Bob Dylan Poetry Essay Example for Free

docking facility Dylan Poetry EssayA comparison of recordings of Bob Dylans fore rattling along the Watchtower by Bob Dylan and Jimi Hendrix offers a vivid case study of what Samuel Floyd characterizes as the complementary oppositions of African- and European-derived musical processes and even outts. The song itself draws in concert divisors of ballad and blues traditions and the two recordings treat this synthesis in very different ship flair even as they sh atomic number 18 the common ground of late 1960s rock. Dylans is a spargon part, acoustic folk-rock rendition, while Hendrixs is an sybaritic electric spectacle whose sonic and syntactic conception npacks the latent drama besides suggested by the original. In the process, Hendrix offers an option answer to the songs existential dilemma implied in its lyrics and emphasized in its musical setting. This paper examines the divisions and the workings of the dialogic interaction recreateed first of all in Dylans son g, and then in the transformation it undergoes in Hendrixs version. His use of speech communication was unusual, and called attention to itself by Juxtaposing words and scopes non usually associated with each other. In contrast, All Along The Watchtower is sp ar and restrained.The song consists of only three poetrys, with no chorus. The language is simple. Yet the three verses are packed with meaning and drama. Lets see how it starts. There must be some kind of way out of here, OSaid the Joker to the footpad. discover up how Dylan starts the song by throwing us into the middle of a conversation, and begins with an urgent statement. We dont know where the here is from which the speaker wants to escape, simply we know he wants out. The sense of drama is immediate. We find out that the two people speaking are the joker and the despoiler. These are archetypal characters that have existed in one form r another for thousands of years. By identifying them in this way, Dylan invo kes a sense of timelessness. Because these fgures are broad archetypes, thither is already a suggestion that this aptitude be a par able-bodied of some sort, a story whose essence remains the same over many different times, places and characters. The Joker, or Jester, can be seen in general to represent the artist soul whose role is to amuse other members of the established order, except also to provoke them, to suggest alternate ways of looking at reality.And, of course, the Joker and the thief are both outsiders of sort, united in their separation from more ordered segments of society. Theres too more confusion, 01 cant get no relief. 0Businessmen, they drink my wine, OPIowmen dig my earth. ONone of them along the line 0Know what any of it is worth. The rest of the verse tells us why the Joker wants to escape in that location is too much confusion. But what is conf utilise? Others are benefiting from his labors, and working for him to help produce the results. But neither understands the worth of their efforts. So the confusion is about values what is valuable and what is not. No reason to get xcited, 0The thief he beneficent spoke. 0There are many here among us OWho feel that life sentence is but a Joke. 0But you and l, weve been by dint of that, OAnd this is not our fate. So let us not talk falsely now, 0The hour is getting late. The insurgent verse begins with the thief speaking kindly to the Joker. This adverb lets us know that he is sympathetic and that he, perhaps, understands the worth of the Joker and his efforts. the thief and the Joker know better, having lived through that. So while others may still be confused, these two are not.Since they understand the value of life, it is mportant for them to be truthful with one another. and so the break line of the verse brings us back from exposition to a sense of drama and movement, and impending action the hour is getting late. All along the watchtower, OPrinces kept the view, 0 While all the women came and went 0Barefoot servants too. 00utside in the cold distance, OA wildcat did growl. 0Two riders were approaching, and 0The wind began to howl. The solution of this final verse suddenly shifts the scene, without at first giving us any sense of how this upstart setting connects to the first one.In contrast to the first two verses, which were abounding of conversation, this verse unfolds almost cinematically, full of visual imagery. This new scene is populated with princes, women, and barefoot servants, establishing a time and place in the past, although over again using enduring, archetypal fgures. These fgures guarding their castle seem to represent established society, and the existing power structure. But what are they guarding against? A wildcat growls from a distance, suggesting the savage, untamed power of nature lurking Just beyond the well-ordered lights of the castle.Then we see the two riders approaching. Suddenly, in only four words, the first two vers es are connected with the wear. With a sort of cinematic establishing shot, but used at the end of the story rather than the beginning, we see the thief and the Joker approaching the castle. We already know that they want to establish a different set of values, one based on the worth of human life. Their approach towards the guarded castle suggests an impending confrontation. And then the last line of the song strengthens this suggestion with imagery of a furious storm starting to build.Note how this last verse has made physical the relationships suggested in the previous lines. The thief, Joker and wildcat are all set outside the castle, which is occupied by princes and servants. So we now have, in a very concrete sense, self-governing outsiders and a rigid power hierarchy. Dylans accomplishment here is nothing less than amazing. In the space of a few verses, in a song so spare it could almost be missed as a throw-away, Dylan manages to accomplish all of the following. Summarize s his own life to date.Given his earlier efforts to make pointed fun f almost everything around him, and his near-fatal motorcycle crash that marked a turning point in his career, it is severe not to see the Joker as Dylan himself. He has now learned that life is not a Joke, and distinguishes betwixt artists and outsiders who understand the seriousness of life, versus the businessmen and fans who treat his art as simply a merchantable commodity. Identifies the primary issue of our time as one of values. Modern thinkers such as Ken Wilber, with his image of our contemporary flatland, in which everything is seen as neutral, and devoid of value, are brought to mind.In earlier songs Dylan talked tirelessly of modern fgures misunderstanding the significance of issues such as war, freedom and poverty. Here Dylan stands back from these specific issues and reduces the confrontation to its essential element human values against the established order. Propels his theme with a powerful str iking structure. From a traditional striking viewpoint, almost nothing happens in this song two riders talk to each play. Yet by repeatedly hinting at the passion of a coming confrontation, and by identifying the two opposing forces, Dylan keeps us on the edges of our seats, ondering what allow happen next.The effect at the end is comparable to the conclusion of William Butler Yeats famous poem, The Second flood tide And what rough beast, its hour come round at last, slouches towards Bethlehem to be born? In both cases, there is a perceptible chill creeping up the spine, as the poet leaves his reader to contemplate the inevitability and intensity of the coming confrontation, and its consequences. Well, so much for the lyrics. Dylans original reading of the song is as spare and compact as his words, with the music adding little. Hendrix treatment is whole different matter, though.The first element to note is how the music here parallels the dramatic structure of the song. Listen to the opening drums and guitars, as one example. ( audio recording clip 44K. ) The beat starts, intensifies, and then stops. As in the lyrics, the power is hinted at, but not unleashed. The music, like the words, points towards some future action, presents the tension, but does not resolve it. This construction is repeated throughout the song, with Hendrix mostly holding back, repeatedly returning the song to its basically quiet pace. The second element I want to note is Hendrix use of guitar to represent the confusion that the Joker is experiencing.This is a consummate(a) role for Jimi, of course, since his guitar parts often defy our normal expectations for the instrument. He uses bent notes, a wah-wah pedal, and other devices to represent a disorienting, almost inhuman sonic landscape. Here is one example. (Audio clip 128K. ) The third musical element I want to comment on, and the one that really frames and defines the whole song, is Jimis repeated, gradually progressing as cents up the scale with live notes. Here is what I mean, the first ime it appears, at the beginning of the first guitar break, between the first and second verses. Audio clip 16K. ) Here is what it sounds like at the end of the second, and longer, guitar break, between the second and third verses. (Audio clip 40K. ) And here, finally, is the way it sounds at the end of the song. (Audio clip 220K. ) Notice how Jimi seems to be gradually reaching for a note that he only finally hits at the end of the song. And then when he gets there, he repeats it, over and over, making a high keening sound, representing not only the howling wind referred to in the last line, ut that coming bout that the song so intelligibly prepares us for.And the music ends on this note, as do the lyrics, without resolution, but clearly pointing forwards to some anticipated future act of liberation. This is simply a brilliant collaboration between songwriter and musician, the accompaniment extending and reinf orcing the meaning and drama of the lyrics, and showcasing the unique possibilities of the electric guitar along with nothing more than a bass, drum kit and acoustic guitar. Listening to this song is like trying to find your way through a washed-out desert at unset.Hes making some harsh criticisms of American society during the Vietnam era, but the music is so mellow and the lyrics so strange its like hes daring you not to pay attention. past from that, All Along the Watchtower is a song that defined the late 1960s, when the calm, disciplined protests of the early decade were degenerating into furiousness and confusion. No wonder Dylan ends the song with a howling wind. Hendrix got around to covering this song, it sealed the deal the guitar unaccompanied at the end has come to embody the splitting apart of order into screeching, and possibly iberating, chaos.Hendrixs version has been used in countless movies and television shows, from the Spike Lee Joint Clockers to Forrest Gump to the episode in The Simpsons when Homers mother, an ex-hippie terrorist, returns to Springfield. And, if nothing else, its simmer down to think that Dylan has performed this song more than any other. Not many people are aware that Bob Dylan was the original writer and singer of All Along the Watchtower. Since Bob Dylan wrote the song, two other widely cognize artists have done their own version of this song Jimi Hendrix and The Dave Matthews Band.Although it is the same song Just done by different singers, each song has its own characteristics which makes them appear as very different songs. In this paper, I will compare how each of these artists adds their own touch to the song by the use of their instruments. If you have ever heard any of Bob Dylans songs, you know that he as a very mellow cantillate to all of them. All Along the Watchtower is no different. Dylan uses only a very few instruments. At the very beginning of the song, you will hear a harmonica which immediately makes you want to hear the rest of the song. The only other instrumentsI can hear in Dylans version of the song are a guitar and drums. passim the song you hear Bob Dylan. An influential poet, writer, and musician who redefined American pop music. Dylan was able to use his skills to successfully reach an outstanding degree of accomplishments. Being able to take the term literature and give it a whole new meaning, Dylan has made a significant change in todays music listeners. Dylan was capable of fetching his ability to write, his ability to perform, and putting them with the time he had to spare to become one of the most enigmatic, productive performers in the world.In the time of Bob Dylans music, the world separated literature and music. Music included lyrics, beats, rhythms, and instruments. Literature, on the other hand, was strictly for poetry, ballads, letters, and stories. Never before had anyone considered the opportunity for song lyrics to be considered literature. Peopl e strongly estimate of the two as being very different categories. With both literature and music being consider in their own unique way, Bob Dylan came along to add a new element. During his time, Dylan was known for his ghost songs, however, many did not onsider him a poet.This thought was false. Dylan was a poet first aln meetings, Bob Dylan had raised an interesting question. Is it likely for a performance art to be considered literature (Marcus 119)? Bob Dylans music was unique he was able to intertwine his lyrics through the life he had lived and through the events of the world around him. Some events in Dylans life were the Kennedy assassination and the Vietnam War. Dylan would come to be known for playing at concerts that were protesting the war at hand. Many immature adults would flock to hear the man who new Just how to express the words.The words that expressed his deeper most emotion were the same words that comforted these many young adults by the mass. With peop le feeling the same sorrows as Dylan himself, it was his words that little significance. It was all in the words. l wanted Just a song to sing, and there came a point where I couldnt sing anything. I had to write what I wanted to sing romaine what I wanted to sing, nobody else was writing (Spitz 407). Dylan shared this feeling with others everywhere. It is possible that him writing songs was the only way to say what needed to be said.

