Men and Women in Business Society Essay Example for Free

Men and Women in Business Society Essay It is said that in nowadays we live in a modern and developing world where people have unlimited opportunities for development.Widely supported statement is the one which says that the individual success fully depends on the individual abilities and skills.Although it is true,still there are some prejudices which reflect on us and our choice.In our more tolerant community(compared to the past) discrimination is unacceptable but unfortunatelly it still exists. More particularly we will pay attention to one popular belief in the sphere of business according to which men are better leaders than women. Where does this statement come from?What are the differences between businessmen and businesswomen?We will compare men and women in the business society and we will try to find out the truth. It is not a secret that men and women have some significant misunderstandings in their way of thinking and character. As it is said-Men are from Mars and Women from Venus. But lets take a closer look at what exactly show the surveys and statistics.According to them in tensed situations men are more cold-blooded while women are subordinated to emotions.Women are more insecure and prefer to do the things on their own,while men would rather give the task to someone else.That is why because unlike women,men feel comfortable giving orders to other people.Men prefer using competition to cooperation,in the contrary women prefer cooperation to competition because women really appreciate their social contacts on their working place.In difficult moment men accept that obstacle as ‘’problem-solution’’while women-‘’situation-reaction’’.For men taking risks is a question of profits. They ask themselves-‘’What will I win taking this risk?’’For women taking risks is a question of sacrifice or ‘’What is the price of this risk?’’, ‘’What will I have to sacrifice taking it?’’Women accept success as happy concurrence of circumstances while men in case of success take merit to themselves. From all mentioned above we come to a conclusion that women are more emotional and they pay more attention to their feelings-Business as a game of interests does not tolerate such behavior. That is why the sensibility of women and their subordination to criticism are perceived as disadvantage. In spite of all statistics and statements of psychologists my personal opinion is that we do not have to make a difference between a man and a woman. In spite of all supporting the thesis that men are better business leaders we-women know that the best way, in which men can obey to the women, is to remain them to belive that they are the leaders.So weather men are better business leaders or we women let them(in purpose) believe so is still a question with no answer.

What is the Turning Point in Romeo and Juliet?

What is the Turning Point in Romeo and Juliet? In this essay I am going to analyse act 3 scene 1 of Romeo and Juliet to work out why it is the turning point of the play. I will analyse the characters; historical context; the structure of the play; the main characters and the language used by William Shakespeare. I will also analyse how Shakespeare built up tension within the audience. I have read the play and have watched the original movie directed by Zeffirellis and the modern version directed by Lurhmann. By watching both the traditional and the modern version I now have a clearer interpretation of the message that Shakespeare wanted to put across. It is acceptable for the play to be modernised as it gives the message to a different audience in a way that they can understand. Both of the versions were unique but they still carried the same message which is that love is blind and that although there are many different types of love, they can all lead to disaster. The genre of the play is a tragedy and this is clearly shown throughout the play especially in act 3 scene 1. The Capulet and the Montague families are both feuding. They are fighting because Romeo had gate-crashed the Capulets party; he gate crashed the party because he was hoping to see Rosaline, who he wanted to see as he thinks he loves her. Romeo has the personality of any other teenager and is prone to getting into fights. The weather was to blame for many of the fights as it was extremely hot and this was making many people agitated, so maybe if the weather was cooler Mercutio would not have been as argumentative and the fight would never have started. Also, if Romeo had not gate-crashed the party Tybalt would not want revenge. Also, if Romeo had stayed with Juliet, Tybalt and Mercutio would have just fought to let out their anger and nobody would have died but Romeo turned up just at the wrong point which meant Tybalt stabbed Mercutio. Romeo did not want to fight; in fact his original intention was to stop the fight and this was because he was now related to Tybalt so he did not want to hurt one of his relatives but he could not control himself after Tybalt had killed Mercutio and ended up fighting with Tybalt. Before the fight Romeo says to Tybalt Either thou or I must go with him and he is trying to implement the fact that Mercutio has only just died and one of them must join him. Even if the fight had not taken place and Romeo had not killed Tybalt, Romeo and Juliet would still not be able to live happily as the two families would still be fighting and would not agree with their marriage. Benvolio says The day is hot, the Capels are abroad, And if we meet them we shall not escape a brawl, For now, these hot days, is the mad blood stirring. This is very much foreshadowing what is to come as the minute the two families meet a fight does start. Benvolio highlighted twice that the weather was very hot and this was because Elizabethans believed the heat made men angry and they thought that there was even more of a chance that there would be a fight as the weather was hot. In the eyes of the audience this was the start of things to come as this was the start of the turning point of act 3 scene 1. This tells the audience what would happen if the two families meet but what the audience do not know is that the two families do meet which would have built up tension in the audience. The way that Shakespeare puts Mercutio in the fight is showing that act 3 scene 1 is the turning point of play. This is because it is completely changing Mercutios character as he is always harmless and full of life and would never get into a fight, and would certainly not start one. This change to Mercutios character affects the play greatly because if