Conflict Management neogotiation strategies slp 4 Essay

Conflict Management neogotiation strategies slp 4 - Essay Example Following this the employees are required to face the customers at the counters. There are a total of seven counters of which generally two counters are open during a normal day. On days of high volumes, the other counters are also opened and the employees working at the back end sorting the letter need to take control of the counters. The issue faced here is that there are no clear shifts that are provided to the employees and the duties of who need to be at the counters are not fixed by the management. Due to this, the employees face a huge conflict among themselves. There is a higher demand for the number of people at the back end working on sorting of the mails however the people willing to work in the section are low and this causes an imbalance and issue at the organization very often. The parties involved here are the team leaders versus the employees. The negotiation was done where the managers came to a final timetable of the work of the employees and decided the division of work which is required to be followed on a daily basis. I am on the side of the manager and it was the decision of the manager to discuss with the team leader and plan out a clear cut decision of the timetable for each employee on a daily basis. Before the negotiation Took place, the team leader, manager have held meetings to discuss the cases of the employees and to gain a complete details of the employees. These fell under the pre negotiation steps, based on which the timetables were formulated and the required strategy and preparation have been made. The only emotional reaction for the negotiating table was of an individual with a serious injury and disability. This individual found it difficult to work on the stocks and customer facing. Hence there was an exception made for the case and the rest of the employees were provided with a set timetable. These proposals were

Reading of Jane Austen(TM)s short stories Essay Example for Free

Reading of Jane Austen(TM)s short stories Essay From a reading of Jane Austens short stories what do we learn about womens lives in the late eighteenth century? In Jane Austens a collection of short stories Love and Friendship, she shows us the lives of women in the late eighteenth century, and what they have to deal with. These short stories are written in epistolary (letter) form between women who were friends at the time, these letters show us what their lives were about and what was considered to be important to them. Jane Austen writes about marriage, status, personal views and the attitude to what she saw, she also uses humour in her letters showing us how shallow women were in that time. For young women in the late eighteenth century marriage was very important and a woman who did not get married was considered worthless, all women were expected to get married. There were many important reasons to get married for a woman living in this time, the most important reason being having money. If a woman had no money she would be considered as having a bad status, because women when they were with their parents had no possession of their own. In the three sisters Mary is not sure about marrying Mr Watts she does not like him but she still considers marring him because he has a lot of money. He has a large fortune and will make great settlements on me. I hate him more than anybody else in the world. This shows us the amount of money he has is more important than the relationship and how happy they will be together. She decides to marry him if he will give her all she wants, this shows us how shallow the women could be and what they will do for possessions, she demands a new carriage hung as high as the Duttons, and blue spotted with silver; and I shall expect a new saddle horse, a suit of fine lace, and an infinite number of the most fine jewelsmust always let me do just as I please and make a very good husband. This shows us all the things she expects to get in marring him they are all but one material goods. This shows us that women in the eighteenth century were very much focused on marriage and how much money they could get out of it. If a woman did not get married she would either have to live with her mother or a paid female companion. Another alternative was to be a governess to a wealthy family; this was not a good thing to be because you would be treated a little better than a servant, they would neither be on the same level as the servants or the family. Young women in the late eighteenth century were considered well educated if they had plenty of accomplishment, these were things like sewing, singing, reading and entertaining their guests at a dinner party. In Lesley Castle, Margaret Lesley was writing to Charlotte Lutterell tell her what they did to pass the time in Scotland and what they do is we read, we work, we walk and when fatigued with these employments we relieve our spirits, either by a lively song, a graceful dance or by some smart bon-mot and witty repartee. This shows us that they did not do any challenging or intelligent type of work. The women in the late 18th century were also polite this shows us that this mattered in this time; we can see they are polite because they write long pleasant letters to each other. Lesley Castle demonstrates that it is important to have accomplishments in this time and it allowed them to get into a good marriage which was the most important thing in a young ladys life in the late eighteenth century. Not many girls of the time attended school but the few that did attended boarding school, would not learn to be clever they would only learn things like sewing and singing. Margaret Lesley and Charlotte Lutterell both went to boarding school together, it is four years since my removal from school. School was mostly for boys, some girls went to boarding school but the education was not very good because they did not need lessons and the teachers did not know what to teach them. Women in the late eighteenth century did not own anything or have any property for themselves. A womans inheritance would be given to a distant male relative the woman would never be given the whole of the money. The only way women could get money was through marriage, Mary only wants to marry Mr Watts because he has a large fortune and will make great settlements on me. She also expects the pinmoney; two hundred a year. Which Mr Watts only want to be a hundred and seventy-five. When Mary agrees to marry Mr Watts she expects him to build her an elegant greenhouse and stock it with plants a room on purpose and a theatre to act plays in. she also expects to be allow out of the house all the time she insists on spending every Winter in Bath, every Spring in town, every summer in taking some Tour, and every Autumn at a watering place. Marys mother is set on not letting such an opportunity escape of settling one of my daughters so advantageously. This shows us that money was not only important to the woman but also important to the rest of their family, to ensure that the family would stay with money. It would also be in a mans interest to marry someone with lots of money because some of the family money would be given to him for marring into the family. Marriage was based on material goods not on a relationship. If you did not marry you would have no money and possessions you could have from your father. In Lesley castle Charlotte Lutterell is worried what will happen if by this second marriage sir George should have a second family, our fortunes must be considerably diminished those jewels which once adorned our mother Matilda would no longer sit at the head of her fathers table. This shows us how easy it is to loose money and financial security. Female friendship in the late 18th century come over as shallow, because they are always judging each other Margaret Lesley calls her mother-in-law an insignificant dwarf. Where their mother-in-law Susan Lesley calls Margaret and Matilda scotch giants and continues I am sure they would frighten you out of your wits. This show us that women in the 18th century judge each other and think they look better than each other. There is also a lot of rivalry between friends Mary in The Three Sisters, says how I will triumph over the Duttons and the two families were friends; this shows us that was even rivalry between friends and even though they were nice to them to their faces they were horrible behind peoples backs. Manners and etiquette were more important than actual friendship; Susan Lesley and Charlotte Lutterell are only friends even though they are feed up with each other because she is too polite and I am too civil to say they still write letters which are still as frequent and as affectionate. This show us that women in the late eighteenth century are very selfish, and their lives were very shallow. We have learnt from reading Jane Austens short stories that women in the late eighteenth century had very little choice to what they could do because they had to marry to ensure that they would still have enough money to live. Life in the late eighteenth century for women was very much everyone out for themselves and they all had to fight over having a rich man and material goods better than everyone elses. Jane Austen did not like living in this time we can tell this because of the humour she uses with the women to show how important money was to them in The Three Sister Mary is very indecisive whether she should marry Mr Watts or not. Today we find it hard to compare with how they lived in the late eighteenth century because it is so different to how we live now. I am glad that we live in a society today which is more accepting to women and how both male and female should be treated the same. I also believe that Jane Austen would prefer to live in the society that we live in today because Jane Austen always humours the women in her collection of short stories.

anne frank :: essays research papers

DIARY OF ANNE FRANK Living in the peaceful land of Holland during the 1940's could never prepare the characters in this story for the devastation that was about to unfold. At first this story starts with Anne in a happy environment. Then things take a turn for the worst. This story has many settings over a long period of time, from 1939 to 1945 the war lasted. Through that time the story goes from Holland to a concentration camp then to another concentration camp. The story is told from the perspective of a young girl named Anne Frank. Anne was a normal Jewish girl who had normal problems like school and boys. She had always daydreamed about being a movie star. She was a very intelligent girl and liked to write. She liked to write so much that if she couldn't be a movie star she wanted to be a writer. Anne was very good at writing and wrote about the things that happened to her, her family and her friend with very unique and detailed wording. Hannah, like Anne lived in Holland. Also like Anne, Hannah was very friendly to all the people that she met and had many friends. Hannah and Anne were good friends, although Hannah had always teased Anne about being young, because Hannah was a month older than her. Meip Geis was a friend to Anne. When the franks were in hiding the were brought food by Meip. Meip was somewhat naive to the situations that surrounded her. She did not have the same intelligence or insights that Mr. frank possessed. She was very defiant and outspoken and had many close friends such as Hannah and Anne. Mr. Frank, the father of Anne was a very good man. He was smart, kind and very caring. Even when times were at there worst in the concentration camp, he help the men in his barracks."He is like a saint" one prisoner said to Anne, while speaking through the gate. All was well in Holland. Anne had just arrived at Hannah’s to ride bikes together to school. That day when they came home they found German soldiers at their house. They had come to take away their bicycles. Before long many more privileges were taken away from the Jewish people. Then Hannah heard the news that Anne was moving to Switzerland. This news was not true however because Anne had actually gone into hiding .