Lines composed upon Westminster bridge, Sept. 3 1802 and London Essay Example for Free

Lines composed upon Westminster bridge, Sept. 3 1802 and capital of the United Kingdom EssayThese two verse forms show in truth various views of London. Lines composed upon Westminster Bridge, written by William Wordsworth, draw and quarters London in detail. He captures the beautified city and pull upes the calmness of the morning. William Blake, who lived some the analogous time, wrote London which expresses the chaotic and corrupt side of London.Wordsworth describes the city in a great deal detail. A sight so touching in its majesty. The Earth has not everything to show more fair. He expresses his true feeling close to the city from where he sees it. He goes on to personify the city and describe how it doth like a dress out wear The beauty of the morning silent, b ar. He has captured the city in the morning when it is quiet and in a sense more or less naked with no one yet bustling through the streets, there be no fume engulfed traffic jams or shouting street sale smen. There is only the calmness of the morning. solely the man do objectives and buildings, such as ships, towers, domes, theatres and temples lie open unto the fields and to the sky. The man built objects repose where they were left not yet being used by Londoners.The atmosphere is sublime, the sun is just rise and soaking all(prenominal)thing in its light, Never did sun more beautifully steep Neer saw I, never felt, a calm so deep the scene is so irenic he is feeling peace inside himself.The natural body of the city, the river, is gliding in its stimulate free way, the way it wants the river glideth at its own saccharine will Its free will is moving it naturally through the city as though it were the countryside. The river has alike been personified to give more emphasis of its freedom. He is so overwhelmed by the atmosphere and calmness of the city. Dear god The very houses seem asleep everywhere he sees is not yet awake, again he has personified an object to give it mo re emphasis.His final line is describing the city as a mighty heart that is double-dealing still. The capital, like the giant mechanism of a heart is just lying still.The aim from the poem is to describe the amazement he sees when looking over a massive city and seeing the calmness. He wants to express to others how peaceful and calm it makes him feel and pass that feeling on to the reader.The initiatory two stanzas describe what the city is like, and what he sees around him. The sestet after this shows his personal response to what he has already described and how he feels about the city.Blake presents a very much more depressing, morbid scene of London describing the corruptness of everything in the city. He is describing the attitudes and press releases on in London that are normally never spoken about, the things which people whitethorn or may not know but which go on behind closed doors. A stria of repetition is used, unlike in Wordsworths poem, to give emphasis to the poi nts which he is trying to make. In every cry, of every Man, In every Infants cry of fear, In every voice he only lists one sample in each line but gives the effect of a batch of crying and pain and fear.He speaks in a front-year hand account throughout the poem I wander, I hear, and I meet. By speaking in the present tense it makes the reader more inclined to think it is going on here and now however old the poem may be.By beginning the first line with I wander thro each chartered street It makes it easier to visualise what he is describing because it is a first hand account. The chartered streets are each set out neatly and ordered, the chartered Thames is withal very regulated and gives the impression of it being divided and bought and sold.He notices a mark in every typesetters case I meet Marks of wisdom, marks of woe. This evidence of scars of weakness and great sadness in faces contrasts with the peaceful and happy atmosphere Wordsworth gave to London.He hears mind-forgd manacles in crys of every man and Infants cry of fear he is referring to the fake, made up manacles that he cannot actually hear but knows that something is wrong.His repetition of cry continues to the next stanza where he dialog of chimney-sweepers which are doing the dirty, hardest jobs and suffering for their work, an example of the depressed and morbid London.The description of the blackening church shows the soot taking over London and the church get almost evil, involved with dirty money or becoming corrupt. Even the church is starting to lose its faith.Another large part of London life is also criticised, the hapless soldiers sigh Runs in blood down palace walls. Fighting is going on around the palace but going unnoticed, the palace is oblivious to the corruptness going on inside its own walls.He contrasts the third stanza with the 4th final stanza, not only the church and palace and the huge industries of London are corrupt the streets are also. Thro the midnight streets I hear How the youthful harlots curse there is a lot of prostitution going on in the streets of London but was something that wasnt spoken about. The STDs, or curses blasts the new natural infants tear. Implying that prostitutes pass on STDs and then these in turn get passed on to the newborn babies of those who have any disease. Another example of a corrupt system in London, which now effects the innocent. And blights with plagues the marriage hearse. sleeping with prostitutes while married destroys the whole point of marriage and then if the partner becomes pregnant another times is born into corruption. The use of hearse shows how marriage is carried away as though dead and not taken seriously.The exceedingly regular meter helps put across the ordered ways he describes the beginning. These chartered and regulated ways soon give way to the examples of how corruption is slowly taking over the whole city, the government, the church, the palace and the streets.The first poem al so used a regular meter, which, also worked well in describing the city peacefully and happily.The two poems contrast greatly in not what they describe but how they describe it. Wordsworth has a much more calming poem, which in effect leaves the reader much more calm and peaceful. This is unlike Blakes who describes so much evil and chaos going on, his poem leaves the reader much more depressed and almost disgusted with how the people and industries of London are behaving.Their use of language is also quite different, Wordsworths entire poem is full of description of beauty, bright and glittering and full of splendour. He uses very grand descriptions of everything unlike the descriptions of Blake, which are quite harsh and blunt, blasts the new born infants tear, blights with plagues and runs in blood down palace walls.I did roll in the hay both poems but preferred the first, Lines composed upon Westminster because of its use of more soothing, happy descriptions of London. It made me feel much more relaxed after reading it whereas London left me feeling slightly more depressed and sad. Although this may have been the aim of Blakes poem I preferred Wordsworths poem because it was much calmer.

