Serving High-Tech and Internet Companies Essay Example | Topics and Well Written Essays - 1000 words

Serving High-Tech and Internet Companies - Essay Example An analysis of case data will follow as will a section on alternatives. The final section will conclude with recommendations and a summation of the information studied in this concise brief. Furthermore, we will conclude with answers to the questions found in the â€Å"CHECK IT OUT† and â€Å"A GLOBAL PERSPECTIVE† articles. We now turn to a brief introduction to the Forrester Research Company.   In today’s competitive high-tech world, Forrester Research (www.forrester.com)has staked out a claim for itself as a leader in market research provision and market data analysis. With offices in places as diverse as Australia and Dubai, Israel and South Africa, Forrester Research is headquartered in Cambridge, Massachusetts. Accordingly, this company has more than 1,800 clients around the world in the fields of marketing and informational technology, Forrester Research is presently traded on the US stock market (Nasdaq: FORR) and is a company which has exhibited tremendous potential and incredible growth in a short span of time. Forrester Research promotes what it calls the â€Å"Forrester Difference† and aims to be on the cusp of industry change. Thus, the solutions provided by Forrester are targeted toward marketing executives, strategic planners, and IT professionals to be at the forefront of technological change.   The major issues facing Forrester Research today include continued competitiveness in a changing market and the ability of this company to maintain its significance in the provision of market research to information technology companies. Can Forrester compete with the recent plethora of online survey companies which provide cash and a whole host of other incentives to get respondents? Does Forrester Research have an organizational strategy for revitalization?