Oral History Essay

In recreating the historical aspect of life and experiences, one particular area has already flourished and created a definite voice and way to elucidate what other things that were missed by the historians. Oral history became popularized through its ability to generate a powerful narration of a personal account of what other historical artifacts may be found. It seems that oral history has paved the way of giving out the accounts of our forefathers as a way of a hand-me-down run-down of the past. Although normally most people have certain qualms or reservations regarding this arena, it still could not be helped when most cultures generate their own historical marks through this process. This might be due to this particular regeneration and recreation that people are skeptical about. The verification of these orally transmitted histories would take a lifetime to discover or it might take a rigorous process. In a way, it would not be helped then that oral histories are taken with much doubt. These doubts then could be alleviated by means of meticulous and precise research and background study. It might not eradicate all the skeptics but it could give justice and justification in regarding oral histories as merely hearsays. True enough that oral histories would come to be formulated though word of mouth but giving a certain backdrop could, at the least, make it acceptable. Oral history then provides us with an alternative into viewing history as a whole. There could be two general reservations for oral history. The first is its inclination towards a more personalized view of historical aspects. Lastly, the discussion on oral history’s inclination towards the artistic implications would be tackled in giving a light to the personalized input of the subject matter, oral history. It is the aim then of this paper to view oral history as a part of a broader argument for it being a form of art of which art as another contributor to history. Suffice to say, oral history would then be investigated as a form of an art work through its personalized and artistic quality. In connection to this then, an argument for art being a contributor to history would be played to reveal that oral history too could be a source of history, albeit a particular view but a source nonetheless. This ambitious event would take place then through arguing that narratives from oral history could recreate a more artistic ideal and with this generates a whole new perspective regarding the personalized approach to oral history. It would not be scraped then that oral history has a hint of a more personalized quality. It would seem that life stories are generally tainted with the perspective of the speaker and at the same time the views are â€Å"reportable† in nature (Linde 20-21). In the advent of this occurrence, it could be seen then that autobiographies and/or biographies are personalized in nature through the prospect that it is in the perspective of the speaker. It was generally known that autobiographies and the like are written in this approach. To come to terms with this aspect then is to be able to recognize that some of these biographies are taken orally through interviews and just as final output it was written to be published. What is essential though is that this form of story is just apart of the whole perspective of culture, event, etc. The person or the self then greatly contributes to the whole (Linde 50). Given that these personal accounts could contribute to the whole, it would not then be amiss to claim that there are certain indications where the personal quality of oral history, in this case autobiography and/or biography, is useful for the historical aspect of a tribe, or a country. These accounts then could be verified through the more holistic and objective aspect of history. The danger that is presented in this aspect is that it could become a mere novel where fictional attribution is heavily distinguished in the work. A good resolution for this danger is to be able to have a certain framework that would surely not deviate from the purpose of the literary work. The realization and the recognition of the aim then are through seeing that the work as needed to generate a particular view of the general historical event. It is in this view that narratives could work through framing, where it becomes a â€Å"sharing of memory within a culture (Bruner 56). † What could be inferred here is that although the works are personal in nature, it should be case that these accounts are used in accordance to what constitutes the factual events of the time. In a way, these aspects then could be seen in the light of certain historical and cultural hints in the work. It was said that â€Å"schematic† basis should be generated through the institutional and historical aspect where the experience of the speaker came from (Bruner 57). The best recourse then is to be able to identify a written output as a plain autobiography and/or biography with a certain aim and balanced fictional input, just enough to heighten the affective quality that it would have on the reader. It could also be seen that this personalized contribution could be seen in a collective manner. This is, again, with the implication that these works were â€Å"canonical interpretation† of an event. In this aspect, it could then be viewed that a collective memory of a group could become an ideology set for reporting an event or even a particular conception in relation to societal factors (Billig 60-61). It was said then that this memory could be a process in reconstructing the past through a certain discourse (Billig 62). In a way, a retelling of the past then occurs through a conversational way and at the same time it could commemorate what had happened. It was said that oral history could take the form of a narrative concerning a person’s perspective regarding his/her culture. One way of looking at this is the way it could generate an autobiographical and/or biographical sketch of a person’s life. In a way, it would seem then that an interview or of same sort could recreate a different milieu of the more generalized objective report of historical accounts. What is meant by this is that some people tend to portray their culture through a more literary perspective. The stories that could be compiled then from word of mouth from ancestors could become a way in recreating historical accounts at the same time it gives out an artistic quality to it. Folk tales are recognized as traditional input of legends that could become a way in extracting a more cultural approach in history. This tradition not only secures the cultural aspect in it but also secures that the belief system of a group and be passed down from generation to generation. As was mentioned earlier, a popular approach to oral history is through the usage of the autobiography and/or biography. It is in this case that life stories could be used in producing a historical account. Although this form may be written when published but the part where it was oral is the fact that these written forms could come from the interviews that was done to compile such work as was mentioned earlier. It is the case then that a certain goal or aim should be realized and reached when giving out the interview. It would be the goal where a more detailed aspect of, for example, a war or a detailed aspect of what was happening at a certain event. Only that these detailed reports would come from a certain perspective or angle rather than a more holistic approach the way the usual writing of history is done. In the light of this occurrence, it could then be said that the narrative has a tinge of a dramatic approach to the cultural basis of which the story could introduce. This dramatic attempt then makes it hard for the people to actually count these autobiographical and/or biographical sketches as an authentic output of historical events. But what is fascinating about these narratives is that it suggests a certain value of combining the seemingly obvious to the obscure (Bruner 47). This could happen through generating a more personalized way of construing the historical account. What could be said about narratives is that it could be real or imaginary without ever taking the power that it could create for the readers (Bruner 44). In this case then, life stories could provide a tableau for both events without succumbing to a more fabled or fictional function of narratives and/or stories. The problem of folktales is that it has a more fabled approach to it that generally it could not reassure the readers of the authenticity that they are inclined with. In the autobiographical and/or biographical approach, it has a minimal problem with regards to authenticity that it would not create a major problem among readers. The literary input then could be balanced by the factual input of the biographer that this authenticity problem would not be a major concern. What could be the major concern is that whether or not the synchronicity of factual to a more literary approach is well balanced so as to not make the work look more literary than necessary. Given this attribute then, it would seem that the life stories could generate a backdrop for the wider and objective view on history. A good example is the book is the autobiography of Delfino Cuero. The book contains a concise historical documentation of the tribe of which Delfino Cuero belongs and a historical chronology of what was happening during a certain time span as well as the cultural history of Delfino Cuero (Shipek 7-18). It could then be presumed that a right combination of the narrative and the factual input could create certain oral historical outputs that are both informative and recreational. The mundane and the objective then combined could produce a historical deviation from the usual report style documentation of events. The artistic implication set then is the fact that biographies and/or autobiographies could be deemed as literature. It was generally seen that literature is a form of artwork. It generally gives a certain hint of the cultural background of a certain place, people, or country. It could be seen that literature has become one of the paths on providing certain backgrounds on the cultural aspect as well as the events of a given place. It is a leeway of which historical events are colored to produce the necessary outcome. In lieu of what was mentioned above it could be seen then that these works formed as a literature could be seen as an artwork of some sort. In this aspect, a view on art as one of the contributors of history could be seen. It would seem that art and artworks could generally create the necessary background of the cultural aspect of history as well as certain accounts of the historical aspect of a place or country. Take for example sculptures, there chronological and sequential updates could view a certain aspect of the progress of civilizations. Another area of which these form of artwork tackle is the direct or indirect influence of other countries or civilizations in the country. It could then be a way to produce certain evidences needed for accounting the historical events of a place. In autobiographies and/or biographies, it could be seen that the accounts made by the speaker or author could generally pinpoint a certain area of the countries’ progress. As was repetitively implied earlier, the particular perspective would then come from a general view of the historical event. It could then be deduced that oral historical forms could come through interviewing and would generate an autobiographical and/or biographical production that is generally written in format. This production then could be personalized in nature but given a much canonical interpretation, it could produce a credible and authentic output for a particular view in history. What could be essential is that these memories should become a recollection of the past at the same time it could commemorate the episodes in the past. It could then be further deduced that the artistic implication of these works are more intended through the mixture of the literary inputs that could be used. A balanced work would then mean that fictions are not at the majority but they are used for the aesthetic purpose of the said productions. In this light, it could then be said that the written output could be seen as a literature where it was known to be a form of artwork. It would then be discovered that the contributions that artworks have in history is a way in handing out evidences of the cultural and general accounting of the events that was happening before. The contribution then of oral history could also be recognized by the fact that it could not be limited to folktales but that it could generate a more particular view of the events that happened in history aside from one of its aspect as a form of artwork.

Corruption of Society Essay

First of all, technologie corrupts society because it does our thinking and increases health problems. According to a New York Times article, the average kid ages 8-18, spends over 7 ? hours a day using technology gadgets which increases the obesity rate, poor grades, impatience, violence and a loss of family interest. Also, cell phones and texting leads to texting and driving which is almost as worse as drinking and driving. You can hurt yourself or people around you while texting and driving. Are generation can’t live without a cell phone, texting or sending emails and this leads to a lack of communication. When somebody can only express their feeling in a text message or an email they are not learning how to communicate with others. Did you also know that technology not only affects our health but it affects our environment too? For example, a normal computer chip takes 600 times its weight in fuel to produce? Bullying has a huge impact on our society! Peer pressure especially because you are forced to do things you don’t want to, you get bad habits and it leads to loss of individual. When somebody is bullied mentally or physically they have depression, anxiety, loss of interest in activities, school and family, shame, fear and low self-esteem. All these side effects of bullying lead’s to suicide. According to the website ‘DoSomething. org’, Approximately 160,000 teens skip school every day because of bullying! Media can also be a cause of corruption of society because if you look at magazines, ads or watch television, commercial or news, beauty is often the subject. People and especially teenagers are influenced by Medias. All girls look at magazines or whatsoever and wishes to look like people on TV or magazines. Thin slim bodies, perfect face, etc. What teenagers don’t realized is that those people are edited by computers from head to toe. Over 5 million American’s have eating disorders caused by false concept of beauty. Another reason why Medias corrupts our society is because of money. In magazines and ads or television it’s all about buying things to have a better life!