Apple iPhone Essay Example for Free

apple iPhone searchJapan to Apple iPhone No Thanks and Would rice paddy Mouse tucker Shark Fin soup these deuce elusion studies shows what happens when consumer behavior and merchandise mix in worldwideization goes very wrong. These two studies wear out how marketer think they atomic number 18 heavy(p) a wonderful product and service in the case of Apples the iPhone and Disney the Sharks Fin Soup. Understanding the consumers behavior and the customs and values of the conclusion impacted these two pushs. Apologies close media press and changes in the strategy to jerk off the approval of the consumers. Both case studies points out the impact of engineering and how it at first affected the break aways for bad with negative that changed the reputation of both companys.Apples dilemma was very muggy for the company with negative reports and predictions of how the iPhone was going to sell in Japan. The propaganda was already put out to the media about the Nipponese say ing No Thanks to Apple concerning the iPhone 3. Apple thought that Japan would be ecstatic with the bare-ass product but supposedly the opposite occurred with reports of weak showing of the iPhone3. Of course with Apple being the shimmy edge in technology and innovation in the western world Japan did not savour the same way about Apples iPhone3. First Japan was a hard market to try to get into the for Apple and their competition Nokia, and Motorola, whose attempts to grab Japanese customers were futile. So this was going to be a difficult campaign for Apple. At the time Japan was hostile toward western reproach including Nokia and Motorola which I thought were Japanese brands. Whats wrong with the iPhone, from a Japanese perspective? The high monthly data plans that go with it, its lack of features, the low-quality tv camera, the antique design and the fact that its not Japanese. Besides pagan opposition, Japanese citizens possess high standards when it comes to carrel phones .The country is famous for being ahead of its time when it comes to technology. Japanese consumer rather would use their own brand even if the feature is not used frequently. For example, Japanese handset users are extremely into video and photos .The iPhone had neither a video camera nor multimedia text messaging. A highlight feature enjoy on their handset is a TV tuner. Many consumers likewise used their cell phone as their tho computer device and also as a TV. The monthly rates was considered to expense and many consumers did not want to pay the monthy bill. Apple had to make finish because the consumers behavior was very contrasting in Japan. The Japanese in the time of No Thanks were more communal than individualistic which a recent trend with the younger generation is. They were not considered conspicuous consumption they way it is in western countries. The Japanese way of consumer behaving was inherited from Edo Period of history (each class had it own code) Brand shoppin g revealed two things about the Japanese consumer social status and quality of product. Japanese consumers are known for being demanding with products. The Japanese consumer shopped mostly in department stores but now this is changing with malls. The Japanese consumer is a cautious expender and that is why the monthly charge for service was problem for Apple. They are also very environmental certain and health conscious.Apple did not understand that Japan demographic of aging is very large with lifespan expectancy being vey long. So Japan has a big 60 plus consumers demographic that personify by the old tradition, values and customs. These consumer behaviors were very different from the western marketer Apple did not cook these in to consideration when the iPhone came out. The marketer had to start at zero level and make huge marketing decision for the Japanese market. Quality of the iPhone its features had to be reintroducing to the consumers to the cell phone market in Japan. Many iphones were given away so as to help the consumer get comfortable with the iphone a great strategy. The monthly set had to be adjusted but they really had to do with the value of the Yen. The Bloomberg report today notes that the iPhone has captured 72 percentage of the Japanese market. High price, lack of a video camera and stake for multimedia messaging, all threesome of those shortcomings have been addressed. Softbank who Apple used to sell iPhones gives away the phone for free, and Apple has added a video camera and support for multimedia messaging.The Bloomberg report further suggests that those moves were just what the iPhone needed to gain a foothold in Japan, which we also acknowledged in a report published August 2009.(Tewney ,2008) Would Mickey Mouse Eat Sharks Fin Soup? Became fiasco for Disney with reports that Disney wool start serving Shark Fin Soup to their customers in Disney Hong Kong. In a feature dated May 18, the Hong Kong Standard reports that shark quint soup, along with make fun suckling pig and sliced abalone, will be included in wedding banquets Disney is promoting at the two hotels at the Hong Kong Disneyland resort. Sharks fin soup is a traditional Chinesedelicacy common at weddings and other important social events. Eating sharks fin soup carries cultural significance and is seen as luxurious and a display of affluence and generosity. However the process by which sharks are caught and killed to provide the ingredients has long been criticized for the way in which fins are harvested. A 2004 survey by the International articulation for the Conservation of Nature (IUCN) found that out of 262 shark species around the world, 56 were endangered.The Hong Kong Standard publishes a follow up on up to the story on May 23 and reports that Disneys plans to serve sharks fin soup have outraged local environmentalists. Under the environmentally umbrella Disney has integrated conservation efforts into its quotidian operations. Th e company says its employees around the world proactively support environmental initiatives through all aspects of its business and states that it is committed to reconciliation environmental stewardship with our corporate goals throughout the world. Disney lesson was tradition and customs no longer overruled environmental issues because affluent consumer wants a certain food or clothes. The voice of green and environmental safety out powered and was louder than the coin of the wealth who wanted the Shark Fin Soup. With the new rising environmentalist animal cruelty instigate this was not going to be easy for the affluent consumer to win. Disney was going to have to make a decision not to serve the soup at all and it did. Globalization, can intentionally or otherwise attain social and cultural differences, which can often have a bearing on consumer behavior and in turn, lead to brands developing a more consistent global identity, one which doesnt have to disquiet about the back lash of possible misinterpretation in other parts of the world.This isnt to say that marketers opine cultural issues are no longer important. In fact, quite the opposite is true. The more information a brand holds about the world and its contrasting consumers the more chance it has of understanding and manipulating them. The interlocking of economic spheres is another(prenominal) aspect, which has affected consumer behavior for very different reasons all together. The European Union and the combine currency of Euro connecting different countries with the same currencies make for a huge consumer behavior being established. This was also the problem with Apples because Japan does not have the same cultural values as the western hemisphere which was a learning campaign for Apples globalization.The arrival of the Internet and advances in technology have succeeded in breaking down social and cultural barriers, but have not succeeded in stopping the masses from being continually guided b y those who are learning more and more about them and the way they behave.In conclusion these two global business dilemma help to open the way for a precise understanding of different culture that helps with evolving of globalization to include all cultures and to give the best culturally socially, environment decision while giving the best service and product.ReferenceKey Characteristic of The Japanese Consumer (2014) Retrieved from http//www.slideshare.net/rpretet/key-characteristics-of-japanese-consumers CRS ASIA (2014) Retrieved from http//www.csr-asia.com/weekly_news_detail.php?id=5318 Consumer Behavior (2014) Retrieved fromhttp//publicresearchsystems.blogspot.com/2009/01/report-on-global-factors-affecting.html Why Japans Hate Apple (2014) Retrieved from http//www.wired.com/2009/02/why-the-iphone/ . Softbank who Apple used to sell iPhones gives away the phone for free, and Apple has added a video camera and support for multimedia messaging. The Bloomberg report further suggests that those moves were just what the iPhone needed to gain a foothold in Japan, which we also acknowledged in a report published August 2009. Why Japans Hate Apple (2014) Retrieved from http//www.wired.com/2009/02/why-the-iphone/ Would Mickey Mouse Eat Sharks Fin Soup Retrieved fromhttp//www.nytimes.com/2005/06/17/business/worldbusiness/17shark.html?pagewanted=all_r=0

Columbus City Schools Policies Essay Example for Free

Columbus City Schools Policies EssayThe reason I dont like the rule ab unwrap fire arm look-alikes is because, if you keep up a toy gun that your young sibling has asked you to hold for them in your bag and you for dismay about it is an instant 5-10 day suspension. I earn why you would suspend someone for that reason it is because you have to insure the persons safety and the residue of the schools. But if someone leaves the toy or look-alike in your bag and you forget about its dirty we have to get suspended for that amount of time I get a day or two but 5-10 its not fair that is the besides reason I have to have a problem with that policy. Insubordination is an otherwise one. When a teacher asks you to do something unfair for instance bear up your phone when it has fallen out your pocket and they say you have been texting while doing an assignment or cheating is also unfair. Not everyone cheats on their work if our phone happens to slip out why get punished it was an acc ident not intentional. But I get why you do it, its only to insure we arent cheating or texting during class.The last one is possession, sale or distribution of drugs other than tobacco or alcohol. If someone has a massive headache and cant concentrate in class and the student asks you for an Aspirin or Tylenol and you give it to them why put it as possession, sale or distribution of drugs other than tobacco or alcohol. That in my mind is unfair youre respectable helping someone out with a legitimate problem that they are having. We are keeping them out of the nurses office and having them in class longer so what is the problem with that? The reasons for this and I spang why are because of Marijuana, Cocaine and crack or other narcotics you should put narcotics as its own punishment instead of Aspirin or another type pain reliever.If you would only make the slightest change I would greatly appreciate it. also the drug problems we have and leaving the school without permission. Th ose are the only a couple of(prenominal) changes I would make about the CCS policy.