How Is the Holocaust Represented in Films Essay Example for Free

How Is the Holocaust Represented in Films Essay ‘The Holocaust’ was the massacre of nearly six million Jews in parts of Europe controlled by Adolf Hitler and his Nazi party leading up to and during World War II. When the Nazi party first came to power in 1933 they began building on the anti-Semitist feelings in Germany; introducing new legislations that gradually removed the Jews from society such as the Nuremberg Laws which prohibited marriage or extramarital sexual intercourse between Jews and German citizens and required Jews to wear an armband with the Star of David on it so they could be identified as a Jew. Encouraged by the Nazi’s, people began to boycott Jewish ran businesses and in the November of 1938 they were openly attacked, these pogroms became known as ‘Kristallnacht’ which in German translates as: â€Å"the Night of Broken Glass† because of the vandalised shops and broken glass windows. During Kristallnacht over 7,000 Jewish shops and 1,668 synagogues (almost all of the synagogues in Germany) were destroyed and the official death toll is ninety-one although it is assumed to be much higher. In 1939, after the invasion of Poland, small areas of towns were sectioned off from the rest of the population where Jews and Romani were forced to live in confined and overcrowded spaces. These were known as ‘ghettos’. The largest was Warsaw Ghetto, in Poland (where ‘The Pianist’ was set), with over 400,000 people living within its walls. Although it contained at least 30% of the population of Warsaw it occupied only 2.4% of the citys area; this meant that the residents of the ghetto were forced to cram in an average of nine people per room. From 1940 through to 1942 starvation and disease, especially typhoid, killed hundreds of thousands. Over 43,000 residents of the Warsaw ghetto died there in 1941. On January 20th, 1942 a â€Å"final solution to the Jewish question in Europe† was devised by the Nazi leaders. Death camps were built in Eastern Europe with new railway systems that were made to transport Jews from other countries to these remote areas. Jews, as well as other ‘undesirables’ such as Romani, Soviet prisoners of war, Polish and Soviet civilians, homosexuals, people with physical or mental disabilities, Jehovahs Witnesses and other political and religious opponents, were rounded up from all over Europe and forced into tightly packed rail freight cars like cattle. If they survived the journey, a small fraction of the Jews were deemed fit to work as slave labour. Everyone else was sent straight to the gas chambers which were disguised as shower rooms to prevent the victims panicking or trying to fight back. People were packed into these ‘shower rooms’ where the doors were bolted shut and a small but deadly pellet of Zyklon-B was dropped in and was activated by the heat of hundreds of human bodies crammed in together, those inside were dead within twenty minutes. By the end of the war six million Jewish men, women and children had been killed; this was more than two-thirds of the Jewish population. We have watched three films based around the Holocaust. The first of the three ‘The Pianist’ is a film based on the true story of a Jewish man, Wladysaw Szpilman: a famous pianist who worked for a polish radio station, living through the Holocaust. The beginning of the film shows the German invasion of Poland, in which Szpilman’s radio station is bombed, and the anti-Jewish laws that the Germans enforce in Poland, for example, when Szpilman is refused entry to the park or the cafà © with his polish friend and made to walk in the gutter to let polish people get primary use of the pavement. Szpilman and his family soon have to move to the Warsaw Ghetto where death became commonplace due to starvation, disease and attempt to rebel against the Nazi’s. The Nazis treat the Jews appallingly; they forced some Jews to dance to humiliate themselves for their own entertainment, a little boy is beaten to death for trying to scavenge some food for his starving family and, in one scene, Szpilman watches from an opposite flat as Nazi soldiers tip someone in a wheel chair out the window because he couldn’t stand up when they ordered him to. After several months in the ghetto, Szpilman and his family are chosen to be taken to the Treblinka death camp, however, Szpilman is saved from boarding the train by Itzak Heller, a Jewish police officer, while his family board the train never to be seen again. Szpilman is then put to work under gruelling, abusive conditions with the ten per cent or so of the Jews that the Nazi’s kept alive to use for slave labour; tearing down the walls that use to separate the ghetto from the rest of Warsaw and rebuilding the houses for new, non-Jewish residents. The Jews who are still alive are planning on rebelling Szpilman helps; smuggling guns into the ghetto. But after almost being caught by a Nazi soldier who suspects he is concealing something in a bag of beans, Szpilman decides to attempt an escape and take his chances hiding in the city. His friend, Dorota, and her husband hide him in an empty apartment near the ghetto wall where he can get by on smuggled food; however he must not make a noise or go outside as there are other, non-Jews living in the building to all believe the room to be empty. From his apartment window he helplessly watches the Jewish ghetto uprising from the 19th of April 1943 to its unsuccessful end on the 16th May. He lives silently in the abandoned apartment for another few months until he accidently smashes a shelf of china plates. Although Szpilman is unhurt the noise alerts other residents to his presence in the abandoned apartment; he is forced to leave his hideout. Szpilman is hidden once more, with the help of people from the Polish resistance, in another abandoned flat but the man supposed to be providing him with food disappears with the money from generous and unwitting donors, pocketing it all for his self. Dorota and her husband find him gravely ill from lack of nutrition but luckily he recovers in time to witness the Warsaw Uprising. His flat gets bombed during the uprising and Szpilman escapes to the abandoned ghetto where he is found by a merciful Nazi officer, Captain Wilm Hosenfeld. Szpilman plays the piano for him to prove that he is a pianist and the soldier, moved by his playing, finds him food and allows him to remain hidden there. Szpilman hides out here until the end of the war when the German Nazis are rounded up and polish prisoners released. The freed prisoners yell insults at the Germans and Hosenfeld, upon hearing that one of the freed prisoners was a violinist, asks him to contact Szpilman; to ask him if he will return the favour of saving him. However, Szpilman is unable to help Hosenfeld as the camp of Nazi prisoners had been moved and Szpilman returns to playing the piano for the Warsaw radio station. As the movie finishes the closing captions on screen tell us that Hosenfeld died in 1952 in a prisoner of war camp but Szpilman continued to live in Warsaw until his death in 2000, aged 88. The second film we watched was ‘The Boy in the Striped Pyjamas’ this film took a different, perspective of the Holocaust than ‘The Pianist’. This film is shown through the point of view of Bruno, the eight-year-old child of a German Nazi officer; he doesn’t really see the Jews as any different to himself yet despite his innocence Bruno still becomes a victim of the Holocaust†¦ At the start of the movie Bruno and his family are moving because his father got a job promotion as Commandant of a Jewish extermination camp. Bruno is upset and lonely because he was forced to leave his friends in Berlin so when he meets Shmuel, a Jewish boy the same age as Bruno, sitting on the other side of the fence, in the death camp, Bruno immediately befriends him. Shmuel tells Bruno that he is a Jew and that the Jewish people have been imprisoned here by soldiers, who also took their clothes and gave them the striped camp clothing, and that he is hungry. Bruno is confused and starts having doubts about his father being a good person. However, Bruno regularly returns to the fence bringing Shmuel food and playing checkers with him through the fence. When Bruno’s Mother realises what’s actually happening at the camp through a