there was no fight Mercutio would not be killed, which would of not triggered the fight between Romeo and Tybalt. This would then mean that Romeo would not be banished as he would not kill anyone. This would change the outcome of the play dramatically as Juliet would know where Romeo was and they could put a plan together to decide what they were going to do next. Before Mercutio died he said A plague aboth houses! By saying this he was wishing the worst luck on both of the families as they are both as much to blame as each other for the fighting and all of the fall outs over the years. Shakespeare had used the plague as this was something that was spreading throughout the time the play was written and if a family caught it their future did not look good. This was also dramatically foreshadowing the future of the two families as even though the audience didnt know it, this is what was going to happen; both families were going to have a great loss. Romeo is another character that Shakespeare dramatically changes throughout act 3 scene 1 to show that this scene is the changing point of Romeo and Juliet. One way that Shakespeare uses Romeo to show that this scene is the turning point is in the change in his attitude. At the start of the play Romeo just wants to be left alone as he his thinking about Rosalyne, and then there is a point at the party where he gets back to his normal self and then falls in love with Juliet and this changes his thoughts and personality dramatically as he changes his views and thoughts on the Capulet family. He realises that if he wants his marriage to be successful he needs to make friends with Juliets family. But by the end of act 3 scene 1 this has changed completely and Romeo ends up killing Tybalt who was Juliets Cousin, a Capulet. This is what completely changed the outcome of the play as Romeo is banished for killing Tybalt which ends eventually in Romeo and Juliet both dying. This is why Romeo was the main cause for act 3 scene 1 being the turning point of the play. Throughout act 3 scene 1 Shakespeare uses very dramatic and powerful language. One example of this is when Tybalt says thou art a villain this is aimed at Romeo. At the time the play was written this was intended as a very serious insult and was like calling him the lowest of the low an extremely bad person. Shakespeare uses this to show that this point in the play is changing the rest of the play. By Tybalt saying this to Romeo it is making it look as if all of the problems are caused by Romeo and he is the cause of the pain and suffering. This shows us that Romeo has changed; he is not seen as the one who stays away from the fights and wants to stop them happening; he is now seen as one of the people to start them. Another example of Shakespeare using dramatic language is when Romeo says But love thee better than thou canst devise. He said this to Tybalt and he meant that he loves Tybalt in a way greater than he could imagine meaning he is now related to Tybalt as he is married to Juliet, Tybalts cousin. This is dramatic irony in the play as the audience knew that Romeo is married to Juliet but no one else does apart from the Nurse and Friar Laurence. By Romeo saying this it is showing how the marriage was affecting the lives of everyone. The marriage was the reason that Tybalt killed Mercutio as if Romeo had not of been with Juliet he would not have left her and interrupted the fight which would not have caused Tybalt to stab Mercutio. Romeo says My very friend, hath got his mortal hurt. In my behalf; my reputation staind. Romeo is saying that Mercutio has been killed on his behalf. This is because the Capulets wanted to have revenge for Romeo gate crashing their party. This is the reason the fight started and if there fight had not have started Mercutio would not have been killed. So because of this Romeo is now blaming the death of Mercutio on himself even though it is clear that it is not his fault as he didnt turn up until the end of the fight. This is another way that we are shown act 3 scene 1 is the turning point of the play as all of the characters feelings and thoughts keep changing dramatically throughout act 3 scene 1. The stagecraft of the play is another way that act 3 scene 1 was shown as the turning point to the play. One way that this was shown was the way that Shakespeare showed someone being stabbed. The actor would wear a pigs bladder under his clothes, this would be full of blood and when another actor touched this with their sword it would burst and the blood would come out making the actor look as if he had been stabbed. This was very gory but very effective making the audience believe the actor had actually been stabbed. This was used in act 3 scene 1 when Mercutio was stabbed and would have dramatically affected the audiences mood and feelings this would have been because they would have felt as if the actor had really died and it would have affected them as they would of felt as if they had just watch someone die. This would have also entertained the audience as the Elizabethans loved blood and gore and would be something that they would want to see in a play. In conclusion, Act 3 scene 1 has many reasons that show it is the turning point to Romeo and Juliet and this is shown by Shakespeare using the way the characters feelings and thoughts change throughout the act 3 scene 1. Also the way that Shakespeare used dramatic language to change the thoughts and tension in the audience. The fight between Tybalt and Mercutio completely changed the outcome of the play this was because this fight led to Tybalt killing Mercutio which led to another fight between Tybalt and Romeo which ended with Romeo killing Tybalt. This then meant Romeo had to be punished and this is done by banishing him from Verona which meant when Friar Laurence and Juliet made a plan for them to live together, the details dont get to Romeo and in the end they both end up killing themselves which lead to the play ending as a tragedy. So if the fight in act 3 scene 1 had not taken place the ending to the play would not have been so sad. This is why act 3 scene 1 is definitely the turning point to the play as it seriously changed the rest of the play. I have analysed the language used by Shakespeare and how he used language to change the mood of the audience and show that act 3 scene 1 is the turning point in Romeo and Juliet. I have also analysed the way that Shakespeare used characters and stage craft to show this. After analysing these points I think without act 3 scene 1 Romeo and Juliet would not be a tragedy as it would not have ended in the way it did.