Dance In The Curriculum Drama Essay

saltation In The Curriculum Drama set aboutDance as a discipline is marginalised in academic discourse as an ephemeral, per potpourriance-foc expenditure field of battle, its queen ruseiculated with the dead be. In UK schools itis a physical subject with an aesthetic gloss, languishing at the bottom of the academic hierarchy, conceptualised as art but located at heart physical raising in the national syllabus (D protesting et al, 2003 Breh social unitaryy, 2005). Placing special emphasis on effect at A direct as well undermines the development of leap studies much widely wi curve a subject hierarchy that places literacy, or else than embodiment, as a key cypher of high-status noesis.Beyond the confines of the dancing curriculum, these changes illuminate Foucaults assertions that causation and knowledge atomic number 18 interconnected and that advocate produces knowledge (1979, 1980b). He outlined three core processes for exerting disciplinary former observat ion, examination and normalising judgement. Benthams Panopticon, a prison with cells constructed slightly a central tower, demonstrates how discipline and control finish be transferred to the pris unityrs themselves. The inmates are al elans potentially tangible to the guards and so mustiness be fill at all times as if they are cosmos watched. They are their own guards, controlled by the gaze Just a gaze. An inspecting gaze which each individual under its incubus will end by interiorizing to the point that he is his own overseer, each individual thus physical exertion this surveillance over, and against, himself. A superb formula index number exercised continuously and for what turns out to be minimal represent (Foucault, 1980b, p. 155). Foucaults second disciplinary technology, normalisation, is the mien in which behaviour can be aligned with societys standards, to correct what is seen as deviant. The third,examination, is the combination of the opposite two and exempli fies power/knowledge as it both establishes the truth and controls behaviour. This article expatiates how these processes hightail it in the context of move in training. Taking into account Foucaults suggestion that the traditional way of life of describing power in negative terms as something that excludes or represses should stop, that it is the productive aspect of power that creates reality, the article explores how leaping in commandmentpower be seen as both literate and a physical activity suited for anyone, and thus to pose more power in the twenty-first-century curriculum.Yet spring is more than provided consummation to dismiss it as purely bodies in action is to ignore non exactly the voice communication of its own structural conventions but to a fault the language in which it might be recorded. Currently in that location is little indication in school that terpsichore, like music, has its own complex systems of nonation. The current discourse of trip th e light fantastic in education has normalised it as an illiterate art form and the removal of the nonation section at A level has entrenched that perception. Furthermore, the idea that dance studies is solely about beautiful bodies in motion, the pocket pursuit of slender, flexible fe priapics, is an unhelpful blueprint at a time when on that point is a take up toencourage more physical activity to combat rising levels of childhood obesity. So if students are non to self-exclude from dance whether on grounds of perceived body type, gender or privation of academic currency, because there demand to be a more inclusive, valued and thus more powerful form of the subject in the curriculum.Dance in the Curriculum an overviewDance developed as a fiber of public education in the UK during the 1880s when Swedish educator Martina Bergman Osterberg brought Lings physical education ideas to London. Physical coningwas introduced in 1909 into what were whence called elementary school s to improve fitness levels and encourage discipline and cooperation in young men. The dance aspect was perceived as an exclusively egg-producing(prenominal) pursuit (Brinson, 1991). Western dance tradition is quench strongly associated with the female as Ferdun points out, the term dance is ordinarily associated with girls and feminine qualities by a satisfying portion of the dominant culture. Labelling dance as female prevents it from functioning fully as an educational medium. It limits community by anyone, male or female,who does not want to be associated with stereotyped gender images and practices (Ferdun, 1994, p. 46). Whilst dance mum remains a partitioning of the PE curriculum, McFee (2004) argues for the distinctive nature of dance as an artistic activity, for its value in the curriculum within an education system that demands account energy. He adopts a soulfulnessal enquiry view of education which stresses the importance of someoneal development. Drawing on the work of Lawrence Stenhouse (1975) and David Best (1991), he argues that dance is a suit able-bodied medium for such an educational endeavour. However, whilst for McFee dance should be treated as an artistic activity that has indwelling value, the notion of dance being unders aliked in such a way as to trace it accountable is at the heart of his text. His emphasis on account magnate resonates with arguments around high-status knowledge and with the need for strapping assessment in public examinations. Dance can be assessed as a sub-sectionof physical education and is withal available as a separate subject at GCSE (usually taken age 16 at the end of compulsory education) and at GCE A level (advanced-level subjects, taken two years later, which usually form the basis of university entrance).Articulating the Power of Dance Ideology into PracticeDance requires the development of physical skills dependable as other sporting activities do, but differs in that adept skill is not the end in itself. That skill must be used to create subject matter its main fright is aesthetic experience. Unsurprisingly, as McFee (2004) points out, many PE teachers have little interest in teaching dance. Not only does it require an instinct of dance proficiency if it is to embrace masterworks that is, known works in current repertory but it overly has an aesthetic aspect that makes it distinctive. Indeed, when combined with the particularly female druthers of dance, it seems somewhat ironic to place it within a department that isculturally perceived as masculine and essentially in opposition. But in spite of the implication that to put dance with PE is to fail to emphasise the subjects aesthetic qualities, the dance as art model has become the predominant way of assumeing it. And this is a central problem for dance in education the aesthetic dimension inherent in dance as an art form and anticipate by the national curriculum, at GCSE and at A level, leads to this subject having no obvious department in which to sit.All dance examination syllabi in school reflect the dance as art model. As well as having traditional written aspects, GCSE and A level have a practical component, carrying 70% and 55% of the total attach respectively (AQA, 2009). When first examined in 1986, the A-level policy-making program required candidates to show ability to choreograph to practise to be able to read and use distinctional systemal system to show knowledge of the segment form and features of dances and their historical andsocial contexts and, finally, to be able to interpret and evaluate dances (University of London Schools Examination Board, 1986). Changes to the syllabus in 2008 resulted in dropping the notation requirement they also streamlined the choreographic tasks and placed an added emphasis on health and safety in training and performance. The specification also removed the technical regard and instead assesses technical competence by means of th e solo stage dancing task. The power of the dance itself is examined through with(predicate) students ability to analyse the choreographic structure ofmasterworks in essay form and to use define compositional structures in their own stage dancing. It is also assessed through their ability to perform. The proportion of marks allocated for the practical components at both GCSE and A level reflects the need not only to show dance in theory but also to use that knowledge in practice. It also points to the centrality of the body as the instrument through which the power of dance is articulated and made accountable through assessment. But examination is, in Foucaults terms, under the power of the gaze. The gaze, whether on the dance itself or on the wider notion of dance studies in the academic hierarchy, influences what is seen, what is valued, what is deemed to have power. It influences the kind of critical review itself. If literacy is valued in the academy, then how might dance b e written, read, considered and interiorised under its inspecting gaze?Dance is a language with its own systems expressed through choreography and performance. The word choreography itself derives from the Greek, choreia, meaning choral dance, and graphia, meaning writing. But if, as Cohan states, dance speaks in a genuinely special language, both to the doer and the watcher. It speaks of things read between the lines, things that are impossible to put into words (Cohan, 1986, p.10), how can school students articulate those impossible qualities, havethe power to express them in a way that is accountable, to use McFees (2004) term? Not just toread and keep about dance, but to read and relieve dance itself? Foster states Literacy in dance begins with seeing, hearing and purport how the body moves (1986, p. 58). From the high culture of uncorrupted concert dance to the nineties revival of Lindy Hop, from contemporary technique to street dance, the dance reader must recognise the q ualities of those purports, consider their features, remember and identify patterns. The syllabus, whether at GCSE or A level, refers to constituentfeatures and compositional devices that should be understood, and later read in the masterworks studied for the latter. These include movement components (action content, dynamics and spatial arrangement) social dancers (numbers, gender, physique, enjoyment) physical and aural setting and the development of dance ideas. Choreographic devices such as motif development, variation and transition are also required.The cultural perspectiveReading dance is not only about its internal structure, it is also about its place withinculture it is complex. The reader must understand the choreographic codes and conventions that give the dance its significance (Foster, 1986, p. 59). This complexity is reflected in the way choreography is examined, for example, at A level. The written papers ask both for discussion of the component features of a danc e, but also to demonstrate how the dance relates to its cultural context. In other words, the papers ask the candidate to be able to read the dance in terms of form and context for example, to understand not only how Christopher Bruce creates the power ofGhost Dances (1981) through technical means, but why such a powerful and searing indictment of political oppression, the disappeared of Pinochets Chile, was significant. The practical examination calls for the student to write dance, to compose both solo and group choreography. The compositional components draw above are to be used in this writing. But as Adshead (1986) points out, dance composition, where the elements of dance are put in concert in a recognisable construction, is only the beginning of choreography. Understanding thecrafting of the piece only takes us so far and while it might in principle be the aspect of choreography most understood, dances are imaginative constructions designed to do far more than string steps together in a neat and tidy way, or even in an untidy conglomeration of movements (Adshead, 1986, p. 20). The power of choreography is not just about using form correctly, it is about creating meaning and its effective communication to the audience. Dance in education, then, as examined at GCSE and A level, requires students to read dance through understanding its own language of compositional devices, making destination to the cultural context of the practitioners and masterworks studied. thither is also the requirement to write dance using those same compositional structures, and the solo must reflect the characteristics of aspecific practitioner. Having pictured and created meaningful artistic relationships derived from knowledge about dance, the student must have the technical skill to take a shit them in practice. Those qualities have to be conveyed to the observer through the dancers instrument, the body. Young observed that it is power, not knowledge, that counts in educati on (Young, 2008, p. 94). And power can be constructed as the power of Foucaults gaze (Foucault, 1980b). Dance knowledge encapsulated in its internal