comment by one of the younger soldiers â€Å"They smell even worse when they burn, she is shocked and appalled as she believed it to be a labour camp. She argues with her Husband, insisting that she and the children should move elsewhere, eventually the Mother wins out but Bruno doesn’t want to leave anymore because of his friendship with Shmuel. Shmuel tells Bruno that his father is missing. Bruno gives him the bad news that he will be moving away for good the next day after lunch. Wanting to make up for letting Shmuel down and naive that his father has likely been murdered, Bruno agrees to help Shmuel to find his father, and returns the next day with a shovel to dig a hole under the fence to get into the camp, and Shmuel will bring an extra set of camp clothing; Shmuels suggestion that he could leave the camp through the hole is rejected by Bruno, who doesn’t know what it’s really like inside the camp and is determined to find Shmuel’s father. Whilst still searching Bruno and Shmuel get caught up in a crowd of people being marched to the gas chambers where both Bruno and Shmuel are murdered with the other Jews. In the meantime, Bruno’s Mother tells his Father, who was in a meeting about increasing the capacity of the gas chambers, that Bruno is missing. They find Brunos clothes next to the hole under the fence and realise that he got into the death camp. His Father runs throughout the camp when he reaches the gas chamber, he realises that Bruno has been brought to the gas chamber with the other Jews, but when He arrives it is too late, the boys are already dead and he is devastated. Upon hearing the Fathers cry of Bruno! his Mother and his sister, Gretel, realise what has happened and are equally devastated. The ending of this film has an element of retribution as Bruno’s father, who has killed thousands of Jewish children, finally gets a taste of what it’s like to lose his child. Finally, the last movie that we watched was ‘Life is Beautiful’. This film was set in Italy about the main character, Guido, a young, Jewish, man who at the opening of the film moves to the city with his friend to work at his uncle’s restaurant where he meets his future wife, Dora, although neither knows it yet. During the beginning of the film you can see how the anti-Semitist feelings built up it Italy for instance when the school children are meant to be lectured on ‘the superior race’, when someone paints â€Å"Beware, Jewish horse† on Guido’s Uncle’s horse, the sign on the shop reading â€Å"No dogs, no Jews!† and, later in the film, when Guido and Dora are married, despite the fact that Guido’s a Jew and Dora’s Italian, people trash their house. On Joshua (Guido and Dora’s son) birthday the Germans arrest Guido, Joshua and Guido’s uncle are taken onto the train to be taken to the death camp Dora insists on going with them even though she isn’t a Jew eventually the Nazi gives in and puts her on the train where she is included with the other Jewish women. Guido is devastated to see his non-Jewish wife board the train. Protecting his son from the horrific truth, Guido tells Joshua that they are simply on a big holiday camp, and he turns the camp into a big game for Joshua, saying that they must win 1000 points to win a real tank and leave. Luckily Guido’s quick thinking saves Joshua from the truth when a German officer requires a translator. Despite not speaking a word of German, Guido steps forward and makes up the Regole del Campo from the Germans body language, claiming that tanks, scoreboards and games of Hide and Seek litter the camp, while cleverly stating that Joshua cannot cry, ask for his mother or declared hes hungry, resulting in the loss of the game, in other words, death. Joshua later refuses to take a shower (repeated from an earlier part in the film), and unknowingly escapes being gassed, so Guido hides him with the help of other Italian prisoners, since there are no other children. Playing messages over the speakers for Dora, kept prisoner on the other side of the camp, let’s Dora know her son and husband are alive, while the Nazi’s don’t speak Italian. With the help of Guidos former German friend, Herr Lessing, Guido hides Joshua amongst the German children, while waiting the German Officers meals. Hiding Joshua in a junction box for the last time, telling him that everyone is looking for him, Guido jeopardises his own survival to prevent the Germans discovering Joshua, while he attempts to free Dora, giving his own life away at the same time. Once the German’s realise they’ve lost the what they desert the camp, closely followed by the surviving Jews escaping, then, when the Americans break into the seemingly deserted camp the following morning Joshua comes out of hiding just as a tank pulls around the corner so Joshua believes that he has won ‘the Game’. Hitching a lift out, Joshua spots his mother reuniting as the film ends. Although all three of these movies are based on the Holocaust each one uses different themes and different view points. Firstly, ‘The Boy in the Striped Pyjamas’ is filmed from a very innocent, child view point. Bruno is very young and the difference between Jew and German doesn’t matter to him; he doesn’t understand what might be considered wrong in befriending Shmuel. A similar viewpoint is used in ‘Life Is Beautiful’ where Joshua doesn’t know what’s going on because his father told him it was a game. I think that this perspective very effective in displaying the horrors and injustice of the Holocaust and, personally, it makes for a more entertaining film as it uses the audiences’ sympathies to make them more emotionally involved with the plot. However, in displaying historical fact within the film this take has disadvantages because what makes the main characters so innocent is their lack of understanding of their situation which naturally makes it harder for the film to be both educating and entertaining. ‘The Pianist’, however, has a much more grown up approach as, being based on a true story, it sticks to the facts and I felt that I learnt more from that film then I did from the other two. A similar theme that emerges in all three of these films is family. In ‘The Pianist’ Szpilman loses his family early on in the film, although he seems quite close to them before, and he struggles to survive without them probably feeling lonely all those month in hiding with no one with him for company. In ‘The Boy in the Striped Pyjamas’ you see how Bruno’s family are driven apart by their conflicting opinions of the Holocaust; Bruno’s father is a strong believer in Nazi policy and the commandant of the death camp, however, his Mother is quite shocked and appalled when she learns the truth of what’s happening at the death camp and insists on moving away with the kids, whereas Bruno is young and confused as he’s been brought up being told that Jews are basically evil and German soldiers, like his father, are good but when he befriends Shmuel he realises that some Jews are nice, like Shmuel, and begins to doubt his father. Contrast to this, in ‘Life is Beautiful’ you see how Joshua’s family grow closer together because of the Holocaust; they stick together for each other and Guido even sacrifices himself in hope of saving Joshua. Although we often assume that all of the Nazi soldiers were evil, the issue of ‘good’ and ‘bad’ Germans is brought up in all three of these films. Firstly, in ‘The Pianist’ although most Germans are portrayed as evil, the Nazi officer, Captain Hosenfeld, saves Szpilman from starvation or being found and, towards the end of the movie, when he’s a prisoner and begging for help you begin to sympathise with him a bit more, especially when it’s revealed that he died on the caption. Then, in ‘Boy in the Striped Pyjamas’ Bruno befriends Shmuel, and Bruno’s Mother and Grandmother openly disagree with Nazi views, which makes you think not to stereotype all Germans as ‘evil’. And lastly, in ‘Life I Beautiful’ although no German steps out and helps Guido and his family, you do see a doctor (who Guido knew before he was forced to work at the death camp) beginning to lose his stability because the work he is forced to do goes against all his moral values. This adds another layer to the ‘evil Germans’ assumption because maybe not all of them were doing it willingly so therefore does that make them bad?