10 Writing Exercises to Tighten Your Writing

10 Writing Exercises to Tighten Your Writing 10 Writing Exercises to Tighten Your Writing 10 Writing Exercises to Tighten Your Writing By Brittiany Cahoon Writing projects can be like children. You love them dearly, but sometimes they irritate you to the point that you just need a break. Working on something fresh and new can invigorate your mind and give you a new approach to your work. These exercises can work for any genre of writing, fiction and non-fiction alike. 1. Free Association This is probably the most popular writing exercise to get the juices flowing. Pull up a new Word document, take a deep breath and just write whatever comes to mind. Dig as deep as you can into your subconscious and don’t worry about what comes out. Sometimes there’s a mental blockage with something that’s been bothering you, so it helps to write it down and get it out of your system. 2. Think Outside the Box Think of something you’re passionate about, like a hobby or a love interest, and write everything you know about it. Sometimes writing slumps happen and it helps to write about something you love. Even if you just write a paragraph, it’s better to write something that’s not your current project. This will rejuvenate you to re-start on your current project. 3. Sharpen the Saw Something I love to do when I’m stuck is read another author’s work, especially an author who writes in the same style or format as my current project. If you’re writing fantasy, read some Harry Potter or Lord of the Rings. If you’re writing a biography, try taking a look at some biographies of your favorite actors or writers. Escaping into someone else’s world for a bit can relax you enough to delve into your own imaginary world again. 4. Use the Musical Muse Writers feel their work, and when you can quite describe what you’re feeling on paper, it can be frustrating. Get out your ipod or computer, put on your earphones and find some songs that appeal to you and the scene or piece you’re working on. Grooveshark.com and Pandora.com are two websites that offer free, instant music streaming to get those juices flowing. 5. Mad Libs Choose one noun, adjective and verb. Make them as random as possible. Write a story using these words in context. You can also do this exercise with a fellow writer and give each other your noun, adjective and verb to see what you both come up with. 6. Eavesdropper This is a wonderful exercise if you struggle to write natural dialogue between your characters. Sit in a public place like a park or at your local college campus and listen to the things people say as they walk by. Take copious notes and share them with other writers. This exercise is also great if you need a laugh. 7. Use Writing Prompts A writing prompt is simply a topic around which you start jotting down ideas. The prompt could be a single word, a short phrase, a complete paragraph or even a picture, with the idea being to give you something to focus upon as you write. You can find examples and resources about on our Writing Prompts 101 article. 8. Person, Place, Event If you’re in the middle of coming up with some new ideas, this exercise can help. Get a piece of paper and a pen and draw two lines down the middle to form three columns. In the first column, list every type of person you can think of, such as the police, firemen, grandparents, your spouse, a princess or whatever comes to mind. Next, think of a variety of places. It can range from the grocery store to Ireland. In the last column, list a time period or famous historical event like the Battle of Gettysburg or the year 1492. Combine a person, place and event and experiment with writing about that particular situation. You can try as many as you like! 9. Research Rendezvous Select a random topic, like the African Bush or squids and look it up on as many reference sites as you can find. Dictionary.com, thesaurus.com, Wikipedia.org and about.com are some research sites you can begin with. Learn as much as you can about this new topic. Keep a file for research notes. 10. A New Point of View Pick a genre or point of view you have never tried before and write a short story with it. If you normally use third-person point of view, switch to first-person. If you normally focus on non-fiction, branch out and write some fiction. If you normally write sappy romances, give action/adventure a try. It’s scary to leave your comfort zone, but you’d be surprised the kind of inspiration you get when you switch perspective. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:The Royal Order of Adjectives 50 Nautical Terms in General UseHow to Treat Names of Groups and Organizations

Discuss, with reference to at least two examples, the relati essays

Discuss, with reference to at least two examples, the relati essays In this essay I plan to look at two theatre practitioners whos lives were dominated by their desire for change: change to prevailing theatre practice, which they saw as inhibiting experimentation. Above all, they were people who took risks, since by challenging outmoded ideas they were forced to provide radical alternatives. We now recognise these as models for our own time. I have chosen to look at the work of Konstantin Sergeievich Alexeiev (Stanislavski), and Antonin Artaud. Firstly I would like to look at the theories and practices of Stanislavski. To begin with one needs to put his work into context. Stanislavski dedicated his entire life to changing the Russian theatre. Since its infancy in the early 19th century it had been controlled by heavy censorship. Stanislavski identified and described what these gifted performers did naturally and without thought. From his observations he compiled a series of principles and techniques, which today are regarded as fundamental to both the training, and the performance of actors and actresses who want to create believable characters on stage. It would be easy to assume that believable acting is simply a matter of being natural, however Stanislavski discovered that acting realistically onstage is extremely artificial and difficult. He wrote; All of our acts, even the simplest, which are so familiar to us in everyday life, become strained when we appear behind the footlights before a public of a thousand people. That is why it is necessary to correct ourselves and learn again how to walk, sit, or lie down. It is essential to re-educate ourselves to look and see, on the stage, to listen and to hear. (Stanislavski, 1993.) To achieve this "re-education", Stanislavski said, the actor must first of all believe in everything that takes place on stage, and most of all, he must believe what he himself is doing. And one can only believe in the truth." (S...

How to Answer “Why Have You Had So Many Jobs”

How to Answer â€Å"Why Have You Had So Many Jobs† You’re sitting in the interview, and things are going fine, when the hiring manager looks up from your resume, eyebrow raised, and asks the question you’ve been dreading: â€Å"You’ve had an awful lot of jobs, haven’t you? Can you walk me through that?† DO understand why this is a potential red flag.You probably had reasons for every job switch on your resume. The interviewer doesn’t know that- all he or she knows is what’s printed in black and white on that fancy cream-colored stock. He or she doesn’t know if you’ve been fired from every position you’ve ever held, or if you’re a serial quitter when a shinier new opportunity comes along. Before they can hire you, they need to get a solid sense of your employment history to help determine whether you’re a good bet for this company. If you look like a flight risk, the company might not be willing to make that investment in you.DON’T assume this m akes you look bad by default.The fact that the interviewer is calling attention to your, uh, varied history is not meant to make you feel ashamed, like some kind of job floozy. If you’re asked to clarify (or even just given an opening to do so), take a deep breath and make sure you have an elevator pitch-style explanation.DO make sure you have context for all of it.A shoulder shrug or a long, awkward pause is the least helpful response you can give here. Be prepared to talk about why you have a variety of jobs listed over a short(ish) amount of time.DON’T make stuff up.If you’re asked about the jobs you’ve listed on your resume, be honest. You don’t have to give every gory detail about why you left a particular job, but if you stick to the broad outlines you should be okay. For example: I was let go due to a company restructuring at XYZ Corp, and it wasn’t until I landed at the Elite Agency the following year that I felt like I was back on t rack, professionally.It’s okay to admit that you left jobs in the past because they weren’t a great fit for your professional goals, but be sure to reiterate that you see this current opportunity as having long-term potential.DO consider revising your resume to edit out some job change details.Do you really need every single one of your jobs on there? If you have entries on your resume that lasted less than a year, think about whether that job really adds relevance to your history. If you’re not using anyone from that job as a reference and it wasn’t a major cornerstone of your relevant experience, then consider dropping it.For example, this block of your resume†¦Edgy.com Marketing Coordinator, March 2010 – February 2012 Whirlwind Inc. Marketing Coordinator, February 2012 – November 2012 MakeAMatch.com Social Media Director, November 2012 – June 2014†¦could be narrowed down to this:Edgy.com Marketing Coordinator, 2010 â€⠀œ 2012 MakeAMatch.com Social Media Director, 2012 – 2014This way, you’ve smoothed over an interim job that looks like an odd blip, without leaving a gap. This can also avoid awkward explanations about why you left that middle job so soon.If this question comes up in your interview, take heart- it’s not necessarily a dealbreaker. It’s a conversational opening to give context and explain how those jobs turned you into the stellar candidate you are today.

The valuation of the National Grid company Assignment

The valuation of the National Grid company - Assignment Example The reason behind the selection of the model can be explained with the help of the following advantages National Grid Company Plc is a multinational company headquartered in London. The primary business includes the supply of electricity and gas utility. The company is listed both in London Stock Exchange and FTSE 100 index. It is categorized under the diversified utilities industry. The company has 20th largest primary listing on London stock exchange. The company also has the secondary listing on NYSE (Hoover, 2011). The market price on October 1st 2012 was  £624.68(closing price of London stock exchange on Oct 1st 2012) (yahoofinance, 2015).Comparing the market price with the intrinsic value calculated using the residual income model above shows that the Stock of National Grid Plc is undervalued as compared to the intrinsic value. The rationale for the stable long term growth rate of 0.05% was that the National Grid is expected to reach the stable level of supply requirement of gas in UK because in the beginning of 2015, which shows minimum shortfall of 15mcm in London, which can be managed easily afterwards through the flows from Norway and Britain with the lingled pipeline. National Grid is in the process to further improve the supply side by the end of 2015, which may lead to the stabilized phase of National Grid Plc (Reuters, 2015). Therefore, after 2015 and onwards the growth in retained earnings are expected to be minimal i.e. around 0.05%. On May 1st 2015, National Grid Stock has reached at the level of 886.30 which is slightly overvalued from the intrinsic value calculated as on 1st October 2012. Therefore, it can be implied that the price of National Grid Stock is mean

Exporing the Social Application and Consequences of Eugenic Theory Essay

Exporing the Social Application and Consequences of Eugenic Theory Using Wilde's The Picture of Dorian Gray and Wells' Time Machine - Essay Example , ought to reproduce according to scientific principles to generate the best possible genetic pool†¦Eugenicists regarded their movement as a rational and humanitarian effort to improve the human condition (Barrett 497). However, the eugenics movement led to the policies adopted by Hitler and the Nazis in their genocide of the Jewish people. Germany is not the only country to have a history of eugenics in official policy; the United States sterilized many people with mental handicaps in the 1920’s under the ideal of improving the human race. The genocide of World War II and the sterilization of mentally handicapped people are examples of extreme and direct eugenic policies. There are, however, less direct ways in which eugenics is implemented, such as through social classes. People of an upper class refusing to associate and mix with people of a lower class keeps these social classes genetically separate. Such an idea can be found in The Picture of Dorian Gray by Oscar Wilde. H.G. Wells, however, attempts to show the consequences of implementing such a eugenics policy in his novel The Time Machine. In viewing these works together, we can see how Wells was responding to the sort of ideas found in Wilde’s work and the negative consequences of such policies. The promotion of the separation between social classes can be seen most clearly by the title character Dorian Gray and Lord Henry Wotton. In specific, we can see how their attitudes towards Dorian’s involvement with the actress Sybil Vane and Dorian’s admittance to the murder of Basil Hallward most clearly states these ideas. These attitudes, though not directly advocating eugenics, clearly would lead to the fragmented society portrayed in Wells. Dorian falls in love with the actress Sybil Vane mostly because he finds her to be incredibly talented. In eugenics, it is believed that talent is genetically linked (Field 3), so since he found her so talented she was acceptable as a mate, even