concepts of literacy may not have status in the eyes of those who have the power to create the curriculum and endorse its values it has little power as academiccurrency. Dance as articulated through the body is similarly problematic Shilling (2004) develops Bourdieus conception of the body as physical capital which needs to be converted into other forms in order to have value. But according to Foucault, the body itself has a complex relationship with power.As former ballerina Jennifer Jackson notes, The focus on the body, as against the person who dances, links standards of perfection to the instrument of the dance ratherthan the dancer or the dancing itself (Jackson, 2005, p. 32). Dance in education does not immediately appear to share this skipper obsession with technical perfection either in the national curriculum or at GCSE and A level. Syllabus documentsmake no reference to technical excellence no statements are given to indicate standards by comparison to technical qualifications. The judgement and Qualifications Alliance (AQA) mark scheme for the 2009-10 choreographic section of the GCSE level paper which asks candidates to show appropriate and lovesome use of dancers skills and attributes to communicate the dance idea (AQA, 2009, p. 4), and my discussions with practical examiners reiterate the notion that dancers areused to illustrate the choreography, that their performance is not assessed, for a choreographers skill is, in part, to use what abilities the dancers have. In this view, the body is pushed aside, as if dance can simply be reduced to representation, not embodiment. But this is disingenuous the power of dance is unavoidably mediated through the body and the body cannot be removed from that representation, leaving embodiment and representation in irresolvable tension. A professional choreo grapher can indeed tailor the dance to the strengths of the performers, but those dancers will already be in possession of the docile body created through years oftechnique classes. School-level student choreographers creating dances for examination have to work with dancers who might but equally might not have technical skill. And so the technical skills of the dancers available to the candidates will affect both their choice of steps and the aesthetics of the performance. As one dance teacher colleague observed, I am sure you could lookat a dance performed by two different candidates and think that one was better because you are more impressed by the performance of one because she was a better dancer, or slimmer, or more elegant Even with the best intentions, it is very difficult to remove the effect caused by a poor performance and a body that does not conform to normalised panoramas because the two are so inextricably linked. And so the self-correction of the docile body is not throttle to technical excellence but is alsoaffected by the expected body shape, even at school level. Foucault describes the ideal body of the soldier, the muscular physique and bearing that replaces the peasant. In dance, as in society, there is an ideal body myth, the normalised bodyconstructed as the aesthetic standard, the object of the observers gaze. Following Foucault, Green (2002) describes the ideal body of the female dancer as seen by her student participants, the long legs, the flexible, tight-fitting body with no curves, thin face, long hair. An ideal, constantly striven for, self-policed, light as a feather. Never eat sweets (Green, 2002, p. 135), emphasising the sentiments of students and teacher referred to above. The self in the mirror is not checked just for technical accuracy but for any excess fat. The skinny dancer, existing on caffeine and cigarettes, is part of thedancing myth, if struggled against in reality. But the importance of indeed obsession wit h maintaining the perfect dancing body can lead to a range of eating disorders (Thomas, 1995). Perhaps addressing this concern might be one of the benefits referred to in the restructured GCSE specification that is, an understanding of health and safety in dance. Additionally, quest to question the objectification of the body can result in a deeper understanding of the nature of dance and of its single-valued function in society (Shapiro, 1998, p. 10).The male professional dancers body is more contested, especially within the essentially ancient structures of ballet. In the nineteenth century he was caught between two competing discourses if he looked muscular, strong and vigorous, he appeared too contrasting to the sylphlike ballerina who took the central role. But if he looked too ethereal and aesthetic, anxiety was generated in the theatre-going public through perceived homosexual overtones, a link that still persists whatever the reality. Male dancers in the contemporary id iom are perceived as more masculine than their classical counterparts, in part emphasised through the differences in classicaland contemporary technique and choreographic principles, yet doubts regarding sexual orientation still remain in popular thought (Burt, 2007). The film Billy Elliot, in which Billy struggles to be permitted to dance, illustrates this perfectly boys should play football or learn boxing dancing is for girls.What is more, in theatrical dance, the body is on view and most frequently a female body and with it historically, a link with deterrent example laxity. The female body has long been regarded as a source of discord and danger to the patriarchal order, through distraction from knowledge, seduction away from God, capitulation to sexual desire, violence or aggression, failure of will, even final stage (Bordo, 1993, p. 5). Churches preached against social dance on grounds of immorality in the close physical proximity of male and female bodies, whether it wa s the introduction of the waltz inVictorian England or the perceived depravity of the tango and Charleston in the 1920s (Brinson, 1991). The theatre itself was the domain of women of questionable morals. Foucault saw the body to be central in the operationalising of power. Since the female body is repressed in a patriarchal culture and cultural representations of it (Fraser Bartky, 1992) that is, it is seen as the other to be controlled by the male, the relationship between dance and gender is influential in articulating the power of dance. The female body can be seen in terms of competing discourses and socialcontrol. If the power of dance must be expressed through the body, and that body is female (or if male, then with potentially homosexual overtones), then the dance expresses not power but subservience within that patriarchal hierarchy. And in the school curriculum, the body is similarly positioned and manipulated, its realities unsung (Oliver Lalik, 2001).Bakhtin (1968) a rgued that these impure meanings around embodiment could beoverturned. Taking the world of medieval and Renaissance carnival as depicted in Rabelais novels, he showed how the worldview was upturned, where usual power structures were inverted and the boundaries between what was considered pure or deconsecrate could be crossed. The body image itself moved to a celebration of the grotesque but at its extreme point it never presents an individual body the image consists of orifices and convexities that present another, newly conceived body. It is apoint of transition in a life eternally renewed, the inexhaustible vessel of death and conception (Bakhtin, 1968/1984, p. 318). But carnival is fleeting participants can only be temporarily free of Foucaults disciplinary technologies. In professional dance, the power of the choreography is essentially expressed through performance, and outside a carnival world view the lithe, trained dancer is considered uniquely able to interpret the cho reographers ideas with the docile body.Dance and the Curriculum 2 Notating DanceBut if in school the choreography is merely to be illuminated by the performer, then perchance an alternative way of dealing with the potential interference from the use of (inadequately) docile bodies would be to ask dance candidates to write down pat(p) their intentions, to allow the power of their choreographic choices to be examined in isolation from the power of the performing body. The question then arises of how this might be achieved in a curriculum that does not acknowledge the existence of dance notation.There are two main systems of notating dance, Labanotation and Benesh. Labanotation, devised by the influential dance figure Rudolf Laban, was published in 1928 and is used to record movement across a range of dance styles. Without notation, there is little chance of being able to accurately reproduce the movements one can only know about the dance and its role within that particular culture. In spiteof its availability, notation was used very little, with a resultant lack of documented dance slews (Redfern, 2007) although the number of scores is now gradually increasing. In the United States, for example, the Dance Notation Bureau, located at the University of Ohio, uses Labanotation to create a record of dance works, so that dance scores can be entrancewayed and used in the same way as music scores. Other institutions in Europe and elsewhere are similarly collating notated danceworks. These works are then available for interpretation, as are other art forms. And, as Redfern (2007) points out, increasing the number of interpretations of an art work increases its stature the power of the dance can be enhanced by inviting different readings of its texts. As well as creating records of dance, notation use can also have learning-outcome implications. Goodmans (1976) theory of notation suggests that the created score defines a body of knowledge. Warburton (2000) goes on t o argue that trying to express that knowledge verbally can be counterproductive because of what he refers to as the ambiguity and redundancy of spokenlanguage. He illustrates this by explaining how the verbal description to glide for a ballet step called a glissade sets up expectations of the kind of movement to be completed that gliding overlaps the meanings of change of location and leaping moreover, to tell the dancer to perform a travelling-leaping-action-that-skims-across-the-floor permits a variety of interpretations (Warburton, 2000, p. 195). The anecdote he tells goes on to explore the problems of description and how one particular ballet mistress resolved this by demanding repetition until he performed the step properly the power of the dance expressed through the body, not through words. But although a dance step is a bodily experience, rarely conceptualised in terms of its component parts,notation, he asserts, might provide the means for this conceptualisation in a wa y that language cannot. He concludes that if the goal of dance education is to help dancers increase their abilities to use dance concepts, to read, write, and dance dance, then notation-use is a good cats-paw for doing so (Warburton, 2000, p. 210), since it enables movement, concept and notation to be linked, which improves learning.Dance notation has never been a requirement for access to dance courses, whether at degree level or for professional training. Few institutions offered the particular AQA specification in which it appeared, and so many potential students would have been otiose to withdraw it. It is available for study in professional training courses at specialist dance schools and also features in some dance degree courses as an option. But at school level, the situation is rather different. From its inception in 1986 until restructured and examined for the first time in its new format in 2009, notation was apart of A-level dance, both for conveying the technical st udy to the teachers and their students and also as a separate test. Originally, according to one examiner, it was included at A level, for generally cultural reasons. Dance has been regarded as an illiterate art for too long. There are few scripts or records of materials, so dance is seen as a time-based art, disadvantaged in comparison with drama or music. We cherished to help bring it into line with the other arts (Ridley, 1992, p. 37). Literacy, asused here, can be defined by the ability to read and write dance scores using either Benesh or Labanotation. At that time, the latter was the dominant choice of candidates later examiners reports note the ability of students in both forms (AQA, 2008).The first and rather indirect test of notation skills at A level was through sending the compulsory technical dance study to centres in notated form. However, unless the students were extremely confident with notation, above the standard required for the exam itself, they were unable to read the complex scores themselves and thus were reliant on their teachers for their choice. This had important repercussions. Perhaps the first classical study might be slow, a piece of adage requiring balance, control and strength, whilst the second might emphasise