Golden Lion Tamarin Reintroduction Program Essay -- Rio de Janeiro, Br

Golden Lion Tamarin Reintroduction Program Biodiversity may be our most precious gift on this planet. It is amazing to think about how much we know about our fellow creatures, and even more amazing to realize there is still so much to learn. From the smallest pollen to the biggest whale, every species has evolved to be a special part of its ecosystem. It is when we lose sight of the intrinsic value of all this life that we find ourselves destroying the delicate web and irreparably damaging ourselves as well. We cut down entire jungles into grazing land, irrigate vast deserts into golf courses, seal up marshes for business offices, dump toxic waste in the oceans. Since the passage of the Endangered Species Act in 1973, many animal and plant populations have been brought back from the brink of extinction. But many more have been lost and there are still nearly a thousand names on the list, and that is even an understatement of the true danger we’re in. There are several continuing efforts focused on saving creatures and their habitats from destruction. Among the more promising is the Golden Lion Tamarin Reintroduction Program. Leontopithecus rosalia, common name golden lion tamarin (GLT), are small monkeys native to the coastal rain forests of Rio de Janeiro, Brazil. But their forests are disappearing fast (98% gone since 1850, according to the World Conservation Monitoring Center) to make way for "development" and the tamarins are disappearing with them. There are three other species of tamarin native only to Brazil: the black tamarin, the black-faced tamarin, and the golden-headed tamarin. All have playful temperaments and thus have also fallen victim to illegal trade in exotic pets since the banning of legal exportation in... ...l 1997, v49 n2. Pp. 26-31. French, JA, Inglett, BJ and Dethlefs, TM. The reproductive status of nonbreeding group members in captive golden lion tamarin social groups. "American Journal of Primatology." 1989, v18 n2. Pp. 73-86. Kierulff, MCM and DeOliveira, PP. Re-assessing the status and conservation of the golden lion tamarin Leontopithecus rosalia in the wild. "Dodo- Journal of the Wildlife Preservation Trusts." 1996, v 32. Pp. 98-115. Ruiz, JC. Comparison of affiliative behavior between old and recently established pairs of golden lion tamarins. "Primates." April 1990, v31 n2. Pp. 197-204. Http://estel.uindy.edu/outReach/guestSchools/indyzoo/vz/quotes.html Http://gladstone.uoregon.edu/~cait/ Http://www.endangeredspecie.com/ Http://www.selu.com/~bio/cauz/links/endangered.html Http://www.wcmc.org.uk/data/database/rl_anml_combo.html

A Pair of Tickets †Short Analysis Essay

Who am I? Have you ever sat and thought about the contributing elements that make you the person you are? In â€Å"A Pair of Tickets,† in hopes of finding her true self, June May struggles to identify who she is. Amy Tan is an author who uses the element of character development to bring out the theme of self-awareness and identity in this story, mainly focusing on the main character having the dual identity of being Chinese American. While June May discovers her ancestral home, she also finds a part of herself. June May’s mother was an immigrant from China. At the beginning of the story, June tells of how her mother tries to convey their family’s history and legacy to her. June, who is fully americanized and almost completely ignorant of their heritage, tells of how at the age of fifteen she believes she is no more Chinese than her Caucasian friends even though her mother was persistent in convincing her that being Chinese could not be helped. Her pass port reveals her American name which is June May but she chooses to introduce herself as Jing-Mei, which is her Chinese name. This incident is the start of her accepting her Chinese heritage. She has many misconceptions throughout the story; most about what is to be Chinese and the culture of China and the people that reside there. One example being she did not think that â€Å"communist China† would have such luxurious hotels, which is an example of American stereotyping. She compares her height to those of the people she is surrounded by when she gets off the train to head to customs, saying that she was much taller. She was expecting a traditional Chinese meal but her family opted for the hamburgers, fries, and apple pie instead. She was shocked when her younger cousin Lili posed as if she was a supermodel while taking a picture. June started to take in how American culture had shaped her way of thinking and that she was wrong in believing her family would be more different from her. Often looking on the experiences of your families past is sometimes needed to discover who we are as a person. Going to China helps June understand how she is Chinese. As she learns more about her family and her mother’s life and the sacrifices she had to make, June’s mindset changes more. She compares being Chinese to transforming into a werewolf as though it was something she would have to become. By the end of the story, she realizes that the part of her that is Chinese is her family, and it is in her blood. Becoming Chinese was not realistic and her mother was right. She was already Chinese, and it could not be helped. June May’s journey was never about becoming Chinese, or understanding the culture, it was about understanding who she is and knowing that there are parts of herself that she had no control of their existence. Finding her ethnic and cultural roots while in China allowed June May Woo to discover Jing-Mei Woo.