Plastic Theatre in A Streetcar Named Desire

Plastic Theatre in A Streetcar Named Desire 1. Introduction â€Å"I don’t want realism. [] I want [] magic!† (Williams, Streetcar Named Desire 130) It is Blanche DuBois who states this quotation in Tennessee Williams A Streetcar Named Desire. In this drama from 1947, two worlds, embodied by the two characters of Blanche DuBois and Stanley Kowalski, clash. That conflict between realism and a romantic view of things is visible through the whole play, increasing from scene to scene, and reaches its peak in Stanleys rape of Blanche in Scene Ten. After that suppression of the romanticism and with Blanche going to an asylum, one might think that the realistic point of view triumphs, but in my opinion her leaving and her acting, still relying on the kindness of strangers (Williams, Streetcar Named Desire 159), leads to the impression of a survival of her fantasy world. She just escapes from the demonic night world and completes the cycle of romance (Thompson 28). But I dont think that her illusions win over Stanleys realism, as she is a Romantic protagonist committed to the ideal but living in the modern age, a broken world (Holditch 1 47). In Williams play A Streetcar Named Desire, things are not always called by their names, but he creates a sense of indirectness. With the aid of telling names and special attitudes of the characters, he caricatures a truth behind things. However, this is not restricted to the protagonists and their quotations, but also concerns the play itself, including the stage directions. The feeling of hidden truths is supported by effects and motifs, for example the adoption of light and music or the gestures of the actors. This realization of a play on a stage is called the Plastic Theatre, as the audience gets more involved through the use of different senses. This leads to a vivid impression of the feelings and thoughts of the protagonists. Williams himself created the term of the Plastic Theatre in his production notes to The Glass Menagerie. There he writes about a conception of a new, plastic theatre which must take the place of the exhausted theatre of realistic conventions if the theatre is to resume vitality as a part of our culture (Williams, Glass Menagerie 4). 2. Definitions To provide a solid basis for the following thoughts concerning the different characters of A Streetcar Named Desire and their points of view, I want to introduce and explain the two terms of realism and romanticism briefly. Both of them can also been seen as epochs in American Literature, but I just want to focus on the general statement. In addition, I want to expose further information about the idea of the Plastic Theatre. 2.1. Realism In the Longman Dictionary of Contemporary English, realism is described as accepting and dealing with life and its problems in a practical way, without being influenced by feelings or false ideas. This means that one takes things as they are, evaluating situations only with the aid of the visible facts, not relying on false hopes or following non-realistic ideals. The human reason has, from a realistic viewpoint, a higher value and is more important than emotions or spontaneous impressions. 2.2. Romanticism The romantic perspective is in contrast to the realistic one. Romanticism is related to highly imaginative or impractical (Longman Dictionary, Romantic.) attitudes, admiring ideals which are not realistic or even unachievable. In romanticism, feelings and emotions are stated higher than rational thinking and human reason, not only in the context of love issues, but also in the way of dealing with situations and problems. Impressions are not based on visible facts, but on ideal conceptions, and these conceptions might be sometimes quite fictional or utopian. 2.3. The Plastic Theatre To express his universal truths Williams created what he termed plastic theater, a distinctive new style of drama. He insisted that setting, properties, music, sound, and visual effects all the elements of staging must combine to reflect and enhance the action, theme, characters, and language (Griffin 22). Like Griffin, many authors, including Tennessee Williams himself, tried to explain the Plastic Theatre, but it was barely discussed in public. After he established the idea of the Plastic Theatre in the production notes to The Glass Menagerie, Williams never publicly discussed it again. But from that moment on, his plays were very theatrical, with lyrical and poetic language, his scenic descriptions draw on metaphors from the world of art and painting and with quite symbolic use of sound and light (Kramer). 3. A Streetcar Named Desire: The Truth Behind Things In Williams play A Streetcar Named Desire, the audience gets the impression that facts are not just stated within the text, but between the lines. The characters are often described better through their behavior and gestures than through their actual quotations. From scene to scene it gets clearer that Blanche and Stanley are embodiments of two very contrasting viewpoints of life: extreme romanticism and down-to-earth realism. This is also visible through different symbolic motifs, which emerge various times in the play. Connected with a very evocative use of music and light and many telling names from the beginning on, the whole play seems conspicuously allusive. 