speed, elevation and intricacy, a piece of allegro. Dancers tend to be more comfortable, and thus more competent,in one rather than the other. If the teacher decided to teach both studies then candidates would be able to choose their pet option if not, then some students would have to learn, perform and be assessed on a technical study which did not reflect their best performing ability. One solution was the option to buy video recordings from the study Resource Centre for Dance at the University of Surrey. However, this raised a further problem any performance is inevitably aninterpretation of the notation, not the definitive answer. The Resource Centre attempted to minimise this by whirl a male and a female interp retation of each piece, but the essential problem remained. Students therefore copied the interpretation when perhaps they could have offered an equally valid, or possibly even better, interpretation from the score itself. The power of the dance as notated and to be interpreted was subsumed into copied technical performance. The specific notation component was also examined lots students were tested in groups of six, each candidate having a different dance score. They were given sixteen nix of theirchosen notation (either Benesh or Labanotation) to decode and perform. The bars were repeated in performance, to create a thirty-two-bar sequence. thirty minutes were given in which the notation not only had to be understood but also memorised, then fitted to music and a creditable performance rendered which was itself graded. Candidates had to cope with distraction as well as having to race against the clock the music was played periodically during the thirty minutes, which was potent ially distracting if, at that moment, the individual was not ready to put the steps tomusic but was perhaps decoding a specific section. The memorization aspect also meant that whilst a candidate might be able to read the notation and perform it with score in hand, marks would be lost if they could not perform it accurately without the score. If notation is a tool of dance, a way of recording movement, then memorisation and performance can hardly be a fair test of the ability to read it. One could read a poem for a test, but just because those lines were not remembered accurately would not be a reason to assume the person could not read. This memorisation aspectshifted the emphasis from reading the notation to one of demonstrating that understanding by way of perfected performance. The task was not a straightforward test of notation literacy but rather one of memorisation demonstrated through bodily skill. The power of dance was once again articulated through the performing body.Ne vertheless, successive examiners reports throughout this period indicated the increasing familiarity of students with notated scores, and hence an increasing ability to cope with them. For example, in 2008, the report noted As stated in previous years, some candidates are to be congratulated on their achievements. It was pleasing to see a number of candidates dance the whole 32-bar score and gain high marks in this component of the Unit 5 examination. This continues to be a positive progression over the olden couple of years, indicating an increasing confidence in preparing reconstruction skills (AQA, 2008, p. 4). Yet the restructured 2009 A level removed the examined notation component completely. AQA suggested a summary of benefits of the new syllabus, which included encouraging critical engagement with dance as an art form, providing a suitable foundation for pursuing dance in higher education, providing experience of choreography and performance, and, finally, encouraging a hea lthy lifestyle (AQA, 2008). However, according to the National Dance Teachers Association (NTDA), the notation component was dropped because AQA was concerned about the ability of teachers to deal with this aspect of the course. Too few teachers were able to teach notation to a high enough standard and examiners had seen too many crying candidates attempting the notation part of unit five. It seems that we as teachers have failed to meet the standards required to deliver this part of the course successfully (NDTA, 2008, p. 13). Those teachers trained to use the system acknowledged the difficulties it posed, but nevertheless the outcome can only be seen as a retrograde step. Rather than calling for an improvement in teaching standards, this significant aspect of dance lore was dropped. The gaze of the literate hierarchy was rejected, not interiorised. So whilst schoolchildren may routinely be expected to understand that music has its own form of language that is, music notation th ere is no such expectation for dance dance in schools is taught as if it were an illiterate art form that is, as if its notation does not exist. An unfortunate effect of this is, as Redfern (2007) points out, that a lack of interest in dance scores is perhaps what makes for, or at least reinforces, the tendency to concentrate on performance rather than the work and this absence of a tradition of studying a dance script in the way that it is imperative for musicians or actors to study their scores or texts means that relatively little has been expected or demanded ofthe dancer in respect of interpretational ability (Redfern, 2007, p. 197). Notation is thus important for the development of dance studies. It allows dance works to berecorded and studied other than during the performance itself, giving dance a language equivalent to music. It can also enhance learning. But reading and interpreting through notated scores (however unskilled) is no longer a possibility at school level, an d whilst writing scores was expected only at a very basic level, this too has gone. In addition, complex and analytical notation gives academic weight to a subject so often seen as unsuitable for serious study. It is also assessable in away in which the more ephemeral aspects of the subject are not. The absence of notation at A level cannot help but reinforce

After The First Death Summary English Literature Essay

After The introductory Death Summary English Literature EssayThe book started with Ben. 16 years old child. He has a whole in the chest. His commence is a general. The main issue is the hijacking of a schoolhousebus with 1 driver and children of 6 years old. The hijackers were Artkin, matai, Antibbe and Stroll. The driver supposed to be miros first kill, but it turned expose to be a woman, prognosticated Kate. But he couldnt kill her, because Artkin didnt want to, they could use her help to calm the children. Artkin gave energetic with drugs to calm the childs, but adept child died of it, they thought he was solelyergic. Hijackers to a fault used a van. They were on an old railway bridge. Artkin was taking the charge of the operation. He told Miro to watch over the childs and Kate. He had to coax her confidence. She tried to be brave and escape, she had hidden the keys in her shoes preceding. But she failed. Artkin sent demands to the secret intelligence service named Inn er delta. Demands were release the political pri passworders, 10 million dollars and abolishment of Inner Delta. If somebody got hurt, they would kill 1 child for it. Their maingoal was to free their homeland. Antibbe got killed, because of a soldier with sniper, who reacted too fast to a flashlight. So Artkin also killed one child, Raymond. He was a smart child and that had given Kate strength, because she knew she wasnt alone versus the hijackers, but after they killed Raymond, she also gave up her hope. Inner Delta sent the hijackers a message, which said that Seedete, their leader, were captured. Artkin didnt believe them. So he said that they had to send a non-professional messenger with special stone from Sedeetes house. Ben was chosen by his father to accomplish this mission, even though lettered that its dangerous. But he knew that Ben was the best choice, because he was studying peoples behavior and expect how they should react. He also did this to his son for a long time. Thats the main reason why he chose his son. After Ben gave the special stone, the hijackers interviewed and tortured him. His father knew that he would tell everything, so Inner Delta gave him false information. After a while Inner delta attacked the hijackers, earlier than hijackers expected, because Ben told them that it should happen at 0930, but that was also a false information. Artkin and the rest, except Miro, were shot. Artkin shot Ben before dieing. Miro escaped to the forest with having Kate as a shield. When they were in the forest, Kate started asking questions about love and if Artkin was his father. After this question Miro gets all upset, because he always proverb Artkin as a important person in his life. He realized that Kate was trying to talk him over so she wouldnt be killed by him. So Miro kills her and says that its already his second kill, because he is blaming himself for the dead of Artkin, because when he suspected, that they were getting attacked, he ran to Kate, instead of warning Artkin. Ben wasnt dead, he was in a coma. When he came out of the coma, he wrote a book about what was happened that day at the bridge. This is also the start of the book. With this part the book started. At the end Miro promised to start all over. He stole a car, whose owner walked away to urinate. And He drove away.Mini-biography of Robert CormierHis mother gave him his birth in 17-01-1925 and he lost his life in 02-11-2000, in Leominster, Massachusetts which is in United States of America. He lived there all his life. His mothers name is Irma Cormier and his fathers name is Geoffrey Leonard. He was the second of 8 children. He had a good relationship with his family. He went to the St. Celias Parochial Grammar School, but he had an awful time because of the nuns. At the 8th grade he truism his house burning because of fire. He was very feared. He wanted to go see his family but instructor didnt let him. This enraged him for a some years later on. H is teacher of 7th grade saw one of his poems and said that Robert Cormier was a writer. This gave him the courage to become one. After he went to another school, Fitchburg State College, a teacher read one of his stories and was amazed and published it to a magazine. That would be the first of Robert Cormier. Later, when he ruined college, he worked for a radio station as a write commercials, but he changed it soon. He worked for a newspaper. He did the same job for a long time as a writer and editor. He received 3 great journalism awards. He started committal to writing stories which were short. He wed in 1948 and had 4 kids.Robert Cormier came from America and he was a good writer, a good editorial writer and also a good reporter. His written material is notable of sarcasm and downbeat. The books he wrote contain a troop of topics like Abuse, mental illness, aggression, hospitality, punishment, retaliation, betrayal and trickery. In almost all the novels, which are written by Ro bert Cormier, the protagonists hurt their fight or dont reach their goal. He mostly writes about the youth, even if they arent specially written for the youth. He writes realistic books and the story mostly happens in unusual places. The protagonists mostly have to fight alone versus their enemies or problems, who are much stronger than him, so they mostly lose the fight. His books mostly have a bad ending. His writing style is similar to reports, with a lot of conversations. He is used to write his stories as many multiplication over as he is totally pleased with it. He has a lot of well-known books for example, I Am the Cheese, After the First Death, We All Fall Down and The Chocolate War. He won a lot of prizes with those books. His first and also best-known book is The chocolate War. Which he published in 1974. It stool be found in a lot of libraries, also international. He once won the Margaret A. Edwards award. A lot of his books still appear on the list of American Library Association, The New York Times and school Library Journal, which only contains the best books. He answered a lot of letters which he received from his upstart readers a lot of years.I value that Robert Cormier used post colonialism as the literary movement in his book, named After the first death. Post colonialism flow against the colonialism which was mostly done by the western countries. I think Robert Cormier used this movement, because in his book After the first death, he is writing about a few hijackers who fight versus a secret intelligence of United States of Americ, so their own country can be free again. They say that their country isnt free at the moment, but they are fighting to make it theirs again. The name of the country was never said in the story, but they mostly say that everything in their country is cave in and everything is fresh etc. Thats why I think that he used post colonialism as the literary movement.