My Son the Fanatic

My son the fanatic The generation gap is a dilemma which frequently occurs among immigrants, and in his short story My son the fanatic, Hanif Kureishi brings up the issue concerned. Kureishi introduces us to a father, who’s alarmed and puzzled by his sons’ strange behavior, which proves out to be against his own values. During this, Kureishi touches on the topics fanaticism and religion, and how these can change ones behavior towards ones family. Kureishi also focuses on how people relate to their roots.The main character in the story is Parvez, who’s a good example of an immigrant being well-integrated. He emigrated from Pakistan, where he was taught the Koran. He underwent indignity during this, and subsequently he avoided all religion; he even prefers jokes to rules. Even though he has a wife and a son, he spends most of his time â€Å"living a boy’s life† with his fellow taxi drivers; playing card and avoiding their wives. The narration of the s tory is 3rd person narrative and is therefore limited, but we see the conflict from Parvez’s point of view, which engenders surprises. Parvez sprang across the hall and set his ear at Ali’s door. A muttering sound came from within (†¦) The boy was praying. †(l. 130-134) Besides eating bacon and playing cards, another example of Parvez not being very Muslim is that he knows a prostitute, Bettina. Together they have deep talks; something Parvez wasn’t able to have with his own wife. It is also Bettina who helps Parvez figuring out what’s going on with his son, f. ex. â€Å"He knew what to look for: Bettina had drawn pictures†(l. 103-104) and â€Å"Reluctantly he and Bettina had abandoned their only explanation†(l. 18-119) â€Å"Surreptitiously, the father began going into his son’s bedroom†(l. 1). As early as the first line, the story pictures a father (Parvez) who struggles with something. Ali, the son of Parvez, acts differently and queerly, and his new tidy conduct scares Parvez who â€Å"was aware that he had become slightly afraid of his son, who, between his silences was developing a sharp tongue† (l. 15-17) Ali has also become very obscure and mystical, and an example of a cryptic remark of Ali is â€Å"There are more important things to be done† (l. 9) The teenage son Ali is going through a huge change. Formerly, he was well-integrated like his father, and they understood each other. As Parvez said: â€Å"we were brothers! † (l. 56) But at some point Ali decided to distance himself from the British/western world; he threw out his material goods and dissociate himself from his old friends and girlfriend. Among other things, computer disks and videotape are mentioned as Alis discarded things, and this indicates that the story takes place in our time.Furthermore, the setting is placed among the lower part of the middle-class, since Parvez is a taxi-driver, and they are i mmigrants. Furthermore, the relationship between Parvez and his son is slightly crumbling, especially when Parvez finds out that his son has chosen the opposite view of life than himself; Ali has become very religious, and Parvez is puzzled and concerned and doesn’t know how to deal with this. â€Å"But he’s growing a beard†(l. 115) is the first sign Parvez intercepts and exclaims to Bettina.Henceforth, the conflict whether it's wrong or right to blame ones son for becoming religious blossoms. Additionally, the relationship between the two of them worsens; Ali returns his fathers long and curious looks with â€Å"a hint of criticism, of reproach† (l. 111-112) and Ali acts â€Å"as if he hated his father† (l. 194) â€Å"’Don’t you know it’s wrong to drink alcohol? ’ Ali said† (l. 177). One of the most important passages is the restaurant scene with Parvez and Ali, because until this scene, we have only been followi ng Parvezs angle of the matter.Ali have been very introvert, but at this point we have Ali’s interior thoughts revealed; Ali blames his father for being â€Å"too implicated in Western civilization†(l. 218) and for having broken the rules of the Koran, which he means should be followed to the letter, for â€Å"the reward will be in Paradise†(l. 238). To this statement, Parvez feels puzzled and exasperated. But when Ali announces that he’s giving up his study, and especially after Ali have shown disrespect towards Bettina (which you can interpret as Ali insulting Parvezs lifestyle), Parvez can’t handle the problem anymore.Thus the short story ends up in a climax; Parvez beats Ali up while he’s praying, whereupon Ali says: â€Å"So who’s the fanatic now†(l. 392) â€Å"Parvez had been telling Bettina that he thought people in the West sometimes felt inwardly empty and needed a philosophy to live by†(l. 310). This could be o ne of reasons why the emerging problem between Parvez and Ali arises. The struggle is basically caused by the generation gap, which leads us to the central conflict; the two of them simply don’t understand each other.Especially Parvez doesn’t get his son’s sudden change in values, and doesn’t understand why Ali rejects the Western world, simply because it’s not compatible with the Muslim way of life. The development of the relationship between Ali and Parvez is the main focus, and with integration as a theme, Kureishi deliberates and construes â€Å"the gap generation†. Where the older generation has lived out their dream of freedom, the younger generation grows up with much wider opportunities in life and all this freedom makes them search for guidelines.They might have experienced the more unpleasant and cruel side of the Western culture, seeing that they have been different to their surroundings, growing up. That is why some of them find that religion binds 2nd generation immigrants together. Touching on this, Kureishs sets forth his view on religion as a selected/rejected thing, which in cases can lead to the stage of fanaticism; both for the religious ones, who we are easy to claim fanatic. But Kureish also portrays the more neglected ones; those, who so hardly fight against religion and refuse their background. Because they have a special opinion on how life should be lived, too. My Son the Fanatic My Son the Fanatic My Son the Fanatic is a short story about a worried dad, Parvez. From his perspective we get to read how his son, Ali, is suddenly changing his view on life and with that, also turning upside down his father’s life. A theme of the story could be: ‘teenager creating his own identity’. That is what Ali is doing by breaking out of the world in which he was raised by his parents. Ali wants to take the opposite direction of his dad, to avoid ending up like him; this could be an important reason for Ali suddenly becoming a Muslim.Another possible theme would be: ‘rebelling against parents’. The story is told in third person singular by an implicit teller who is aware of Parvez’ thoughts and how he is feeling. There are only three relevant characters in the story: Parvez the father, Ali the son and Bettina, who is a street prostitute and a friend of Parvez. Parvez is a taxi driver living in England with his family. Even though he wa s raised in Lahore and taught to be a Muslim, he tries to fit in with society as good as possible.As a child, Parvez had bad experiences learning the Koran, which is probably what causes his anti-religious behaviour (p. 197 l. 21 and 197 l. 38-40). That is also why Parvez has difficulties trying to understand his son, when he finds him praying five times a day. He feels he has lost his son (p. 199 l. 22), and gets so angry that he can’t control himself in some situations. However, throughout the story we get the impression that he is a good father, really trying to live with the way his son has changed.For instance, on page 196 lines 23 – 27, Parvez takes a night off to go out with his son and tell him about his family in Pakistan. Parvez’ good intentions aside; him having a drinking problem combined with the sharp tongue Ali has developed are two things that are not making it easy for Parvez to keep his temper. Throughout the story, Parvez talks to Bettina abou t the problem, sounding very insecure and worried. E. g. on page 194 lines 13 – 16: â€Å"I can’t understand it! ’ †¦ We were not father and son – we were brothers!Where has