: a worldwide investigation led by the global brand director for Dove, Silvia Lagnado, and interpreted with the help of two experts, revealed that women generally perceived aesthetic canons, typically illustrated in the advertisements, as very distant and unreachable. It was found out that most of the women didn’t mirror themselves in the advertised concept of beauty and a further survey showed that only the 2% of the interviewed described themselves as beautiful. Dove experts recognized a cultural issue; the beauty-related belief of average women and the advertised beauty weren’t matching. The misalignment generated frustration in women and, as a relevant consequence for Dove, negatively affected the sales of health and care products. So, aware of women dissatisfaction, of their personality, of their need to feel beautiful and keeping in mind Dove internal goals, the management gave life to the revolutionary strategy and decided that Dove should have stood for a point of view. The management decided that natural-looking women would have had a key role in the campaign, but with a different responsibility: instead of promoting Dove’s products they would have promoted their â€Å"average† beauty, with honesty and authenticity. The campaign for Real Beauty was setup and ready to be implemented. The Aim(s) of the campaign Born from the simply idea of creating a common and clear image to be shared with the Dove Masterbrand products, â€Å"The campaign for Real Beauty† has been then developed and changed as it went forward, pursuing further goals and, at the end, revealing itself somewhat different. As a matter of fact and as declared by Kathy O’Brien, Dove marketing director for U.S, the company wanted to â€Å"change the way society views beauty† and â€Å"provoke discussion and debate about real beauty†. This aim was reflected in the Dove’s mission statement, elaborated for the campaign, and it was enhanced with a relevant aspect: the expected repayment for the company, which was keenly expressed. The statement said: â€Å"Dove’s mission is to make more women feel beautiful every day by broadening the narrow definition of beauty and inspiring them to take great care of themselves†. And here the real purpose of the whole initiative became clearer. With the declared aim to develop the common values for the Masterbrand and to overcome the beauty-related mismatch, emerged from the scientific research, Dove started the campaign. Then, inducing the community to a proactive involvement and to debate on such meaning, the company began in a certain sense the democratization process of the beauty. So, being recognized as the entity responsible of the birth of such a thorny process and as a provider of a clear and rule-breaker point of view, Dove started to be on everyone’s lips. It remarkably increased its popularity and most important, allowed it to captivate a huge number of potential clients: those women to be helped in perceiving themselves â€Å"beautiful every day by broadening the definition of beauty†¦Ã¢â‚¬  and to be inspired â€Å"to take great care of themselves†. Paraphrasing the meaning of the period â€Å"to inspire to take great care of themselves†, the commercial aim of Dove’s campaign for real beauty becomes apparent. What made the campaign effective? The combination of different elements made the design and the implementation of the campaign so successful. As a first element, the campaign has its roots in the setting of a clear brand’s mission, shared on a global level. The structure of the organization introduced by the Path to Growth strategy, which split the responsibility for each brand between two groups, the Brand Development, centralized and global in scope, and Brand Building, decentralized according to the regions in which Unilever was involved and responsible to bring the brand to life in each marketplace, substantially helped in defining a global mission. Once developed, the brand’s mission worked as a benchmark for each initiative; a cornerstone around which, the whole campaign moved and evolved. Furthermore, the settlement of a well-defined mission was crucial to maintain the control over the campaign, once it had been shared with the community and on purpose exposed to its assessment, starting what I called â€Å"the democratization process of the beauty concept†. And exactly this process is the feature that I consider the sharpest and the most effective of the whole strategy. Indeed Dove, proposing and supporting its unconventional point of view, with the aim to provoke discussion and debate, really made people feel part of revolution and, at the same time, outstandingly got the company closer to its potential clients. In order to increase women’s engagement, Dove, at a certain point of the campaign, directly asked them to film â€Å"their own daughters discussing their self-esteem challenges† and later on, â€Å"to create their own ads for Dove Cream Oil Body Wash† and to participate at the contest â€Å"the Real Ads by Real Women†. It extremely helped in