3.1. Romanticism and Realism in A Streetcar Named Desire We are presented in A Streetcar Named Desire with two polar ways of looking at experience: the realistic view of Stanley Kowalski and the non-realistic view of his sister-in-law, Blanche DuBois (Kernan 17). Williams brings the two views into conflict immediately. 3.1.1. Blanche DuBois as the Romantic Protagonist When the audience meets Blanche, her appearance is described as incongruous to this setting (Williams, Streetcar Named Desire 8). In Scene One she arrives at the Elysian Fields, where her sister Stella and her brother-in-law Stanley Kowalski live. Her clothes are white and fluffy, looking very delicate and as if she were arriving at a summer tea or cocktail party in the garden district (Williams, Streetcar Named Desire 9). She is very shocked about the habitation of her sister and calls it a horrible place (Williams, Streetcar Named Desire 13). The reader is confronted instantly with her deranged self-awareness, as she asks Stella to turn the merciless (Williams, Streetcar Named Desire 13) light off, because she does not want to be looked at in the bright light. This behavior is visible through the whole play. Blanche always tries to avoid over-light and glare. Her vanity about her looks is also remarkable in the way Blanche presents her figure to her sister, fishing for compliments and stating that she has the same figure as she had ten years ago. (Williams, Streetcar Named Desire 18). She often states very romantic quotations through the whole play, e.g. concerning the pretty sky where she ought to go [à ¢Ã¢â€š ¬Ã‚ ¦] on a rocket that never comes down (Williams, Streetcar Named Desire 44). When the relationship between Blanche and Mitch, a friend of Stanley, becomes more intimate, the audience gets an impression of Blanches romantic conception. She calls him her Rosenkavalier and wants him to bow, just like the gentlemen in the Old South would do (Williams, Streetcar Named Desire 90). Although she was married once, she tries to behave like she would be untouched and a virgin, which she is obviously not. When Mitch says that he cannot understand French, she asks Voulez-vous couchez avec moi ce soir? (Would you like to have sex with me tonight?) (Williams, Streetcar Named Desire 95). The information about her past, that she had many men in a hotel called the Flamingo, and the way she speaks about her relationship with Mitch, that she does not love him, but just want a man with whom she can rest, brings certainty for the audience. So Blanches character can be described as a very romantic one. For her, outwardness is very important, and to appear very delicate and pure she is not afraid of telling lies. She is a fake, a person who likes to be better than she actually is, living in a fantasy world which has nothing to do with the real life. Already damaged by [à ¢Ã¢â€š ¬Ã‚ ¦] the harsh realities of disease and death, Blanches Romanticism is reduced in some moments to nothing more than sentimentality (Holditch 155). 3.1.2. Stanley Kowalski as the Realistic Protagonist Stanley Kowalski seems as the embodiment of a real man, opposed to or ignorant of the transcendent, very sexual and physical. When the audience gets in contact with him for the first time, he carries a package of meat and throws it to his wife Stella. He is described as strongly, compactly built. Animal joy in his being is implicit in all his movements and attitudes (Williams, Streetcar Named Desire 24). His relationship to his wife is a very sexual one, as Stanley treats his wife in a very physical way and Stella states that she is very attracted to him. When Blanche leaves to the asylum and Stella cries, he consoles her by touching in a sexual way (Williams, Streetcar Named Desire 160), which is characteristic of their relationship. His view of things is a very realistic one. When Blanche informs Stanley and Stella that she had lost the plantation of their parents, Belle Reve, Stanley thinks that in fact she did not lose it, but perhaps sold it and did not give them their part of the money. For him, this would be an affront against himself, as the property of his wife Stella is his own, too. He thinks Blanche bought jewelry, clothes like a solid-gold dress and Fox-pieces (Williams, Streetcar Named Desire 32) from the returns of the plantation. In reality, the furs are inexpensive summer furs (Williams, Streetcar Named Desire 33) and the jewelry is glass. This mistake is the mistake of the realist who trusts to literal appearance, to his senses alone (Kernan 18). Stanleys view of things, the realistic one, is the one which works in the modern, broken world. He embodies this harsh world with all its physical, material and sexual aspects. His strong appearance and his human reason is all he needs to get along in the real world. 