he gone? Why is he torturing me! † This makes the reader feel sympathetic towards him until page 202 lines 1-4, where he kicks and beats his son several times. We know very little about how Ali was as a person before he changed. We know from his dad that he was messy, playing guitar, had English friends and an English girlfriend. Despite Ali being raised in a regular English way and being a teenager, because of his religious change, he has become more responsible, quiet and serious.Living by the rules of the Koran, Ali is now behaving as a missionary towards his father. One reason for Ali’s sudden religious behaviour could be that he seeks his spiritual side. Maybe he wants some answers about life and death that science can't give him. Ali could also be so afraid an d disgusted by the idea of ending up like his father, a taxi driver with a drinking-problem, that he now does everything he can to prevent that from happening. The ending makes the reader uncertain of where his or her sympathy lies.I was on Parvez’ side throughout the story, disliking how Ali didn’t involve his family in his sudden new life-style. But, on page 202 lines 1-4, Parvez beats his son, and Ali says on page 202 line 6: â€Å"So who’s the fanatic now? †. Ali saying this makes the reader realise that Parvez actually has been very obsessed with his son’s religious behaviour, thinking about it constantly. This is a turning point in the story, since it becomes clear that Parvez is the one becoming fanatically angry time after time, while Ali is the more reasonable one, after his change of beliefs.To conclude, this story is about a worried father whose teenage son is suddenly turning religiously active. The teenager is able to identify himself with neither his father nor the society he is living in. Therefore he seeks answers to fill a hole inside of him. Answers, that science cannot provide. The father is having a hard time accepting that, not realising that with his aggressive response to his son’s changes, he actually turns into a fanatic himself, constantly watching his son and obsessing about his behaviour. Savanna K2 My Son the Fanatic My son the fanatic The generation gap is a dilemma which frequently occurs among immigrants, and in his short story My son the fanatic, Hanif Kureishi brings up the issue concerned. Kureishi introduces us to a father, who’s alarmed and puzzled by his sons’ strange behavior, which proves out to be against his own values. During this, Kureishi touches on the topics fanaticism and religion, and how these can change ones behavior towards ones family. Kureishi also focuses on how people relate to their roots.The main character in the story is Parvez, who’s a good example of an immigrant being well-integrated. He emigrated from Pakistan, where he was taught the Koran. He underwent indignity during this, and subsequently he avoided all religion; he even prefers jokes to rules. Even though he has a wife and a son, he spends most of his time â€Å"living a boy’s life† with his fellow taxi drivers; playing card and avoiding their wives. The narration of the s tory is 3rd person narrative and is therefore limited, but we see the conflict from Parvez’s point of view, which engenders surprises. Parvez sprang across the hall and set his ear at Ali’s door. A muttering sound came from within (†¦) The boy was praying. †(l. 130-134) Besides eating bacon and playing cards, another example of Parvez not being very Muslim is that he knows a prostitute, Bettina. Together they have deep talks; something Parvez wasn’t able to have with his own wife. It is also Bettina who helps Parvez figuring out what’s going on with his son, f. ex. â€Å"He knew what to look for: Bettina had drawn pictures†(l. 103-104) and â€Å"Reluctantly he and Bettina had abandoned their only explanation†(l. 18-119) â€Å"Surreptitiously, the father began going into his son’s bedroom†(l. 1). As early as the first line, the story pictures a father (Parvez) who struggles with something. Ali, the son of Parvez, acts differently and queerly, and his new tidy conduct scares Parvez who â€Å"was aware that he had become slightly afraid of his son, who, between his silences was developing a sharp tongue† (l. 15-17) Ali has also become very obscure and mystical, and an example of a cryptic remark of Ali is â€Å"There are more important things to be done† (l. 9) The teenage son Ali is going through a huge change. Formerly, he was well-integrated like his father, and they understood each other. As Parvez said: â€Å"we were brothers! † (l. 56) But at some point Ali decided to distance himself from the British/western world; he threw out his material goods and dissociate himself from his old friends and girlfriend. Among other things, computer disks and videotape are mentioned as Alis discarded things, and this indicates that the story takes place in our time.Furthermore, the setting is placed among the lower part of the middle-class, since Parvez is a taxi-driver, and they are i mmigrants. Furthermore, the relationship between Parvez and his son is slightly crumbling, especially when Parvez finds out that his son has chosen the opposite view of life than himself; Ali has become very religious, and Parvez is puzzled and concerned and doesn’t know how to deal with this. â€Å"But he’s growing a beard†(l. 115) is the first sign Parvez intercepts and exclaims to Bettina.Henceforth, the conflict whether it's wrong or right to blame ones son for becoming religious blossoms. Additionally, the relationship between the two of them worsens; Ali returns his fathers long and curious looks with â€Å"a hint of criticism, of reproach† (l. 111-112) and Ali acts â€Å"as if he hated his father† (l. 194) â€Å"’Don’t you know it’s wrong to drink alcohol? ’ Ali said† (l. 177). One of the most important passages is the restaurant scene with Parvez and Ali, because until this scene, we have only been followi ng Parvezs angle of the matter.Ali have been very introvert, but at this point we have Ali’s interior thoughts revealed; Ali blames his father for being â€Å"too implicated in Western civilization†(l. 218) and for having broken the rules of the Koran, which he means should be followed to the letter, for â€Å"the reward will be in Paradise†(l. 238). To this statement, Parvez feels puzzled and exasperated. But when Ali announces that he’s giving up his study, and especially after Ali have shown disrespect towards Bettina (which you can interpret as Ali insulting Parvezs lifestyle), Parvez can’t handle the problem anymore.Thus the short story ends up in a climax; Parvez beats Ali up while he’s praying, whereupon Ali says: â€Å"So who’s the fanatic now†(l. 392) â€Å"Parvez had been telling Bettina that he thought people in the West sometimes felt inwardly empty and needed a philosophy to live by†(l. 310). This could be o ne of reasons why the emerging problem between Parvez and Ali arises. The struggle is basically caused by the generation gap, which leads us to the central conflict; the two of them simply don’t understand each other.Especially Parvez doesn’t get his son’s sudden change in values, and doesn’t understand why Ali rejects the Western world, simply because it’s not compatible with the Muslim way of life. The development of the relationship between Ali and Parvez is the main focus, and with integration as a theme, Kureishi deliberates and construes â€Å"the gap generation†. Where the older generation has lived out their dream of freedom, the younger generation grows up with much wider opportunities in life and all this freedom makes them search for guidelines.They might have experienced the more unpleasant and cruel side of the Western culture, seeing that they have been different to their surroundings, growing up. That is why some of them find that religion binds 2nd generation immigrants together. Touching on this, Kureishs sets forth his view on religion as a selected/rejected thing, which in cases can lead to the stage of fanaticism; both for the religious ones, who we are easy to claim fanatic. But Kureish also portrays the more neglected ones; those, who so hardly fight against religion and refuse their background. Because they have a special opinion on how life should be lived, too.