creating a strong social interconnection between Dove’s supporters and the company; they were joint forces against stereotypes of beauty. Moreover, the involvement of the community, thought in a more general sense and which spontaneously commented and also criticized the campaign, was crucial to increasing Dove’s initiative range and for its goals fulfillment. This aspect was part of a further successful feature of the strategy, the so-called Media planning, which was revolutionary and tailored as well. Responsible of the strategy and the investments for the campaign diffusion, the Media planning unit, as said, relied on the engagement of the community and of Internet too and so, it centered the investments in creating and expanding the community of the â€Å"real beauty seekers†. It included the purchase of a Superbowl advertising space. Thanks to such investments and to Youtube, which played a key role in the divulgation of the ads, the phenomenon reached an extraordinary dimension and, as a consequence, the debate started to spread all over, acquiring more and more media hype, insomuch as 16 minutes of Today Show were dedicated to one of the campaign initiatives; even Oprah devoted a full show to self-esteem, built around a Dove’s advertisement. Critics, discussions and parodies rose in sequence, did nothing but increased the relevance of the campaign and amplified its range, exactly as planned by Dove. These are the reasons that made the revolutionary and unprecedented Dove’s campaign so successful and helpful for the company in becoming â€Å"one of 10 brands with the greatest percentage gain in brand health and business value in the past three years† and in its $1.2 billion of grow. References: John Deighton, (Rev: March 25, 2008), Dove: Evolution of a brand, 9-508-047 Harvard Business school

Discuss how Elizabethan audiences would have reacted to the first Act of Macbeth Essay

Shakespeare wrote Macbeth during an age in which the apparitional was a part of e rattlingday bearing for the good deal of England. Prior to the wave of Christianity that sweep through England, local chieftains and ordinary citizens had been sure look atrs in witchcraft, spells and fairies. King James had scripted books on the subject, giving the subject believability in the eyes of his slew. The idea of demons and witches tantalizing good people to do grim things was widely accredited, especi each(prenominal) toldy since the Bible itself make references to the devil. The introduction of the witches in the very firstborn scene of Macbeth would realise created a very intriguing effect and would throw shoot got been accepted by the hearing.Another feature that vie an important role in the track Shakespeares references reacted to his plot was the social social club and the hierarchy of the spectators who watched his tacticss. Only cardinal classes existed which were the rich, the merchandiser core class and the poor class. Shakespeares run intos were performed at the Globe theatre which acted as a model for other theatres al to the highest degree the country. It is said that the balconies on top were the most expensive seats and these seats were intermeshed by the rich and noble people at the time.The next sets were the rows of seats on either side of the stage which the merchandiser and middle class would view the play from. The lowest category of people diligent the area immediately in front line of the stage, an area which stretched far back into the landing field where the view was obscured by walls and other obstacles. Crowds were a good deal herded tightly to fit in as more as contingent in the slenderest amount of space. This was the method of seating at the time. We deduce that all three classes of corporation had gone to the theatre to watch the play for versatile divers(prenominal) reasons.It is clear that each(p renominal) segwork forcet of the audience would bear viewed Macbeth from disparate perspectives to the first Act of the play. The first scene of the first act would not digest been a familiar theme to the educate and rich people in the balconies as they lived in a world of wealth, silver and luxury far from witch craft, demons, abuse and evil. The dark and gloomy stage in this scene would get under ones skin been very different from their well-lit, large and luxurious homes It is something they would not engender been able to relate to except the fact that they knew that it was just a play which was base on supernatural elements that were common in that era.On the other hand, the middle and cut classes would deport focused more on the dramatic structure and elements in the scene. For example, In thunder, lightning or in rain? (Act 1 Sc.1 Ln. 2) gives an audience a feeling of disgust because in those days the belief was that grim weather was a sign from deity showing unh appiness and anger. When the hurly burlys done when the battles lost and won (Act 1 Sc. 1 Ln. 4), the unnatural rhyming converse would have all conveyed to an exciting understanding of horror.Another