3.1.3. Conflict between Romanticism and Realism The two points of view clash from the beginning of the play on until the end. Blanche embodies the romantic one, whereas Stanley stands for the realism. In the course of the play Williams manages to identify this realism with the harsh light of the naked electric bulb which Blanche covers with a Japanese lantern. It reveals pitilessly every line in Blanches face, every tawdry aspect of the set. And in just this way Stanleys pitiless and probing realism manages to reveal every line in Blanches soul by cutting through all the soft illusions with which she has covered herself (Kernan 18). Kernan explains very descriptive the relationship between the two protagonists. Stanley does not treat Blanche with much respect, which is visible through the way he talks about her bathing and her way of dressing. But also Blanche has an aversion to him, calling him sub-human something not quite to the stage of humanity yet (Williams, Streetcar Named Desire 74). For her, Stanley is a threat, because he is able to destroy her fantasy world and to uncover her past and her real face. The conflict increases from scene to scene and reaches its peak in the rape of Blanche. Stanley has to prove his dominance and therefore rapes her to force his reality on her. But she is not broken after the rape, she is just even deeper in her fantasy world, which is shown by the way she trusts the doctor, holding tight to his arm, still depending on the kindness of strangers (Williams, Streetcar Named Desire 159). Finally the audience gets the impression that the realistic point of view has the advantage of being workable. Blanches romantic way of looking at things, sensitive as it may be, has a fatal weakness: it exists only by ignoring certain positions of reality (Kernan 18). 3.2. The Plastic Theatre in A Streetcar Named Desire Williams tried to communicate circumstances not only by the acting of the protagonists, but also through symbols and various effects. The setting, lighting, props, costumes, sound effects, and music, along with the plays dominant symbols, the bath and the light bulb, provide direct access to the private lives of the characters (Corrigan 50). The many telling names in the play give additional information and enforce the impression of a truth behind things. In the following subchapters I want to discuss exemplary Blanches bathing, the adoption of music and sounds and the use of telling names. 3.2.1. Blanches Bathing Blanche bathes very often in this play. She obviously wants to clean herself from her past. After the bathing, she feels all freshly [à ¢Ã¢â€š ¬Ã‚ ¦] and [à ¢Ã¢â€š ¬Ã‚ ¦] like a brand new human being (Williams, Streetcar Named Desire 35). Every time she is confronted with the real, brutal world, she wants to escape in her dream world, which is strongly connected with bathing. In Scene Three when the men have a Poker Night and Stanley gives a loud whack of his hand on Stellas thigh, she instantly says I think I will bathe (Williams, Streetcar Named Desire 49). In Scene Seven, she bathes again, little breathless cries and peals of laughter are heard as if a child were frolicking in the tub (Williams, Streetcar Named Desire 110), while Stanley tells Stella about Blanches past and her affairs with a seventeen-year-old boy and many other men. The title of the song Blanche sings while bathing is It Only a Paper Moon and it is described as a saccharine popular ballad which is used contrap unctually with Stanleys speech (Williams, Streetcar Named Desire 106). Especially the verse - But it wouldnt be make-believe If you believed in me! (Williams, Streetcar Named Desire 107) is very ironic, because Blanche does not seem very trustworthy at all, and so the song even accentuates her disreputable past. After the rape, she bathes again in Scene Eleven and is very worried about her hair, as if the soap would not be completely washed out. The many baths in the play show that Blanche will never be done with bathing, because she is always confronted with the real world and could not clean herself from her past. It gives her a brand new outlook on life (Williams, Streetcar Named Desire 115), but cannot change her life really. 3.2.2. Music and Sounds The use of music and sounds is also very theatrical in the play. The Blue Piano expresses the spirit of the life which goes on (Williams, Streetcar Named Desire 6) and is always heard when the conflict between real world and Blanches fantasy world seems to increase. It is heard, for example, when Blanche arrives at Elysian Fields and grows louder when she informs Stella about the loss of Belle Reve as well as when Stanley tells her that Stella is going to have a baby. It also suggests the fall of Blanche as it is swelling when Stanley rapes Blanche and afterwards when he consoles Stella, who cries because of Blanches leaving. Another music, which is strongly connected with Blanches past, is the polka music. It is always heard when Blanche talks about her dead husband. It emerges for the first time when Stanley mentions that Blanche was married once (Williams, Streetcar Named Desire 28). She tells Mitch the story about her husbands death, he shot himself after dancing with Blanche in a casino. He was homosexual and she discovered him with another man and said while dancing he disgusted her (Williams, Streetcar Named Desire 103) and therefore he shot himself. It also appears when Stanley gives Blanche a ticket back to Laurel where she lived and when he takes Stella to the hospital and Blanche remains in the flat. So the song predicts