Eisenhower and U.S. Policy in Southeast Asia Essay

Eisenhower and U.S. Policy in Southeast Asia - Essay Example Vietnam policy under Eisenhower can be summed up with two headings. First, a reluctance to actively go to war in Vietnam using the full power of the American military attack force, in spite of the fact that Eisenhower acknowledged the Communist threat from China in Southeast Asia. This reluctance created domestic political friction within the Republican Party and cause a split between those who fiercely opposed Communism and favored full-scale war with Vietnam and Eisenhower, who held back for both external and internal reasons.Secondly, Eisenhower’s precedence led future Administrations to the focus on air attacks rather than directing the attack on land forces. Once the U.S. finally invaded militarily, this policy created initial setbacks in the war as the Vietnamese showed their superior land power that later led to the defeat and withdrawal of American forces. Because the Vietnamese were able to hide in the jungles and sustain minimal damage, air attacks were ineffective a nd the policy to send in limited land forces – a policy rooted in the Eisenhower era -- proved unwise because the strength of the Vietnamese was in their guerilla land forces and they would very clearly demonstrate to the Americans – just as they had to the French – that the Vietnamese would not be defeated on land.Eisenhower’s policy on Vietnam is best revealed by two significant events. The first event established the political framework for his policy and that was Eisenhower’s famous domino theory.... Secondly, Eisenhower's precedence led future Administrations to the focus on air attacks rather than directing the strength of the attack on land forces. Once the U.S. finally invaded militarily, this policy created initial setbacks in the war as the Vietnamese showed their superior land power that later led to the defeat and withdrawal of American forces. Because the Vietnamese were able to hide in the jungles and sustain minimal damage, air attacks were ineffective and the policy to send in limited land forces - a policy rooted in the Eisenhower era -- proved unwise because the strength of the Vietnamese was in their guerilla land forces and they would very clearly demonstrate to the Americans - just as they had to the French - that the Vietnamese would not be defeated on land. Eisenhower's policy on Vietnam is best revealed by two significant events. The first event established the political framework for his policy and that was Eisenhower's famous domino theory. The second event that revealed how his policy would be carried out is revealed in the domestic and international debate over U.S. intervention as the French were being defeated at Dienbienphu in 1954. On April 7, 1954, President Eisenhower held a press conference during which he was asked to comment "on the strategic importance of Indochina to the free world" (Williams, et al: 156). The President responded with the analogy of a "falling domino." He said, "You have a row of dominoes set up, you knock over the first one, and what will happen to the last one is the certainty that it will go over very quickly. So you could have a beginning of disintegration that would have the most profound influences." He went on to say, "But when we come to the possible sequence of events, the

Compare and Contrast the theme of Good verse Evil in the two short Essay

Compare and Contrast the theme of Good verse Evil in the two short stories Barn Burning by William Faulkner and good Old Country People by Flannery O'Connor - Essay Example In both these stories, there is a struggle between good and evil but the outcome of the struggles differ from one another. The story Barn Burning is about the youngest son, Sartoris Snopess struggle of trying to do what is right for his family, against the wishes of his own father, Abner Snopes during the post Civil War period. Sartoris or Sartys wish to keep his family together is tested in the beginning of the story itself. When his father Abner was charged for arson, he knows that his father is wrong. But, Abner by constantly reminding him of the importance of family elicits a favorable response from him. He tells Sarty, "You got to learn to stick to your own blood or you aint going to have any blood to stick to you." (Faulkner). That is, Abner instills in Sarty that only if an individual is loyal to the family, even if it is right or wrong, he will in turn get familys help in needy times. But, in the course of the story Sarty feels an aversion towards his father because of his wrongs and violent behavior. Abner exhibits violence towards Sarty and also others who questions his authority. Sarty descri bes his father as: "There was something about his wolf-like independence" (Faulkner). So, the whole family including Sarty and his sisters dislike him. The main theme of Barn Burning is Sartys desire to stand by good and fight the evil which is represented by his wicked father. That is, when his father was bent on burning down Major de Spains barn, Sarty reveals to him about his fathers intentions, thereby leading to his fathers death and victory of good over evil. The theme of good verse evil is depicted in the story through Sarty’s struggle between loyalty for his family and morality. Similarly, the story Good Country People presents the theme of good verse evil. The protagonist of the story, Hulga is a thirty two year old woman. She had lost one leg in an accident

Report Essay Example | Topics and Well Written Essays - 1000 words - 10

Report - Essay Example Another reason why the people chose this kind of set-up is because of fast delivery of the item that they will be buying – they can immediately possess or take-home their purchased item(s). On the other hand, purchasing good quality products is also one of the concerns of the target market, and that is the area where Cash Computer Supplies is at par with its competitors. Cash Computer Supplies’ first year operations profited a low income because their market or buyers are very limited. The company only markets to the students of Memorial University and due to the University’s high turnover of students, it is hard to maintain regular customers on the student market segment. Closing down the business because of the above reason is not the solution to take because the company has a real potential in pioneering and leading the mail-order computer supply industry in Newfoundland. And also, opening up a retail store as a means to combat their competitors head-to-head is not a good option as well as this will only add them up overhead costs and carrying costs on their inventory. Cash Computer Supplies has the potential to compete in the computer supply industry in Newfoundland, it only needs a little re-organizing within the company management to be able to sustain and increase their market share. The several recommendations which are considerable are as follows: Continue on with the business, closing it down because of the unfavorable result from the phone survey is not a viable option. The company has great potentials which can still be enhanced if careful studies on the internal and external SWOT will be conducted. First, the company must create and establish its own mission/vision as this will help and guide them follow a certain direction and achieve a successful long-term goal for Cash Computer Supply (see Exhibit 1). By having a mission/vision, just like all other successful companies including their

Compare and Contrast the theme of Good verse Evil in the two short Essay

Compare and Contrast the theme of Good verse Evil in the two short stories Barn Burning by William Faulkner and good Old Country People by Flannery O'Connor - Essay Example In both these stories, there is a struggle between good and evil but the outcome of the struggles differ from one another. The story Barn Burning is about the youngest son, Sartoris Snopess struggle of trying to do what is right for his family, against the wishes of his own father, Abner Snopes during the post Civil War period. Sartoris or Sartys wish to keep his family together is tested in the beginning of the story itself. When his father Abner was charged for arson, he knows that his father is wrong. But, Abner by constantly reminding him of the importance of family elicits a favorable response from him. He tells Sarty, "You got to learn to stick to your own blood or you aint going to have any blood to stick to you." (Faulkner). That is, Abner instills in Sarty that only if an individual is loyal to the family, even if it is right or wrong, he will in turn get familys help in needy times. But, in the course of the story Sarty feels an aversion towards his father because of his wrongs and violent behavior. Abner exhibits violence towards Sarty and also others who questions his authority. Sarty descri bes his father as: "There was something about his wolf-like independence" (Faulkner). So, the whole family including Sarty and his sisters dislike him. The main theme of Barn Burning is Sartys desire to stand by good and fight the evil which is represented by his wicked father. That is, when his father was bent on burning down Major de Spains barn, Sarty reveals to him about his fathers intentions, thereby leading to his fathers death and victory of good over evil. The theme of good verse evil is depicted in the story through Sarty’s struggle between loyalty for his family and morality. Similarly, the story Good Country People presents the theme of good verse evil. The protagonist of the story, Hulga is a thirty two year old woman. She had lost one leg in an accident

How Does a Cookie Work Assignment Example | Topics and Well Written Essays - 4000 words

How Does a Cookie Work - Assignment Example Sometimes, the websites also update the cookies in order to customize the site according to the preference of the users. For example, a user visiting eBay might be shown with a range of fitness equipment if he has searched for such equipment in the past. The sight might also welcome the user by name while recommending fitness equipment. Another example of a website which tracks through cookies is DoubleClick. This site develops a repertory of the user by tracking online behavior and purchases. However, the user’s names and addresses cannot be directly obtained from cookies. These can be obtained only if the user has registered himself on the website by giving personal information. Data from cookies and other analysis tools can be used by the online sites to track a visitor. Moreover, this data can be combined with other data collection methods such as offline surveys to build a user’s profile. The cookie text files are embedded on the hard disk of the visitor. When the user returns, tracking ID of the visitor is requested from the cookie and the data stored on the websites’ servers is accessed. In this way, the customized data can be shown to the visitor. All these technology advancements come with some moral implications. The cookies, in particular, are used by the websites to formulate electronic dossier of the visitors with complete information regarding their purchasing habits and online surfing behavior. This is called profiling. For example, DoubleClick offers its partners detailed information or profile of its visitors so that other websites can target customers with appropriate ad contents. Similarly, credit card purchases by the customers can make it possible for the companies to gain access to private or personal information of the visitors raising privacy concerns.