Industrial Revolution Essays (869 words) - Textile Machinery

Industrial Revolution Essays (869 words) - Textile Machinery Industrial Revolution The Industrial Revolution The Industrial Revolution was under way 1st in Britain and wasn't possible without coal. Agriculture Revolution Every 3rd year the farmers believed that they had to leave their field fallowed so the soil won't wear out. In 1730 Charles Townshend discovered that fields did not had to be left fallowed, if farmers would rotate the crops. Charles suggested to grow wheat or barely and then the next year grow clover or turnips. Clover and turnips provided excellent feed for cattle. New Farm Machines Jethro Thull developed a seed drill that planted seeds in straight rows. This was a big improvement over the old method of scattering seeds at random, which made fields a tangle of crop and weeds. In the 1700's farmers began to use iron plows instead of wood plows. In 1800's wealthy landowners used mechanical reapers and threshers which increased production. The Enclosure Movement Since the Middle Ages farmers worked small strips of land in scattered fields. The razed their animals and gathered timber on public lands. In the 1500's wealthy landowners began claiming the right to these public lands. This made agriculture more efficient because the wealthy had more land to experience with new crops. Smaller farmers were then driven right out of a job. With more food lead to better health and rapid growth. The demand for manufactured goods was now high. Changes In The Textile Industry Inventions went off right and left. In 1733, John Kay invented the Flying Shuttle. This replaced the handheld shuttle for weaving. It sped up the weaving process. Soon they were using thread faster than produced. In 1764, James Hargreaves developed the Spinning Jenny. It had several spindle on a single wheel. In 1769, Richard Arkright built the Water Frame it could hold up to 100 spindles. It was too heavy to be operated by hand so it was ran by water power. 10yrs later Samuel Crompton developed the Spinning Mule, which used features from the Spinning Jenny and the Water Frame. Cotton thread was now produced at high speeds. In 1785, Edward Cartwright built a Power Loom powered by water. They could produce 200 times more cloth in a day. In 1793, Eli Whitney invented the Cotton Gin that increased the supply of raw cotton and gave the British cotton industry a further boost. It tore the fibers from the seeds and made it possible for a single slave to turn out as much as 50 slaves. Cotto n production soared and the price fell. Development Of The Steam Engine Although many inventions in the Textile Industry were powered by running water, steam soon became the major source of energy. In 1698, Thomas Savery had built a steam-driven pump to remove water from flooded coal mines. Except his pump frequently exploded because of the intense pressure of the steam. In the early 1700's, Thomas Newcomen developed a safer steam pump. His engine broken down lots and required lots of coal to fuel it though. Finally James Watt came alone in the 1760's to revise the pumps of Newcomen and made it better. His got 4 times more power from the same amount of coal. Steam powered the Industrial Revolution. They were used in the growing of Textile Industry. They also brought great changes in the mining of iron and coal and they revolutionized transportation. Advances In Transportation & Communication In the 1700's the need for rapid, inexpensive transportation led to a boom in Canal building in Britain. In 1759 the Duke of Bridgewater built a Canal to connect his coal mines and factories. A Scottish engineer John McAdam invented a road surface made of crushed rock. In 1829 George Stephenson, a mining engineer, developed the Rocket, it was the 1st steam-powered locomotive. It could go 36mph. Steel rails replaced iron rails, speed were then increased. In 1807 Robert Fulton developed a paddle-wheel steam ship called the Clermont. This improved communication to other nations. Aboriginal Paradigm It was mainly an all for your self way. Workers tend to work only for the present need. The object of life was to maintain ones rank and the ideal of personal gain was the work of the devil. Capital as wealth existed, but there was no investing of it. Land

How to Stay Calm When You Are Stressed

How to Stay Calm When You Are Stressed Stress is inevitable; whether it is from work or our personal lives. It is just something that we have to deal with. We can’t let that overwhelmed feeling get the better of us. Here are some ways to overcome this feeling and stay calm, cool, and collected during these trying times. Â  Source [PoundsToPocket]

Spooky Dry Ice Fog Halloween Jack-o-Lantern

Spooky Dry Ice Fog Halloween Jack-o-Lantern You can make spooky fog come out of your Halloween jack-o-lantern using a little dry ice. Heres how you do it plus a trick for getting the best effect. Spooky Jack-o-Lantern Materials Basically, all you need is a carved jack-o-lantern, dry ice, a container, and water. Warm water is more effective than cool or room temperature water. PumpkinTall cup or glassDry iceWater Lets Get Started! Okay, first you need to cut around the top of the pumpkin so you can scoop out the seeds and other pumpkin guts. If you are rushed for time, you can skip this step, but its easier to carve a clean pumpkin.Carve a face or design into the pumpkin. Keep in mind, carbon dioxide fog sinks, so more fog will flow out of the mouth of your jack-o-lantern than through its eyes. If you make the mouth relatively small, you usually can get fog to flow through the nose and eyes pretty well.When you are ready for the display, set a tall container full of water inside the jack-o-lantern. Try to find a can or glass that is taller than the eyes of your jack-o-lantern, since that is the trick for getting fog to flow through the whole carving.Drop a piece of dry ice into the water. Replace the top of the pumpkin. You want the lid to fit tightly so there wont be air currents dissipating the fog.You can add more dry ice over time.