Blanches downfall, as it is always heard when she is haunted by her past. 3.2.3. Telling Names There are various telling names in Williams play. Blanches name itself is quite telling, as blanche is French and means white, which is very fitting when looking at her character. The name of her plantation, Belle Reve is also French, meaning beautiful dream. Blanche behaves like she would still live in this dream, refusing to face the truth and the real world. There are many more telling names, but I want to concentrate now on the perhaps most important one, the Streetcar Named Desire as it is the title of the play. Blanche takes the streetcar named Desire (Williams, Streetcar Named Desire 9) to get to the apartment of the Kowalskis. This is very telling itself, as the audience finds out more and more about her past and that she leaved Laurel as a broken woman somehow, but her desire to live her life as an elegant, trustworthy and honest woman is still present. So she tries to live a, for her, desirable life, and she hopes to find that in New Orleans. By the aid of the telling names, which are visible from the beginning of the play on, the use of music and the different symbols which appear often, it seems very theatrical and plastic. The audience gets an impression of the characters and the circumstances in various ways. 4. Conclusion In Tennessee Williams A Streetcar Named Desire, the conflict between Romanticism and Realism, embodied by the two protagonists Blanche DuBois and Stanley Kowalski, is the major theme of the play. With the aid of the characterization of these protagonists and the explanation of the conflict between them I was able to verify this thesis. These two persons are very polarized, visible through their points of view, their behavior and gestures. But in the end, only one point of view is workable, namely the realistic one of Stanley. Blanche lives in her dream world, even in the end after her rape. Stanley is not able to crush her, but she can only survive in her romantic fantasy world, which leads to the impression that she cannot exist in the modern age. The Truth behind things in this play is also visible through the Plastic Theatre. Williams caricatured this hidden truth by the use of music and sounds, symbols and motifs, and telling names. My notions about Blanches bathing, the Blue Piano and the Polka in the play, and the telling names were exemplary for this plastic and sculptural theatre, and therefore I showed the existence of a truth behind things and that the term of the Plastic Theatre fits for A Streetcar Named Desire.

Quantitative Research Essay -- Scientific Research Science Essays

Quantitative Research Quantitative research is based on statements such as "anything that exists exists in a certain quantity and can be measured." "While Thorndike’s statement from 1904 appears to be fairly innocent and direct, it staked an important philosophical position that has persisted in social science research throughout most to this century." (Custer, 1996, p. 3). In 1927, William F. Ogburn successfully lobbied to have Lord Kelvin’s motto: "When you cannot measure, your knowledge is meager and unsatisfactory" prominently and permanently carved onto the face of the University of Chicago’s social science research building." In this decade, however, the competing paradigms of quantitative and qualitative research have become almost working partners in educational research. Many researchers today advocate a "paradigm of choices that seeks methodological appropriateness as the primary criterion for judging methodological quality. This will allow for situational responsiveness tha t strict adherence to one paradigm or another will not" (Patton, 1990, p. 30). The ideals of quantitative research call for procedures that are public, that use precise definitions, that use objectivity-seeking methods for data collection and analysis, that are replicable so that findings can be confirmed or disconfirmed, and that are systematic and cumulative—all resulting in knowledge useful for explaining, predicting, and controlling the effects of teaching on student outcomes (Gage, 1994, p. 372). This is the basic definition of quantitative research that will be discussed in this paper. For purposes of comparison, qualitative analysis will be frequently mentioned along with quantitative analysis. The Two Paradigms "A quantitativ... ...litative Research Methodologies." Journal of Industrial Teacher Education 34(2): 3-6. Gage, N. L. (1994). "The Scientific Status of Research on Teaching." Educational Researcher 44(4): 371-383. Hathaway, R. S. (1995). "Assumptions Underlying Quantitative and Qualitative Research: Implications for Institutional Research." Research in Higher Education 36(5): 535-562. Hoepfl, M. C. (1997). "Choosing Qualitative Research: A Primer for Technology Education Researchers." Journal of Technology 9(1): 12-39. Howe, K. R. (1985). "Two Dogmas of Educational Research." Educational Researcher 14(8): 10-18. Liebscher, P. (1998). "Quantity with Quality? Teaching Quantitative and Qualitative Methods in an LIS Master's Program." Library Trends 46(4): 668-680. Patton, M. Q. (1990). Qualitative Evaluation and Research Methods. Newbury Park, CA, Sage Publications, Inc.