The Waiting Years Essay Example for Free

The Waiting Years Essay The passage from the â€Å"The Waiting Years† reveals a bleak look into the earlier years of Shirakawa, who had worked as a government official. It also reveals dedication of moving from moving from one assignment to another and how difficult that time period must have been for the family. When we hear about the winter months, and how Shirakawa’s mother died, we understand what a hardship the winter months must have been for them, and get a direct link between feelings of guilt on Shirakawas’s part, from the quote and his mother’s passing but we also learn the importance of work and family loyalty. The family crest description offers a deep respect for the family members when the author describes the shrine, concealed in a black lacquer safe, emblazoned with the family crest in gold and it demonstrates a wonderful respect for the family member who had earlier passed on, when the passage speaks about the custom. Tomo acted in a very responsible manner, and it seemed that she had no other choice, but to keep a keen eye on the family property and she was going to do so and hear what she need to know with her own ears. Tomo had taken on the custom of dealing with all business matters concerning the rent on the houses and the land in this Buddhist retreat, tuck away at the back of the house. We also learn that there was more land that belonged to the family, and they had an acre or so each, which brought in a lot of money for the family and we understand that she had to watch out for those who defaulted on the property .

Conceptual Art Movement Characteristics

Conceptual Art Movement Characteristics Conceptual art is based on the concept that art may exist solely as an idea and not in the physical realm. For supporters of this movement, the idea of a work matters more than its physical identity. While having its roots in the European Dada movement of the early 20th century and from the writings of philosopher Ludwig Wittgenstein, conceptual art emerged as a recognised art movement by the 1960s. When the expression concept art was coined in 1961 by Henry Flynt in a Fluxus publication, it was also adapted by Joseph Kosuth and the Art and Language group (Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, Ian Burn, Mel Ramsden, Philip Pilkington, and David Rushton) in England, in which the term took on a different meaning. This group saw conceptual art as a reaction against formalism and commodification and believed that art was created when the analysis of an art object succeeded the object itself and saw artistic knowledge as equal to artistic production. The term gained public recognition in 1967, after journalist Sol LeWitt used it to define that specific art movement. Conceptual artists began the theory by stating that the knowledge and thought gained in artistic production was more important than the finished product. Conceptual art then became an international movement, spreading from North America and Western Europe to South America, Eastern Europe, Russia, China, and Japan. All these movements came to a major turning point in 20th century art, when the theory that art is idea was reaching a summit debate, challenging notions about art, society, politics, and the media with the theory that art is ideas. Specifically, it was argued that this form of art can be written, published, performed, fabricated, or simply an idea. By the mid 1970s many publications about the new art trend were being written and a loose collection of related practices began to emerge. In 1970, the first exhibition exclusively devoted to Conceptual Art took place at the New York Cultural Centre. It was called Conceptual Art and Conceptual Aspects. Eventually the term conceptual art came to encapsulate all forms of contemporary art that did not utilize the traditional skills of painting and sculpture. Conceptual art also had roots in the works of the father of Dadaism, Marcel Duchamp, the creator of the ready-made. Duchamp had a key influence on the conceptualists for the way he provided examples of artworks in which the concept takes precedence. For example, Duchamps most famous work, Fountain (1917) shows a urinal basin signed by the artist under the pseudonym R.Mutt. When it was submitted to the annual exhibition of the Society of Independent Artists in New York it was rejected under the argument that traditional qualities of art making were not being reflected. It was a commonplace object and therefore exceedingly ordinary and not unique. Duchamps focus on the concept of his art work was later defended by the American artist Joseph Kosuth in his 1969 essay Art after Philosophy when he wrote All art (after Duchamp) is conceptual (in nature) because art only exists conceptually. Between 1967 and 1978 Conceptual art rose to its golden age, enabling distinguished conceptualists such as Henry Flynt, Ray Johnson, Robert Morris and Dan Graham to emerge on the art scene. During the influential period of conceptual art, other conceptualists such as Michael Asher, Allan Bridge, Mark Divo, Jenny Holzer, Yves Klein and Yoko Ono also established names for themselves. Conceptual art was intended to convey a concept to the viewer, rejecting the importance of the creator or a talent in the traditional art forms such as painting and sculpture. Works were strongly based on text, which was used just as much if not more often than imagined. Not only had the movement challenged the importance of art traditions and discredited the significance of the materials and finished product, it also brought up the question at the nature of the art form whether art works were also meant to be proactive. Conceptual art was the forerunner for installation, digital, and performance art, more generally art that can be experienced. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. Sol Lewitt, Paragraphs on Conceptual Art (1967) Conceptual art is art formed by ideas. It is a form of modern art of which the idea or ideas that a work conveys are considered its crucial point, with its visual appearance being of minor importance. As Sol Lewitt says, What the work of art looks isnt too important. No matter what form it finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Sol Lewitt Paragraphs on Conceptual Art (1967) Conceptual art challenges the validity of traditional art, the existing structures for making, publicizing and viewing art. Moreover it claims that the materials used and the product of the process is unnecessary. As the idea or ideas are of major significance, conceptual art consists of information, including perhaps photographs, written texts or displayed objects. It has come to include all art forms outside traditional painting or sculpture, such as installation art, video art and performance art. Because the work does not follow a traditional form it demands a more active response from the viewer is made to engage the mind of the viewer rather than his eye or emotions., in other words it Marcel Duchamp Fountain 1917 could be argued that the Conceptual work of art in fact only exists in the viewers mental participation. It doesnt really matter if the viewer understands the concepts of the artist by seeing the art. Once out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way. Sol Lewitt, Paragraphs on Conceptual Art (1967) Conceptual artists deliberately produced works that were difficult if not impossible to classify according to the old traditional format. Some consciously produced work that could not be placed in a museum or gallery, or perhaps resulted in no actual art object which hence emphasize that the idea is more important than the artifact. Conceptual art is not necessarily logical. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of idea the artist is free to even surprise himself. Ideas are discovered by intuition. . Sol Lewitt, Paragraphs on Conceptual Art (1967) Echoing the difficulty in classification as mentioned above, conceptual art cannot be defined in terms of any medium or style. Rather, it can be defined in the way it questions what art truly is, a piece of conceptual art is recognized in one of the four forms: a readymade, a term devised by Duchamp through his piece Fountain. (photo) Joseph Kosuths One and Three Chairs 1965 Traditionally, an ordinary object such as a urinal cannot be thought to be art because it is not created by an artist or possesses any meaning of art, it is not unique, and it possesses hardly any probable visual properties of the traditional, hand-crafted art object; an intervention, in which image, text or object is positioned in an unpredicted context, hence rousing awareness to that context: e.g. the museum or a public space; written text, where the concept, intention or exploration is presented in the form of language; documentation, where the actual work, concept or action, can only be presented by the evidence of videos, maps, charts, notes or, most often, photographs. Joseph Kosuths One and Three Chairs (photo) is an example of documentation, where the real work is the concept What is a chair? How do we represent a chair? And hence What is art? and What does it represent?. The three elements that we can actually see (a photograph of a chair, an actual chair and the definition of a chair) are secondary to it. They are of no account in themselves. It is a very ordinary chair, the definition is photostatted from a dictionary and the photograph was not even taken by Kosuth it was untouched by the hand of the artist. If a work of conceptual art begins with the question What is art? rather than a particular style or medium, one could argue that it is completed by the intention This could be art: this being presented as object, image, performance or idea revealed in some other way. Conceptual art is therefore reflexive: the object refers back to the subject, it represents a state of continual self-critique. Being an artist now means to question the nature of art The function of art as a question, was first raised by Marcel Duchamp The event that made conceivable the realization that it was possible to speak another language and still make sense in art was Marcel Duchamps first unassisted readymade. With the unassisted readymade, art changed its focus from the form of the language to what was being said. Which means that it changed the nature of art form from a question of morphology to a question of function. This change one from appearance to conception was the beginning of modern art and the beginning of conceptual art. All art (after Duchamp) is conceptual (in nature) because art only exists conceptually Artists question the nature of art by presenting new propositions as to arts nature. Kosuth, Art After Philosophy (1969) Hence runs the famous passage of the serial essay first published in Studio International in 1969 in Art After Philosophy, in which Kosuth set out his stall for purely conceptual art. In it we find transition from the negative questioning inherent in the aesthetic indifference of Duchamps readymades to the positive investigations of Kosuths distinct brand of Conceptual art: a transition from the wide-eyed surprise of This is art? to a new way of claiming This is art. Before standing a chance of entering into the general vernacular, art first must be conceived, then executed and lastly presented to a public, however small. In the 19th century, in France, the Impressionists were all innovative artists imposing themselves on reluctant audience. The same applies to the great art movements of this era. They consisted of artists producing works that the public for art neither wanted or anticipated, but were forced to gulp down because it posed issues of innovation which could not be avoided. The reluctant audience included collectors and critics, and even older artists, who inevitably feel their own pre-eminence being threatened. Who, after all, is not made to feel uncomfortable by the unknown art form, as for the matter in all things? It is normal and effortless to fall in love with what is preconceived to be good, beautiful, right and proper. We now all love the Impressionists because we have come to acknowledge and therefore feel comfortable with th em. But the first and foremost task of the new art is to instigate a sense of comfort. In autumn 1997, the show Sensation subtitled Young British Artists from the Saatchi Collection was mounted at the Royal Academy. It was one of the first to focus on shock art. According to the publicity leaflet, Sensation was both an attempt to define generation and to present Charles Saatchis singular vision in an established public forum. On display were 100 works by 42 artists selected from the Saatchi collection. Works that evoked powerful visual and emotional reactions were selected. With the figure of attendance going over 285,000 Sensation undoubtedly created sensation. Among all the artists shown, Damien Hirst was undoubtedly the most successful and sought after at present. Having several records of the highest ever paid living artist, Hirsts works creates a phenomenon in the current art market. Hirsts work falls into seven categories. The first group are his Natural History series, the tank pieces which he calls incorporates dead and sometimes dissected creatures such as, cows and sheep as well as sharks preserved in formaldehyde. Hirst describes these as suspended in death and as the joy of life and inevitability of death. A pickled sheep, said to have sold for 2.1 million, followed by the first shark. The second group is Hirsts long-running cabinet series, where he displays collections of surgical tools or pill bottles usually found in pharmacy medicine cabinets. The Blood of Christ, was paid $3 million, consists of a medicine cabinet installation of paracetamol tablets. In June 2007 a record was set at Sothebys London for the highest price paid at auction for a work by any living artist, $19.1 million for Hirsts Lullaby Spring, a cabinet containing 6136 handcrafted pills mounted on razor blades. Spot paintings were Hirsts third long-running production. Usually named after pharmaceutical compounds, these paintings consist of fifty or more multicoloured circles painted onto a white background, in a grid of rows and columns. The reference to drugs refers to the interaction between diverse elements to create a powerful effect. The spot paintings were produced by assistants. Hirst tells them what colours to use and where to paint the spots, and he does not touch the final art, only to affirm it as a finished product of art with his signature. In May 2007 at Sothebys New York, a 76 x 60in spot painting sold for $1.5 million. The fourth category, spin paintings, are painted on a spinning potters wheel. One account of the painting process has Hirst throwing paint at a revolving canvas or wood base, wearing a protective suit and goggles, standing on a stepladder, shouting turpentine or more red to an assistant. Each spin painting represents the energy of random. The fifth category is butterfly paintings. In one version, tropical butterflies mounted on canvas which has been painted with monochrome household gloss paint. In another version, collages are made from thousands of mutilated wings. The mounted butterflies are intended as another comment on the theme of life and death. Some of Hirsts art incorporates several categories; together with publicity-producing titles, like Isolated Elements Swimming in the Same Direction for the Purposes of Understanding, a cabinet of individual fish in a formaldehyde solution combines stuffed creatures with the cabinet series, but has the same intention as the spot paintings, to arrange colour, shape and form. The sixth category was a collection of 31 photorealist paintings, first shown at the Gagosian Gallery in New York in March 2005. Most canvases depicted violent death. Hirst pointed out that the artworks were, like the shark and the spot and butterfly paintings, produced by a team of assistants. Each painting was done by several people, so no one is ever responsible for a whole work of art. Hirst added a few brushstrokes and his signature. The seventh category was the much-publicized project a life-size cast of a human skull in platinum, with human teeth, from an eighteenth-century skull. Encrusted with 8,601 pave-set industrial diamonds with a total weigh of 1100 carats, the cast is titled For the Love