The History Of Harley Davidson Marketing Essay

The History Of Harley Davidson Marketing EssayHarley-Davidson(formerly HD), often mownH-DorHarley, is an American pedal correctr. Founded inMilwaukee, Wisconsin, during the kickoff line decade of the twentieth century, it was one of dickens major American motorcycle producers to survive the grand Depression.The company sells heavyweight ( all over 750cc) motorcycles figed for cruise on thehigh route.Harley-Davidson is a legitimate tarnish separatewhich keeps active events,functions a m commitum. Harley-Davidson logo accounts for al close 5% of the brand companys net revenue.In 1901,Mr.William S. Harley, was the fo infra of this plans for a small kickway locomotive with a design of 7.07cubic a butes (116 cc) and four-inch (102mm) flywheels.The prototype of the young loop- invest Harley-Davidson was assembled in a 10-15ft (3.0-4.6m) shed in the Davidson family backyard. Most of the major parts, however, were made elsewhere, including some probably made-up at the West M ilwaukee rail shops where ancientest br opposite William A. Davidson was thentool roomforeman.In 1906, Harley and the Davidson brothers built their kickoff pulverization in Chestnut Street. take over this location name Harley-Davidsons embodied headquarterstoday. Harley davidson first manufacturing plant was a 40-60ft (12-18m) single-story wooden construction. this plant was produced aprox 50 motorcycles that year.In 1907, William S. Harley graduated from theUniversity of Wisconsin-Madisonwith a degree ofmechanical railway locomotiveering and the kindred year additional factory expansion came with a second floor and later with facings and editing of Milwaukee watch yellow brick. With the new services and fabric crosswayion increased to cl motorcycles in 1907.They likewise began selling their motorcycles to police departments to others departments around this time, a grocery store that always been important to them ever since.Harley davidson which was produced in 1905 n 1 906 they all were in single cylinder with 26.84 cubic inches ( 440cc ) engines.in feb 1907 they manufactured V- fit engine with 45 degrees and was displayed at the chicago Automobile showroom. between 1907 n 1910 a very a few(prenominal) v twin form were built as well as shown and advertised.Harley davidson first V-Twins model displaced in 1907 and 1910 was 53.68cubic inches (880 cc) and produced about(predicate) 7horsepower (5.2 kW). This gave about double the power of the first singles. Top fixture was about 60mph (100 km/h). and the company work jumped from 450 motorcycles in 1908 to 1,149 machines in 1909.In 1911,some 150 motorcycles company had already been built in join stated so harley davidson improved V-Twin model was introduced for the grocery. The new V Twin engine had advance operated usance valves, as opposed to the automatic in apportion valves utilise on previous V-Twins that opened by engine vacuum. having excision of 49.48cubic inches (811 cc), the 1911 V- Twin was smaller than earlier twins, but gave better performance and reli up to(p) result. later 1913 the majority of pedals produced by Harley-Davidson would be V-Twin models.By 1913, Harley davidson improved there market so they demolished and constructed the yellow brick on the site a new 5-story structure of resistant concrete and red brick had been built for the new site.In spite of the competition with other brands, Harley-Davidson was the one who already pulling onward ofIndiansand would dominate motorcycle racing after 1914. the manufactured that year openhanded to 16,284 machines.G gagaen time period for the Harley-Davidson was in the 1920 become the largest motorcycle manufacturer in the world. and the dealer of the HD motorcycles were sold by dealers in 67 countries. Production was about well-nigh 28,189 machines.In 1921,Otto Walker who riddent harley davidson, he was the first motorcycle ridder ever to win a race at an average speed of over 100mph (160 km/h).Duri ng the 1920s, several changing found in place for the race, such as a new 74 cubic inch (1200 cc) V-Twin, introduced in 1922, and as well the Teardrop swash tank in 1925. A front brake was added in 1928.In the late summer of 1929, Harley-Davidson introduced V twin flathead with 45cubic inches (737 cc) to get do with the Indian 101 Scoutand theExcelsior superintendent X.This was belong to D model, produced from 1929 to 1931.Riders of Indian motorcycles irreverently referred to this model as the three canister Harley because the reservoir was upright and parallel to the front cylinder.The 2.745in (69.7 mm) bore and 3.8125in (96.8 mm) snapshot would continue in intimately versions of the 750 engine exceptions include the XA and the XR750. (Ref. by Harley-Davidson eNotes.com adduce ).The Great DepressionAfter the introduction of their 45 cubic inch modelGreat Depressionbegan a few months. Harley-Davidsons sales plummeted from 21,000 in 1929 to 3,703 in 1933. Despite those dism al be, Harley-Davidson proudly unveiled its lineup for 1934, which include a Art Deco Styling with flatthead.In order to survive the perchder of the Depression, the brand company manufactured industrial powerplants based on their motorcycle engines for the outperform takings. They also designed and built a three-wheeled delivery vehicle called theServi-Car, which was based in production until 1973.Claims of stock Price ManipulationIn late 1990s the golden time periods of the harley davidson was on the peak essential and early first decade of the 21st century, Harley-Davidson took a look on a course of expanding their dealerships by means ofout the 67 countries. At the mean time, its register dealers had waiting for the lists that extended up to a year for some of the most popular models. Harley-Davidson, like the auto manufacturers or the producers,they records the sale when it is deliverd to the dealer not when a consumer buys their product. Therefore, it is quite possible for the manufacturer to inflate sales numbers by requiring dealers to accept much inventory than desired in a practice called channel filling.This news led to a dramatic pooh-pooh in the stock price when demad softened following the unique 2003 model year.Financial crisisIn 2009 check toInterbrand, the value of the Harley-Davidson fell by 43% to $4.34 billion. the company profits droped in 2009 in two quarters and which downslope in value is believed to be connected to the 66% .On April 29, 2010, Harley-Davidson search alternate u.s site to achieve that they must cut the amount of $54million in modern cost from the production. The statement came in the wake of a immense company-wide reformation, which began in early 2009 and involved the closing of two factories, one distribution center, and the planned removal of nearly 25% of its get workforce (around 3,500 employees).(Ref by ridley choppers vs harley davidson Google Search)SoftailHarleys strong value of impost was ba sed on these big-twin motorcycles. With the rear-wheel suspension cabalistic under the transmission, they are visually similar to the hardtailchopperspopular in the sixties and 1970s, as well as from their own earlier history. Harley davidson kept the tradition and made few amendments like, they offerd Softail models with Springer front ends and Heritage styling that integrate design cues from throughout their history.DynaDyna motorcycles feature age -old styling and big-twin engines. They can be distinguished from the Softail by the traditional coil-over delay that bonds the swingarm to the frame and from the Sportster by their larger engines. On these models, the program also houses the engines oil tank.In 2006, Harley-Davidson introduced their five best Dyna models first-rate Glide, Super Glide Custom, Street tail, Low Rider, and Wide Glide.In 2008, the Dyna Fat Bob was introduced the unique Dyna line-up featuring violent styling, featuring a new 2-1-2 tire out, having twin headlamps, a 180mm rear tire and a 130mm front exhaust.The Dyna family uses the 88 cubic inch twin cam from 99-06. From 2007-and on the dislodgement was increased to 96 cubic inches. This was the result of the factory increasing the shoot to 4 3/8 inches.SportsterIn 1957, the Sportster is the longest-running model family in the Harley-Davidson brand. They were watchful as racing motorcycles, and were popular on dirt and flat-track race courses through the 1960s and 1970s. Smaller and lighter than the older Harley models, contemporary Sportsters make use of 883cc or 1,200cc Evolution engines and though often modified, remain similar in appearance to their racing ancestors.In 2003 model year, the engine on the Sportster was rigidly attached to the frame. The 2004 Sportster taken a new frame featuring a rubber-mounted engine. Due to these ammendments these bike become heavier and reduced the available tendency angle, it decreased the amount of vibration transmitted to the frame and the passenger.Just because of the rubber mounted engine it provides a significantly smoother ride for rider and passenger, for the longer trips.In the year 2007 , Harley-Davidson celebrated its 50th anniversary of the Sportster and introduced a limited edition called XL50, of which only 2000 were distributed for sale purpose among the dealers. Each motorcycle was individually camed in one of two colors, Mirage Pearl Orange or Vivid Black. In 2007, a new category having electronic provide injection was introduced to the Sportster , and the Nightster model was introduced in mid-year. In 2009, Harley-Davidson added the atomic number 26 883 to the Sportster line, the newest in the nefariousness Custom series.Environmental recordAccording to theEnvironmental Protection placeconducted emissions-certification and representative emissions test in Ann Arbor, Michigan, in 2005. Harley-Davidson produced an environmental warranty. The warranty ensures all(prenominal) owner that the vehicl e is structured and built free of any defects in materials and workmanship that would cause the vehicle to not meet EPA modulars.In 2005, the EPA and the dad Department of Environmental Protection(PADEP) confirmed Harley-Davidson to be the first corporation to resultingly enroll in theOne Clean-Up Program. This program is structured for the clean-up of the affected kingdom and groundwater at the former York Naval Ordnance Plant. The program is backed by the state and local government along with participating organizations and corporations.Harley-Davidson horticultureHarley-Davidson motorcycles arouse long been associated with the sub-cultures of the Biker Motorcycle club Out legal philosophy motorcycle clubs, bikers, one per centers logical argument of informer nicknameIn 1920, a team of farm boys, including slam Weishaar, who became known as the pig boys, continuously won races. The group had a livehogas their mascot. The HOG BOYS made the Harley towin the races and make a v ictory lap.In 1983, the Motor Company introduced a club for owners of its product taking advantage of the long-standing nickname by wreaking hog into the acronym HOG., for Harley Owners Group. Harley-Davidson act totrademarkhog, but lost a case against an independent Harley-Davidson organisation, The Hog Farm of West Seneca, NY,in 1999 when theappellate panelruled that hog had become ageneric termfor large motorcycles