The Ethernet Essay -- essays research papers

Bob Metcalfe of the Xerox Corporation developed the first experimental Ethernet system in late 1972. The goal of the Ethernet was to interconnect the Xerox Alto Aloha Network. The experimental Ethernet was used to link Altos workstations, servers, and laser printers. Data transmission of the Ethernet was 2.94 Mbps. In 1973, Metcalfe changed the name to "Ethernet," to make it clear that the system could support any computer, and not just Altos, and to point out that his new network mechanisms had evolved well beyond the Aloha system. He chose to base the name on the word "ether" as a way of describing an essential feature of the system. The physical medium (cable) carries bits to all stations, much the same way that the old "luminiferous ether" was once thought to propagate electromagnetic waves through space. The Ethernet is a LAN (Local Area Network) technology that uses a shared bus topology, and Carrier Sense Multiple Access/Collision Detection access. It consists of a single, long cable, named the bus, to which computers, or sometimes referred to as workstations, are attached. Ethernet signals are transmitted serially, one bit at a time, over the bus and are received by every attached station. Data in the Ethernet is transmitted in the form of a frame, or packet. The frame consists of a set of bits organized into several fields. These fields include address fields, a variable size data field that carries from 46 to 1,500 bytes of data, and an error checking field that checks the integrity of the bits in the frame to make sure that the frame has arrived intact. The first two fields in the frame carry 48-bit addresses, called the destination and source addresses. The Destination Address contains the physical address of the station to which the frame is being sent. Any signal sent across the shared network reaches all attached workstations. However, communication doesn’t usually involve all workstations. To allow direct communication between stations the addressing scheme is used. Each workstation is assigned a unique numeric value, called a physical address or media access control address (MAC address). Although sharing allows all workstations to receive a copy of a frame, the hardware of each workstation checks the address of each incoming frame to determine whether it should accept the frame. The Source Address contains... ... its simplest form, only hub devices connect directly to the tree bus, and each hub functions as the "root" of a tree of devices. This bus/star hybrid approach supports future expandability of the network much better than a bus (limited in the number of devices due to the broadcast traffic it generates) or a star (limited by the number of hub ports) alone. In a mesh topology each computer is connected to every other computer by separate cabling. This allows for superior redundancy and reliability, as well as ease of troubleshooting. This type of topology is expensive and difficult to install because of the amount of cabling required. The original Ethernet operated at 10 Mbps, a later version Fast Ethernet operates at 100 Mbps and the newest version Gigabit Ethernet operates at 1 Gbps. The Ethernet is the most popular physical layer LAN technology in use today. It is popular because it strikes a good balance between speed, cost and ease of installation. These benefits combined with wide acceptance in the computer marketplace and the ability to support virtually all-popular network protocols, make the Ethernet an ideal networking technology for most computer users today.

Swot of Disneyland

SWOT – HOW DISNEYLAND HK CAN RELATE TO THE EMERGENCE OF ANOTHER DISNEYLAND IN SHANGHAI IN COMING DECADES : HOW HONG KONG CAN FURTHER STRENGTHEN THE EXISTENCE OF DISNEYLAND IN HK FOR BREAKEVEN SAKE: WHAT OTHER STRENGTH HK DISNEYLAND CAN SUSTAIN TO SURIVIVE FOR SHANGHAI DISNEYLAND BEING OPENED IN FEW YEARS LATER WITH DECREASE OF VISITORS FROM MAINLAND . WHAT IS THE WEAKNESS OF HONG KONG DISNEYLAND THAT CANNOT ATTRACT ENOUGH VISITORS TO MAINTAIN BREAKEVEN WITHOUT SUBSIDY FROM HK GOVERNMENT FOR EXAMPLES, POOR INFRASTRUCTURE FACILITIES IN DISNEYLAND, LIKE LITTLE FOOD CHOICES OPEN TO FIT FOR DIFFERENT PEOPLE . SPACE IS SMALL AND THE AMUSEMENT FACILITIES DID NOT UPDATE FREQUENELTY. MOVEROVER,THE ROAD SHOW LAST FOR SEVERAL MONTH WITHOUT CHANGE. THE TRANSPORATION FARES IS ABNORMALLY HIGH WHICH DETER HONGKONGESE TO VISIT AGAIN . OPPORUNTITIES : RE-BRANDING OF DISNEYLAND,MORE NEW THEME DRAMA , ROAD SHOW AND MUSICAL SHOW AND INNOVATIVE ADVERTISING AND PROMOTIONAL ELEMENTS THERE . THREAT – COMPETITION FROM HK OCEAN PARK BECAUSE LOWER ENTRANCE FEES AND BETTER TRANSPORATION NETWORK AND FARES. MORE LOCAL AND MULTI-CULTURAL ELEMENTS EMBEDDED INTO THE FACILITES AND VISUAL AIDS. MOST IMPORTANT IS THE EMERGENCE OF SHANGHAI DISNEYLAND . BASED ON ABOVE 4 ELEMENTS TO SEE WHEHTER THERE IS A DRASTIC CHANGE TO EXISTING HK DISNEYLAND MARKETING GLIMMSPE. IF HK GOVERNMENT NEED TO HAVE COLLATERAL CONTRACT WITH US DISNEYLAND, THERE IS NO DOUBT THAT HK SHOULD BOUND THE AGREED PERIOD OF TIME TO REPRESENT DISNEYLAND TO PROVIDE MINIMAL LEVEL OF SERVICE TO VISITORS. AFTER THE EXPIRATION OF ALL THE CONTRACT SERVICING PERIOD, HK WOULD CHANGE THE STRUCTURE/MARKETING STRATEGIES BY WHATEVER MEANS.