of God, the words supposedly uttered by Hirsts mother on hearing the subject of the project. It was sold for  £50 million. Hirst says that For the Love of God is presented in the tradition of memento mori, the skull depicted in classical paintings to remind us of death and mortality. And most recently, the collection of 25 works, known as The Blue Paintings, are predominantly white images painted on dark blue and black backgrounds, with pictures featuring iguanas, shells, beetles and a still life of a vase of roses, entitled Requiem, White Roses and Butterflies. The collection also includes two self-portraits, two triptychs and several paintings featuring skulls, one of Hirsts favourite motifs. All the paintings were produced by Hirst himself, without the help of assistants who created some of his most famous pieces. The illustrious Australian art critic Robert Hughes, however, isnt buying the hype. This is partly because Hughes who presents The Mona Lisa Curse, a one-off polemic broadcast on Channel 4 this Sunday considers Hirsts work flashy and fatuous. Indeed he has described Hirsts formaldehyde tiger shark, The Physical Impossibility of Death in the Mind of Someone Living, a tacky commodity, and the worlds most over-rated marine organism. The critic said commercial pieces with large price tags mean art as spectacle loses its meaning and identified the British artists work as a cause of that loss. The idea that there is some special magic attached to Hirsts work that shoves it into the multimillion pound realm is ludicrous, Hughes says. [The price] has to do with promotion and publicity and not with the quality of the works themselves. It is not the first time that Hughes has made public his contempt for Hirsts art. Four years ago making a speech at the Royal Academy of Arts annual dinner, he said: A string of brush marks on a lace collar in a Velazquez can be as radical as a shark that an Australian caught for a couple of Englishmen some years ago and is now murkily disintegrating in its tank on the other side of the Thames. Brian Sewell, art critic of the London Evening Standard, was appalled by Hirsts Turner prize-winning work. I dont think of it as art, he said. I dont think pickling something and putting it into a glass case makes it a work of art It is no more interesting than a stuffed pike over a pub door. Indeed there may well be more art in a stuffed pike than a dead sheep. I really cannot accept the idiocy that the thing is the thing is the thing, which is really the best argument they can produce. Its contemptible. Even at his most recent show of his Blue Paintings at the Wallace Collection early reviews for the show were not good. The Guardian said that at its worst, Hirsts drawing just looks amateurish and adolescent, and The Independent dismissed the paintings as not worth looking at. Hirsts work has drawn criticism from all quarters. Predictably, his work has been ridiculed in the tabloid press. When Hirst won the Turner prize in 1995 with Some Went Mad, Some Ran Away, an exhibition he curated and which featured many of his works including Mother and Child Divided (cow in formaldehyde) and Away from the Flock (sheep in formaldehyde) the Conservative politician Norman Tebbit wrote in the Sun: Have they gone stark raving mad? The works of the artist are lumps of dead animals. There are thousands of young artists who didnt get a look in, presumably because their work was too attractive to sane people. Modern art experts never learn. The Daily Mails verdict on the 1999 Turner Prize also referred to Hirsts work: For 1,000 years art has been one of our great civilising forces, the newspaper commented. Today, pickled sheep and soiled beds threaten to make barbarians of us all. Reviewing Hirsts works and the criticisms made on them engage us in discussion about whether the art work he produced command the power and high prices deserved because it is good, or because it is branded? Is the artist famous because of his work, because the public was awed by the shock value of his work, because Charles Saatchi first made him famous with the high price reported in Physically Impossibility, or is he famous for being famous? Another question is perhaps if Hirst is famous because he, as an artist, or took on the role as a social commentator, who offers a profound meditation on death and decay? All these questions clearly imply that Hirsts work and his talent for marketing and branding cannot be ignored. His brand creates publicity, and his art attracts people who would never otherwise view contemporary art. What must not be overlooked is the originality of Hirsts concept. He shaped shared ideas and interests quickly and easily, his work developing during the decade to reflect changes in contemporary life. He made important art that contained little mystery in its construction by relying on the straightforward appeal of colours and forms. His work is striking at a distance and physically surprising close up. Hirst understood art in its most simple and in its most complex. He eliminated abstractions mystery by reducing painting to its basic elements. During the time when art was a commodity, he made spot paintings saucer-sized, coloured circles on white ground that became luxury designer goods. His art was direct but never empty. In the later spin paintings, Hirst emphasized a renewed interest in hands-on process of making, which is referred as the hobby-art technique, drawing attention to the accidental and expressive energy of the haphazard. Like the spot paintings, the cabinet of ind ividual fish suspended in formaldehyde worked as an arrangement of colour, shape and form. Overcoming an initial distrust of its ease of assembly, the work came to be seen in the popular mind as a symbol of advanced art, people were mesmerized by how stunning and beautiful ordinary things of the world could be created and seen. Hirst creating paintings brought together the joy of life and the inevitability of death. A scene of pastoral beauty became one of languid death: in A Thousand Years, flies emerged from maggots, ate and died being zapped by the insect-o-cutor; in In and Out of Love, newly emerged butterflies stuck to freshly painted monochromes. Soon the emphasis changed from an observation of creatures dying to the presentation of dead animals. A shark in a tank of formaldehyde presented a once life-threatening beast as a carcass: it looks alive when its dead and dead when its alive. Hirst was at his most inventive by elevating the ordinary, the typical and the everyday with his fascination. Art is about experimenting and ideas, but it is also about excellence and exclusion. In a society where everyone is looking for a little distinction, its an intoxicating combination. The contemporary art world is what Tom Wolfe would call a statusphere. Its structured around nebulous and often contradictory hierarchies of fame, credibility, imagined historical importance, institutional affiliation, education, perceived intelligence, wealth, and attributes such as the size of ones collection. Great works do not just arise; they are created not just by artists and their assistants but also by the dealers, curators, critics, and collectors who support the work. Todays rapid pace of [artistic] innovation encourages short-term speculation, and speculation, in turn, enables the market to absorb new directions in art. Artistic innovation feeds speculation and vice versa. Moulin, The French Art Market Why has art become so popular? In the first place, we are more educated than before, and weve developed appetites for more culturally complex goods. Ironically, another reason why art has become so popular is that it is so expensive. High prices command media headlines, and they have in turn popularized the notion of art as luxury goods and status symbols. In a digital world of cloneable cultural goods, unique art objects are compared to real estate. They are positioned as solid assets that wont melt into air. Auction houses have also courted people who might previously felt excluded from buying art. And their visible promise of resale has endangered the relatively new idea that contemporary art is a good investment and brought greater liquidity to the market. But the art market also affects perception. Many worry that the validation of a market price has come to overshadow other forms of reaction, like positive criticism, art prizes, and museum shows. Art needs motives that are more profound than profit if it is to maintain its difference from and position above other cultural forms. Nevertheless, collectors demand for new, fresh and young art is at an all-time high. But as Burge (Christopher Burge, Christies chief auctioneer) explains, it is also a question of supply: We are running out of earlier material, so our market is being pushed closer to the present day. We are turning from being a wholesale secondhand shop to something that is effectively retail. The shortage of older goods is thrusting newer work into the limelight. Another Sothebys specialist explains, Our lives are constantly changing. Different things become relevant at different times in our lives. We are motivated by our changing sensibilities. Why can that not be applied to art as well? Art used to embody something meaningful enough to be relevant beyond the time at which it was made, but collectors today attracted to art that holds up a mirror to our times and are too impatient to hang on to the work long enough to see if it contains any timeless rewards. Experts say that the art that wells mos t easily at auction has a kind of immediate appeal or wow factor. On one level, the art market is understood as the supply and demand of art, but on another, it is an economy of belief. Art is only worth what someone is willing to pay for it is the operating clichà ©. Although this may suggest the relationship between a con artist and his mark, the people who do well believe every word they say at least at the moment they say it. The auction process is about managing confidence on all levels confidence that the artist is and will continue to be culturally significant, confidence that the work is a good one, confidence that others will not withdraw their financial support. Amy Cappellazzo from Christies explains what kind of art does well at auctions. Firstly, people have a litmus test with colour. Brown paintings dont sell as well as blue or red paintings. A glum painting is not going to go as well as a painting that makes people feel happy. Second, certain subject matters are more commercial than others: A male nude doesnt usually go over as well as buxom female. Third, painting tends to fare better than other media. Collectors get confused and concerned about things that plug in. Then they shy away from art that looks complicated to install. Finally, size makes a difference. Anything larger than the standard dimension of a Park Avenue elevator generally cuts out a certain sector of the market. These are just basic commercial benchmarks that have nothing to do with artistic merit. With such constraints from the art market, artists would tend to make art that fulfills the criteria to appeal in order to do well in auctions. Collecting is a powerful tactic for making sense out of the material world, of establishing trails of similarity through fields of otherwise undifferentiated material. The drive to acquire more things contains, orders and arranges peoples desires, creating an illusion of mastery through delineating a knowable space within that apparently endless universe of materiality. At whatever scale, collecting is informed by the desire to insure the owner against the inevitability of loss, forgetting and incompletion. (Cummings, N. Lewandowska, M., The Value of Things) Works of art, which represent the highest level of spiritual production will find favour in the eyes of the bourgeois only if they are presented as being liable to directly generate material wealth. Karl Marx on the notion of surplus value in Book IV of Captial When a branded collector like Charles Saatchi purchases an artists work in bulk, displays the work in his gallery, loans the work for display in other museums, or exhibits it in Sensation, the cumulative effect is to validate both the work and the artist. Each stage serves to increase the value of Saatchis own art holdings. Being described both as a supercollector and as the most successful art dealer of our times, Charles Saatchi himself responded, Art collectors are pretty insignificant in the scheme of things. What matters and survives is the art. I buy art that I like. I buy it to show it off in exhibitions. Then, if I feel like it, I sell it and buy more art. As I have been doing this for 30 years, I think most people in the art world get the idea by now. It doesnt mean Ive changed my mind about the art that I end up selling. It just means that I dont want to hoard everything forever. Nevertheless, his practice of buying emerging artists work has proved highly contagious and is arguably the single greatest influence on the current market because so many others, both veteran collectors and new investors, are following his lead, vying to snap up the work of young, and relatively unknown artists. He was also said to be capable of making or breaking an artist. However, his passion for art is not to be overlooked. In pursuit of established and new artists, Saatchi makes a point of visiting both mainstream and alternative galleries, artists studios, and art schools. Moreover, he did fall in love with works that were not saleable but still purchased them, for example, Hirsts A Thousand Years big glass vitrine holding a rotting cows head covered by maggots and swarms of buzzing flies and installation art like Richard Wilsons oil room [both purchased by Saatchi in 1990]. Perhaps Saatchis greatest legacy will be that he, more than any other, have been responsible for pitching modern and contemporary art into the British cultur al mainstream which he set out to achieve from the start. In 2005, British Artist Damien Hirsts work titled The Physical Impossibility of Death in the Mind of Someone living(photo) sold for $12 million dollars. People were asking the same question Why would anyone even consider paying this much money for a shark? Another concern was that while the shark was certainly a novel artistic concept, many in the art world were uncertain as to whether it qualified as art. The problem with conceptual art is that everyone has their own way of imagining it, based on their own fantasies, but perhaps it is not what they thought it is, it is relevant as long as it escapes the strict rules of painting, sculpture, and photography as they prevailed in the past. It thus takes paths that have no rules, where the principle of valorization is not or is only very slightly, based on art history. (Benhamou-Huet, The worth of art, 2008, p.95) But why so much money? What drives these collectors to invest astronomical sums of money as much or more than a working-class man earns in a lifetime in order to possess objects of intrinsic, nonmaterial value? American psychoanalyst Werner Muensterberger explored this quandary in his book Collecting: An Unruly Passion, in which he hints that these avidly amassed objects are like security blankets for grown-ups. The collector, not unlike the religious believer, assigns power and value to these objects because their presence and possession seem to have a modifying usually pleasure-giving function in the owners mental state. The unconscious reasons, then, for what we might call collectors security blankets are manifold. For some, the idea may be that the value of objects they buy will rub off on them. In this way, they may convince themselves that they can be somebody. Money itself is meaningless in the upper classes of the art world everyone has it. What impresses others is the o wnership of precious work. What the rich seemed to want to acquire is what economists call positional goods; possessions that prove to the world that they are really rich. And above all, art distinguishes you. Another part of the answer is that in the world of contemporary art, branding can substitute for critical judgment, and lots of branding was involved here. You are nobody in contemporary art until you have been branded. Saatchi Saatchi believes in global marketing, i.e., the use of a single strate