and was therefore unprotect able as a trademark.On August 15, 2006, Harley-Davidson Inc. had its NYSE ticker sign changed from HDI to HOG.COMPETITORS OF HARLEY DAVIDSONAmerican conjure clam ChoppersA new firm has been introduced in the market i.e. American Iron Horse Choppers. They have a routine bike shop that dealt with various brands of choppers. They are a dealer for APC, Ironworks,Iron Horse, and Swift. They also do repairs on other brands. There are a couple of sizeable heel choppers along with umteenIron Horse bikes. Out of all the bikes we worked with I consider Iron Horse and Big Dog to be some of the best out there tho they are not better than Harley Davidson. I loved dealing with Iron Horse as they acceptedly provide a lot of ripe maintenance documentation. One thing that I think is the biggest problem with bespoke choppers is the wiring. Iron Horse went the extra mile and in my opinion did a great job makingproper wiring harnesses for their bikes. If a bike came out of the crate with any chrome or paint way outs they were real quick to send new parts to correct the problem.Big Dog also does a good job as far as warranty stuff and they have designed a new principal(a) set-up that allows you to replace the starter without having to take the primary apart.IIRC both bikes run SS engines. They make some really good material and usually dont open often problems.As far as aftermarket parts both bikes use standard Softail ahead control mounts so just about any aftermarket Softail forward control setup result fit. The tripple trees are also standard Harley stuff so any handlebar setup will fit.They look great but to me they are not fun. I like bikes that you can lean in to a watershed with. But the super wide tires on the choppers will just laugh at you if you try to take a corner faster then a car. Theyre great in a straightaway line but I hated making turns with them as it didnt take much in the beginning you were scraping the street with a part of the bike. So I cant help you much in that category.(Ref. by American IronHorse vs. Big Dog (Choppers only) Yahoo Answers)West beach ChoppersWest Coast Choppers motorcycles are known asold school.WCC bikes have been known as more exposed down when contrasted with decades-long established chopper builders likeArlen Ness, that is, a bike having, not much there but engine, what the law requires, and something to clinch on.In spite of this information, a WCC product is the use of9 mmand.44 Magnumshell casingsas purely non-functional art, adorning the fuel o r oil makeweight caps or top of the motorcycles handlebar risers. The presence of this 20th Century gun ammo is intended to evoke Jesse G. crowd together distant ancestor,old westwhitlowandfighter Jesse James.A tough brand tie between the chopper-riding biker and old west outlaws is a mainstay of biker culture, established by the biker worlds Norman Rockwell,and its mountain lionDavid Mann. The bikers cross logo, a version of theIron Crossor theMaltese Cross, is also typical of a WCC bike, though that symbol is nearly everywhere in Kustom Kulturein any case.The old firm judge of WCC bike labels fits loosely as well, moreover in recent days as WCC has moved away from the traditionalHarley-Davidsonchopper, seen by James as too ordinary, and enhanced the style to grooms its look. Specific ammendments includeLambrettascooters,Honda 305 Scramblers, andSchwinn Black Phantombicycles.Labels used by West Coast Choppers have been designed to make it professed(prenominal) look firm Atkin s Parker Creative, who carefully observed the colours and motifs dear to old firm bikers, such as Vietnam war squadron patches. This is crafted to remanufactured for mass consumption the odd, liberal shapes of old hand-painted bike art in order to gratify the customers dainty sense of authenticity.(Ref by american iron horse choppers Google Search ) jampack analysis of Harley-DavidsonThis case is an analysis of the strengths, weaknesses, opportunities and threats for Harley-Davidson.Name recognition Harley-Davidson is possibly the most recognizable name in the motorcycle industry, anywhere in the world. This is possibly because of the typical, rough crash (sounds like potato-potato-potato) which made its bikes famous. Or perhaps its because the name Harley-Davidson is the core of the motorcycle industry, and the Harley-Davidson is the motorcycle that almost every rider aspires to own. any(prenominal) the case, HDI enjoys brand name acknowledgment that other companies strive to obtain, yet extend to achieve.History Harley-Davidson has a long history, beginning in 1909, with the introduction of the V-Twin engine. Harley-Davidson motorcycles were in high demand during World War I, and HDI was one of only two motorcycle companies to survive the Great Depression of the 1930s. The force used Harleys during WWII, and law enforcement agencies around the country either have used or are currently using Harley-Davidson motorcycles as a tool for their Police Officers, Sheriffs Deputies and pass Patrol Troopers enforce the laws of this great nation. Today most of the youngsters have a passion to buy and keep Harleys as an antique. These bikes have grown in popularity around the globe because of their reliability and durability. World Wrestling Entertainment Super Star Undertaker also used to enter the wrestling trough on a Harley Davidson bike.Harley-Davidson Performance AnalysisThere are many ways to test the output of the company, some more famous than others. According to Barney text ,the history rule is the most useful and famous way of measuring a firms output (Barney, 2002). Some of the reasons for the popularity could include the fact that accounting measures of output are publicly their on many firms and they can make a great deal of material related to the firms operations. Other methods of the frims output analysis consist of firm survival and the multiple stakeholder approach.The first method we will check is the accounting method. Through this accounting method we will take a look on specific ratios and their possible conflict on the companys output. The specific ratios we will analyse contains the sound reflection on total assets, return on equity, gross profit margin, pay per make do, price earnings ratio, debt to assets, debt to equity, accounts receivable turnover, total asset turnover, fixed asset turnover, and average solicitation period. I will explain each ratio in bring about detail, and why I have included it i n this check, when I give the results of each specific ratio calculation.The return on total assets is an boilers suit measure of prosperity which measures the total success of management in generating profits according to its ratios. This ratio shows the amount of net income generated by each adagehorse mark invested in these assets. The higher the firm returns on total assets, the better. The return on total assets of Harley davidson was 14.04% for 2001, 14.27% for 2000. These percentages are up and shows an upward trend, this shows strong output in this area for the previous two years.Return on equity (ROE) showsthe gainfulness from the stockholders perspective. The ROE is a step to check the return earned on the common stockholders investment in the firm. Generally, the higher this return, the better off the stockholders are. Harley Davidsons return onHarley Davidson Case AnalysisIn 2007, Harley Davidson was the worlds most profitable motorcycle company. They had just releas ed great earnings and committed to achieve earnings per share growth of 11-17% for each of the next three years. Their CEO of 37 years, James Ziemer, knew this would be an extremely difficult task seeing Harleys domestic market share recently top off at just under 50%. The domestic market was where Harleys achieved the most growth over the by 20 years and with it leveling off, where was Harley going to get the 11-17% was the million dollar question.Harley Davidson has built a brand that is more than just the spread double birdie on a load rumbling motorcycle, but for those who purchase a Harley they are purchasing a lifestyle, an experience, or piece of American culture if you will. Due to this differentiating factor Harley has been able to charge a premium for its products and still be successful against its lower priced competition. Harley built upon this lifestyle when it created the Harley Owners Group (HOG). Harley would advocate shows, rallies and rides through HOG in the US and even in other countries. This helped to build its coveted image into more of an exclusive club. In the 1990s, Harley Davidson saw tremendous growth and looked for resolutions to its one problem of balancing production with its uprise demand. In 1996, Harley announced Plan 2003. Plan 2003 was a huge initiate to increase its production capacity, introduce several new models and increase planetary expansion. At the end of this planned expansionary period, Harleys sales had grown tenfold over just 23 years. However in 2007, domestic demand was starting to slip, as several economical factors weighed on the American consumer, making it more difficult to buy luxury products.In 2007, Harley Davidson finds itself in a dispute with heavyweight contenders with deep pockets and a lot of engineering resources. Harley lacks theHarley Davidson Strategic AnalysisWilliam Harley and Arthur Davidson wanted to take a look of riding bicycles in 1901. After joining of the Arthur br others, Walter and William in their firm, they came up with the new idea of making a motor and a bicycle together. Many engine ammendments were made before the satsfaction of the builders. In 1903, they manufactured the first Harley-Davidson motorcycle and they produced three that year. Harley built its first building in 1907 on Juneau Avenue in Milwaukee. That same year, they manufactured 150 motorcycles. As they were used for rebuilt purposes, they were also came in the useage of military . They fullfill the military useage in border skirmishes and the government called for 20,000 bikes to be shipped overseas. During the war, other companies also tried to challenge the market of Harley, but Harley remained the largest. The depression had an unfavorable load on Harley as it did with most firms, but they overcome on that issue and the crisis and celebrated its fiftieth year in 1953 as the sole survivor in the bikes industry.Harley attract public in 1965, but was bought by t hirteen heavy Harley-Davidson executives in 1981. It was returned to public useage in 1986 by calling two million shares of common stock. It was accepted by the New York Stock change in 1987 and has been there ever since.2. A firm with the history of Harley-Davidson has few defects and threats, but a SWOT analysis can help them turn them into favorable conditions and strengths.Strengths- Customer satisfaction is the first strength of Harleys business. at once a person bought a Harley, it seems as they trapped in the entire Harley business. at one time they bought a Harley, they usually never buy another brand of motorcycle. Once a person purchases a bike, the jacket, bandanas, etc. become a must. hazard for Harley is that the economy is at a place where people will go out and buys a motorcycle for recreational purposes. (Ref by Harley-Davidson eNotes.com Reference).