Avengers Assemble (Loki and Black Widdow

Jennifer Reed The Avengers Assemble Essay The Avengers Assemble Film (2012), directed by Joss Whedon, is a superhero film which is produced by Marvel Studios. The movie follows 7 iconic Marvel characters, Iron Man (Robert Downey Jr), Dr Bruce Banner aka Hulk (Mark Ruffalo), Thor (Chris Hemsworth), Captain America (Chris Evans), Hawkeye (Jeremy Renner), Black Widow (Scarlett Johansson) and Nick Fury (Samuel L Jackson). All the characters join together on their mission to save the Earth from the villain, Loki (Tom Hiddleston).The film is set on a spaceship. The budget for the film was $220,000,000 and managed to get 1. 5 billion box offices. In the essay I will be analysing the scene where Black Widow Interrogates Loki in the Prison. I will be looking at two of the micro features, Mise en Scene and Cinematography. Mise en Scene, includes three aspects, setting, performance and movement, and costumes and props. The second micro feature, cinematography includes, camerawork, colours, and lighting. The start of the scene is set on a Spaceship in modern day time.The camera is on a panning shot on Loki’s face, the lighting on his face is shadowed to show the mystery and uncertainty of his character. He senses that black widow is behind him and his facial expression shows happiness in the fact that he wanted her to be there. When black widow is shown on screen, the shot used is a long shot, this suggests that she is exposed to Loki and there is no where for her to hide. However, low key lighting is used on her, which means there could be a hidden intention she has.The costume widow is wearing is black and very fitting and tight on her body frame, which proposes that she is a character of trust, authority, and order. Reverse shot is used for the vast majority of their conversation, and then the camera pans as Widow walks towards Loki in the prison this could mean that she has no fear of the villain. Long shot is used on Loki to show that he is now being exposed an d questioned by Widow, the lighting is artificial in the prison and all of Loki can be seen, yet his facial expressions still shows that he still has the power between the both of them.Though when both characters walk backwards and sit down while having their conversation, the power is equal between because of their body posture is at an equal level. The lighting on Widow’s face is shadowed while talking about her past, whereas Loki’s face and body is high lit. This shows that he still may have the upper hand. When he speaks the camera is on him and it is also a long shot which emphasises the prison he is kept in. Compared to the prison, Loki seems very small and lost whilst in it.This puts forward that he is actually not as powerful as he makes out to be, it shows that he is the one really exposed and the lighting all around and on him suggests that all his true colours are being revealed. Through out this section of the scene, their tones of voice are calm and equiva lent, so it’s still uncertain who has the power. When Loki questions â€Å"What are you now? † Widow stands up and folds her arms, so her posture is now closed which then directly suggests she now has the power, and is not willing to reveal anymore about herself.Medium close up shot is used on Loki when he reveals something he knows about her. Then it switches to Widow on a close up shot on her face to emphasise her worried and shocked eye contact whilst Loki is speaking about her secrets. The more he reveals the wider her eyes become to create an impact of fear. Loki then stands up to show that the power has now switched to him. A low angle shot is used on his face to show authority and that he is in charge.His tone in his voice becomes confident, powerful and loud as he walks Paige Cuthbertson over to Widow. The lighting of his face is shadowed which shows that he has more to reveal. The camera then goes to Widow whilst in his raging speech and in the reflection of t he glass prison is Loki’s face, this way the audience is able to see both characters facial expressions and this impacts a lot of power, because even though the camera is not on Loki, it’s easy to make out on the shadow of his reflection the passion and aggression he has.The cut is then quickly switched to the other team members of the assembles as they are working, with the monologue of Loki over it, his volume and tone of his voice becomes quieter and softer, though still stern and powerful. The camera is panned on Iron man, and the Hulk as they are working then on other members of the overall team, as Loki is talking about them being liars and killers, this part of the scene may create an oppositional reading to the viewers. This makes them question whether what Loki is saying is actually right.The low camera angle on Nick Fury insinuates that he is in charge of the â€Å"lying and killing. † Captain America is shown looking at his costume, his face and costu me are both in focus which suggests the importance of both of them. His facial expression shows that he is questioning what he is doing, which makes the viewers think that maybe the superheroes aren’t doing the right thing. The cut changes to Loki loudly banging on the window, and finally showing his true intentions and plans, when explaining what he is going to do to Hawkeye.The camera pans to a low angle shot on Loki’s face this impacts the fact that he is high in power and control. It also encourages he has power, when the close up on Widow’s face shows wide eyes and glistening in her eyes. To conclude, in the scene I have been analysing it has all been about power and authority. Throughout the scene, the switching of powers between the characters is greatly enhanced. I believe the audience would react to the film in a positive way and just from the scene I have been analysing would want to find out more. Just from a 3-4 minute scene there is a lot of intense and powerful moments.