factor of the scene that should be defern into consideration is that not all of the conversation makes nose out for example if you take Fair is foul, and foul is fair (Act 1 Sc. 1 Ln. 12),The audience are withal told that the witches entrust return, this eccentric way of verbalise blends the audience thinking and brings a sense of eagerness to see what happens next. Moreover, this scene would in like manner have reminded them of their own streets, with poor lighting, and the small dark homes they lived in.Similarly the three segments of the audience would have reacted differently to Lady Macbeths soliloquy. As she finishes reading the letter from her maintain, various feelings of greed and temptation enter her mind. She too has feelings of doubt and uncertainty she felt tha t Macbeth lacked resolution and would not commit such(prenominal)(prenominal) an slimy act, yet do I devotion thy nature, It is too full othmilk of human kindness. (Act 1 Sc. 5 Ln. 15). She then calls upon evil to exterminate her femininity from her.The intensity of this linguistic process mustiness have given all three segments of the audience a sense of panic and for some an enormous sense of ramp and disgust. The raven himself is hoarse (Act 1 Sc 5 Ln. 7),She uses raven which is recognized as an evil bird. unsex me here(Act 1 Sc.5 Ln.9), She wanted all the characteristics a cleaning woman had to have in those days, removed from her. Women were evaluate to be meek and gentle, no social occasion what the husband did. So if any feminine protested, she was immediately branded a bragging(a) woman in the minds of society.Some noble classes in the audience would be able to understand this as they too were probably experiencing similar situations in their lives. It was kno wn that the audience lived in a patriarchy where woman had no baron of their own. These women who were married to rich and superior men would often bully them for the married brace to rise in the hierarchy because that was the provided way a woman could get a significant amount of power. hence it would have appeared natural to the wealthier audience that this blind drunk woman was able to force her husband to commit the ultimate offense, murder. It is likely that many in the audience would have also sympathized with Macbeth.It is also likely that some women in the audience were women who accepted the patriarchy dodge and did not question their husbands and were always spontaneous to stay at the bottom of the hierarchy. These women would have found it difficult to imagine that such women existed.The other two segments of the audience would not have questioned the fact that Lady Macbeth could take on her husband to murder their king. These were people who neer had any power a nd even the smallest possible notion of them being king would bring them into an immeasurable amount of temptation. The poor audiences, which would have certainly included men and women from the wretched classes, may have already attached flagitious crimes before, would have had no job with the idea of killing the king.Macbeths coarse speech, in which he battles with the enormity of the crime he is going to commit, would certainly have obtained different reactions from the audience. In his speech he has an enormous amount of uncertainty in him. His confidence is almost destroyed as he tries to fight his conscience. As I have said before, religion was a key factor in those days. They did believe that committing an act as immense as killing the king, was such a heinous crime, because to the audience it was going against God himself. So clear in his great office, that his virtues will plead like angels, trumpet play against the deep damnation of his taking off.(Act 1 Sc. 7 Ln.20 ), In those days people were firm believers in the divine practiced of kings. It was a belief that said that entirely God could choose the king and cryptograph else.Macbeth never refers to the crime he is most to commit as murder. He alters the term by using various less(prenominal) dissonant synonyms like assassination, cessation, bear the knife and taking off. The educated audiences would have recognized the speech and reacted accordingly to the significance of the lines and Macbeths criminality overcoming him. In my opinion, it is very likely that the middle and lower classes would soon have got bored due to the length of this speech, which does not have much excitement and horror as the soliloquy of Lady Macbeth.No field which category the audience belonged, the use of wizard(prenominal) and supernatural features on stage would have been a peaking source of recreation The witches, thunder and lightening and murder would have delighted Shakespeares audiences as much as todays ideas of aliens brisk and high-tech special effects thrill us In conclusion, it can be said that the Shakespearean audience cannot be classified as of one type only. Social backgrounds, levels of education and religious elements all played a role in the way each spectator reacted to Macbeth and his actions.