Butler, Tennessee :: Observation Essays, Descriptive Essays

The town of Butler is not a very well known place, but I would not trade anything in the world for it. In this quaint little town one will find a wide variety of year round activities and traditional festivals. I have traveled to many places in our nation and to other nations, but I have yet to find a place that is as dear to me as my hometown. Most of the inhabitants of Butler will tell you the same thing, whether they have traveled or not. Butler has such a picturesque landscape that it is often the subject of many photographers. The history of this town is also one of the qualities that make it such a wonderful and unique place. The friendly people, various activities, such as water sports hiking, and the wonderful landscape in the town of Butler, TN, make it one of the premier vacation spots and home sites in the nation. Butler is located on the very northeastern tip of Tennessee. Approximately 40 miles from the ETSU campus on Highway 67, one will first cross the Butler Bridge overlooking Watauga Lake. Then about a mile later the road begins to descend into the little town of Butler. Most of my family has lived in Butler all of their lives, so they know first hand the history of Butler. This town’s history is very unususal; Watauga Lake now covers the previous location of Butler. The TVA project moved this town from what used to be a flood-prone area to a higher elevation. Butler has its own museum devoted to this move. It contains old artifacts, pictures old Butler before and after the lake was drained, and many handmade quilts dating back to the 19th Century. The Butler Museum is located at Babe Curtis Park at the end of McQueen Street in Butler. Entire books have been written on the subject of old Butler such as Lost Heritage by Russ Calhoun Sr. Beautiful mountains with small creeks, a pristine lake, and rolling grassy valleys make the landscape of this beautiful place. Regardless of the time of year one will always find breathtaking landscape in the town of Butler, except for the mid winter when all of the leaves are off the trees and they look like skeletons, which can be very depressing. The natives of Butler are people who love their land and tend to stick with traditions.

Alfred Lord Tennyson †The Charge Of The Light Brigade Essay

Discuss the poets’ different attitudes to war, as presented in The Charge Of The Light Brigade and Exposure A more experienced poet known as Alfred Lord Tennyson wrote the Charge Of The Light Brigade. He was born in 1809 and died of old age in 1892. He wrote The Charge Of The Light Brigade in response to a Newspaper Report from the Times, which was written by W.H.Russel, so his understanding of the war was from second hand knowledge, he was removed from the action. Unlike Wilfred Owen, who wrote Exposure. Owen was born in 1893 and died at a very young age in 1918. The reason for his young death was, he was a participant in the war and died during battle, so his was writing from his own experiences. Although Owen was a less experienced writer, his poems only really became known after his death, as he had a less authorative voice. The main similarities between the two poems is that they are both writing about wars, however both wars are from a different time and so are fought in completely different ways. Tennyson wrote The Charge Of The Light Brigade about the Crimean war, which was originally between France and Russia but Britain joined because she worried about her security. The Crimean war was fought on horseback, which meant that it would be over fairly quickly. I think this because it would have been one charge, this battle would then have gone on until all the soldiers in one side were injured or dead. He was very far removed from the action, as he didn’t even witness the war, so his poem written is third hand. Where as Owen wrote Exposure from first hand experience. For these reasons I may be able to place more value on Wilfred Owen’s poem. The First World War was fought over several years and the soldiers spent a lot of that time in trenches. The mood, tone and language in each poem are completely different from the other. In The Charge Of The Light Brigade the mood is very light and gives the feeling that all the soldiers, were excited about what they were doing. This is helped by the fact that Tennyson doesn’t go into the atrocities of the war, instead writing of â€Å"When horse and hero fell†. Here he is basically saying that they have been shot down, but the way Tennyson puts it, it’s like it’s not that dramatic, when it is. In The Charge Of The Light Brigade it doesn’t really distinguish those soldiers that died in battle and those that lived, â€Å"Then they rode back, but not the six hundred†. This is what I think plays a big part in making the mood of the poem so light, as it avoids death, which is upsetting. Where as in Exposure the mood is very depressing and dismal as Owen is constantly saying how the soldiers were being attacked in different ways. He mentions the weather attacking them, which can be seen from â€Å"in the merciless iced winds that knive us†. As well as things like the barbed wire in front of the enemies trenches, â€Å"Like twitching agonies of men amongst its brambles†. However the poem doesn’t mention soldiers attacking them, which may indicate that the weather and other things were more threatening and chilling, then the enemy. In Exposure Owen speaks of the soldiers’ pain and this is what I think makes the poem so disheartening to read, because he is trying to show how war causes suffering and reduces the soldiers. Unlike Tennyson who is trying to honour and glorify the soldiers and so making the poem seem more pleasant. However in some ways the poems are similar as the language used indicates that poets generalise and universalise all the men in the war. The Charge Of The Light Brigade is a lot more structured then Exposure. This is because in Tennyson’s poem he talks about the different stages of the battle, where as Owen doesn’t really mention battle, it’s more about the soldiers’ suffering. In The Charge Of The Light Brigade Tennyson goes through each stage of the battle, within each individual stanza. So in the first stanza the soldiers have been ordered to start their charge. The second stanza is quite an important part of the poem, as we discover that the soldiers had been given the wrong order. However because they are so disciplined and loyal to their country, no one questions it. Tennyson is trying to glorify and honour the soldiers so he simply says, â€Å"Not though soldiers knew, someone had blundered†. In the third stanza the soldiers are in range of the enemy’s guns and in stanza four, the soldiers are forced to turn back because so many men have been killed. Even though at this point the British soldiers are being defeated Tennyson emphasises their bravery. That takes the readers attention off the fact that they are losing so badly. An example of this is, â€Å"Sabring the gunners there†. The word sabring has been used very cleverly as it gives the reader the impression that the British soldiers were hacking away at the Russians, because Tennyson was writing the poem to honour The Light Brigade. In stanza five the British soldiers are still not out of danger despite turning back, as more Russians have come in behind them, so even more soldiers get killed. Stanza six is simply Tennyson reflecting on their bravery. In Exposure there isn’t such an obvious structure. In stanza one Owen talks about the soldiers being attacked by the weather and in stanza two they are being attacked by the enemy’s barbed wire and it goes on like this. The weather is continually being described in different ways, one very effective way is when Owen uses alliteration, † Dawn massing in the East her melancholy army†. There is no real progression to the poem because it mirrors what is going on in the war, as they are stuck in trenches. The rhythm in each poem is completely different form the other. The Charge Of The Light Brigade has a very lively and energetic feel to it, this is due to its incredibly fast pace. In contrast Exposure has a very slow rhythm like the progress of the war. However in the third stanza there is a change in pace and it picks up just a little bit. This is due to the rhythm sounding like the bullets being described in the stanza, â€Å"Sudden successive bullets streak the silence† like the shells being shot in The Charge Of The Light Brigade. But the pace returns to its gloomy rhythm in the next stanza. In The charge Of The Light Brigade the rhythm of the poem sounds very much like the rhythm the galloping horses would make, this can be seen from â€Å"Half a league, half a league onward, all in the valley of death rode the six hundred†. I also think that the discipline of the British soldiers shows in the discipline of the rhythm. Each poem gives a completely different image of war, because they were written for different purposes and from different points of view. In The Charge Of The Light Brigade Tennyson uses a lot of similes and metaphors to create tension in the poem. He also uses similes to give the reader a better image of the battle and to show how heroic the soldiers were. Where as in Exposure Owen uses similes and metaphors to show how much the soldiers around him have been reduced, and the only thing they have to keep them going is happy memories. In The Charge Of The Light Brigade the first noticeable and most repeated image is â€Å"All in the valley of death†. I think that Tennyson choose to describe the charge like this because death is a very moving word. The word â€Å"all† unites the soldiers and due to the image of the extreme danger, given by the word death, shows the soldiers bravery, it also gives the idea of a big sacrifice. Not only do we get the feeling of danger, but Tennyson also discreetly describes sounds, through the use of onomatopoeia, â€Å"Volleyed and thundered†. I think that this is really clever, as it adds realism to the poem. When Tennyson uses alliteration, the words he uses sound like the hissing of the artillery on the battlefield. An example of this is â€Å"Stormed at with shot and shell†. Tennyson uses euphemism to describe the British soldiers killing the enemy; he uses words like â€Å"flashed† and â€Å"sabring†. The British soldiers are basically killing people, but the way Tennyson describes it, it’s as if they are doing it elegantly and almost gracefully. All of these images give the main picture that the war was glorious. The reason we get this image of the war is because Tennyson hides the realities behind euphemism, unlike Owen who shows the war for what it really is. Right from the first word â€Å"our† we immediately know that it has been written from the point of view of the narrator. Owen gives a very chilling image to the war because he has experienced it, he can say what he has seen and felt. The use of personification shows how the soldiers looked on the outside: â€Å"Attacks once more in ranks, on ranks of shivering grey†. Here Owen is talking about the weather attacking the soldiers, because the soldiers looked so grey and dull. Owen also adds â€Å"shivering† to the sentence, which could show that not only were they shivering because they were cold, but because they feel cold in their hearts like they’ve been forgotten. Owen uses alliteration to emphasise that the men have no luxuries, unlike Tennyson who used alliteration to show the excitement of the war. In Exposure the uses of alliteration gives the reader the image that it’s as if the weather is trying to find them to put them through more distress, this can be seen from â€Å"Pale flakes with fingering stealth come feeling for our faces†. However I think Owen saves the most moving image for the end, unlike Tennyson who reflects on the heroism of the men during the battle, Owen shows just how terrible it is. In the final stanza Owen creates a very strong image, â€Å"Pause over half-known faces. All their eyes are iced†. To begin with it seems as though Owen is talking about the dead soldiers eyes being iced, because they are dead, but he is also talking about all the soldiers who are still alive and have to look at them. Owen is saying that in order to cope with what the soldiers have to face out in the trenches their eyes have also iced over, as they have no feeling any more. In Exposure we get the impression that it is probably easier to be dead, as you have gone to a better place and the pain and suffering stops, as soon as your spirit leaves your body. When I read Charge Of The Light Brigade I didn’t feel very much inside, because the images that were given through the use of personification and other things were glorious. In Exposure the image seemed very real, because the poet was really writing from the heart and it made me feel quiet and lonely inside. Exposure and The Charge Of The Light Brigade both use repetition to show the reader that there have been casualties in the war. In The Charge Of The light Brigade different words are repeated to highlight different things. To emphasise the courage of the charge Tennyson repeats, â€Å"Forward, the light brigade† and â€Å"The valley of death†, which gives the idea that there is no turning back. In stanza two, three lines begin with â€Å"their†. This is used to show the discipline of the soldiers, that not one of them is questioning the wrong order. At the end of the first three stanzas Tennyson is still repeating, â€Å"Rode the six hundred†, this use of repetition gives the idea that the soldiers are still alive. However the final line of stanza four, â€Å"Not the six hundred† shows that not all the soldiers were going to come back from the valley of death. In stanza five some of the lines from stanza three are repeated, â€Å"Cannon to the right of them†, this gives the idea that even though they are on their way back the danger still surrounds them. At the end of stanza five Tennyson has said, â€Å"Left of six hundred†. He is still repeating â€Å"six hundred†, but has changed the words in front of it, to give the idea that the number of losses was more then the number of survivors. Exposure doesn’t have has much repetition in as The Charge Of The Light Brigade, but it too has the majority of its repetition at the end of each stanza. The repetition of â€Å"But nothing happens† in three of the stanzas and the final stanza, give the image that the soldiers are almost waiting to die. The use of repetition in this ways indicates that they feel forgotten, because they have gone out to the trenches to do a job, and they are unable to do that job properly. In stanzas five, six and seven Owen repeats, â€Å"dying† at the end of each stanza. By doing this I get the impression that not only are the soldiers dieing because they are being attacked, but their spirits are dying as well as their love for things, it’s like they have lost themselves in the strong winds that surround them. So in both poems the use of repetition sums up the casualties of war, in Exposure they are shown in a more harsh way, then in The Charge Of The Light Brigade. Both poems are completely different in the way they portray the war, in that Exposure uses realism and The Charge Of The Light Brigade uses euphemism. The reason for there being such a lot of euphemism in The Charge Of The Light Brigade is because Tennyson wants to praise the soldiers. He also uses euphemism to hide behind the grim realities of life. A very good example of euphemism in the poem is, â€Å"Sabring the gunners there†. It is basically saying that the British soldiers were hacking away and killing the enemy, but it isn’t described like that because the aim of Tennyson’s poem was to honour the soldiers. The word â€Å"sabring† makes the British soldiers sounds elegant and sophisticated, as if they aren’t doing anything wrong. So in order to honour the Light Brigade Tennyson hides behind euphemism. In contrast Owen uses realism in his poem because he wants to show war for what it really is. In everything he says he is very blunt and relates even the simplest things to every day horrors. By using realism Owen shows the reader that the only thing the soldiers have to keep them going are memories, an example of this is, â€Å"Slowly our ghosts drag home: glimpsing the sunk fires glozed†. This emphasises that the soldiers have no luxuries and how now they take nothing for granted, because they now realise it isn’t always going to be there for them. The reason for The Charge Of The light Brigade using euphemism and Exposure using realism, is because each writer is trying to give a different image of the war, for different reasons using these methods. In conclusion both poems appear to be very similar when I first looked at them, however the only thing they have in common is that they are both about wars. The reason they only have this in common is for two reasons. The first reason is that both wars were completely different types of wars. The second reason and the most important, is that the writers show different attitudes towards war. In Charge Of The Light Brigade Tennyson wrote the poem to honour and glorify the soldiers that fought in the war. So the way he presents the poem, it’s as if Tennyson is saying that war is good thing to part of. I think the other reason for him putting such a positive image on the war was because he didn’t fight in it, therefore there are no feelings included in his poem. So because Tennyson approves of the soldiers loyalty there are no signs of irony. Where as in Exposure Owen, who fought in the war, is able to include feelings. Due to having such a horrible time in the trenches, these feelings are sad and seem painful, putting war in a completely different light. Unlike Owen, Tennyson believed that no good could come from war, and although Owen is against war Exposure isn’t an anti-war poem. However the one attitude that both writers show in their poems, is that you have to fight sometimes to preserve what is good.