Breaking bad news Essay Example | Topics and Well Written Essays - 3000 words

Breaking bad news - Essay Example However, older people exhibit diseases and shorter life span because of bad treatment. In other words, the society and its communication to these people play a large part in health care services. A health care professional always thinks of a way on how to break bad news to patients. For these people, it is essential, difficult and often the most critical part of healthcare communication. For some, breaking bad news to patients is an innate skill. Patients have a hard time disclosing their feelings or find it necessary to establish a relationship of trust to be able to more easily accept the disclosure of such news. Presenting bad news to patients may give a negative result that may in turn lead to serious harm. All of these beliefs are made with a strong sense of suspicion; breaking bad news to patients is a skill learned rather than a talent. Medical doctors, for example, have in their education an area of learning good communication skills that entails a long period of learning (Back, 1999). Preparations – in ethical terms, the atmosphere provided should be private on both the part of the patient and the medical professional. In general, patients have varying needs; hence, it is appropriate to discuss with the patient who he/she wants to be the recipients of the information and major decisions like how much should be the information. Statements such as â€Å"How are you feeling right now?† would help the patient prepare himself for a two-way affair. Finding out how much the patient knows – in such aspect asking a question such as â€Å"What have already been told about your illness?† may be essential. This approach would likely measure the patient’s knowledge about his/her illness. It is also appropriate to ask patients how much they have understood on the information given, the patient’s level of technical comprehension and most of all is his/her emotional status. Finding out how much the patient’s capacity of accepting

Team creativity Article Example | Topics and Well Written Essays - 750 words

Team creativity - Article Example Emotional intelligence of the team members plays a vital role in enhancing cognitive and affective trust. Cognitive trust may build up between the team members based on the reliability and competence of his/her peers. Professional behaviour increases the cognitive trust between the team members. Affective trust is based on emotional bonds resulting from interpersonal care and concern for each other. Self-awareness about own emotions may help the team members to manage other’s emotions. Team members’ trust is based on individuals’ confidence upon the actions of the team members. All team members will assess the actions of other members based on its benefits and consequences. Knowledge and skill about one’s function is critical to creativity. High cognitive trust teams have members with strong functional as well as interpersonal capabilities. These capabilities can create a feeling that the team can jointly make decisions, take risks and share ideas without fear of criticism. In short, collaborative culture is a strong predictor of creativity (Barczak et al, p.332-345) The primary objective of this study was to explore backgrounds of team creativity, namely, team emotional intelligence and team trust. It also investigates the relationships between team emotional intelligence and team trust to increase creativity. Emotional intelligence promotes team trust. Trust, in turn, fosters a collaborative culture which enhances the creativity of the team. Cognitive trust moderates the relationship between collaborative culture and team creativity. This study was conducted using a survey of 82 student teams at a large university in the northeast United States. Some of the variables used for this study were trust, collaborative trust, cognitive trust, affective trust, creativity, control of own emotions, aware of own emotions, aware of others’ emotions, control of others’ emotions etc. The findings of this study are suitable only to

A Case study report on Welcome Break Group Ltd Example | Topics and Well Written Essays - 250 words

A report on Welcome Break Group Ltd - Case Study Example The company is looking out to implement strategic initiatives that will boost the company and bring out the internal talents (Peene, 2013). This will be effective through training employees so that they can be in a position to handle all its business units. This will make their operations effective since customers will enjoy services provided to them by experienced individuals. The HR department is very important to the growth of the company (Nichols, 2013). In the case study, it is evident that this department is on the move to automate its services. This is good to both the company and employees. Since none of the employees is losing out their job positions, it good to use the SuccessFactor system. I have learnt that a company has to start small before it can realize its full potential. While we see Welcome Break as a huge company in the motorway industry, it has a very humble background. Efforts, determination, strong leadership and a good working environment are essential to growth. David Willock gives a great conceptualization of ideas behind the company’s prosperity. Through it, we are in a position to identify the successes and future strategies that are good for company growth. Nichols Will, 2013. Green Energy Company and Nissan have now fitted 16 fast-charging units at Welcome Break motorway service stations across the UK. [Online]. 5 August. Retrieved from: http://www.businessgreen.com/bg/news/2286661/more-rapid-chargers-speed-up- ecotricitys-electric-highway. [Accessed on 17 March, 2014] Saran Cliff, 2012, Case Study: Welcome Break Group Revamps HR with SuccessFactors. [Online]. 10 August. Retrieved from: http://www.computerweekly.com/news/2240161289/Case-Study-Welcome-Break- Group-revamps-HR-with-SuccessFactors. [Accessed on 17 March,

Rhetorical analysis Essay Example | Topics and Well Written Essays - 750 words - 1

Rhetorical analysis - Essay Example It lays bare, only too well, the feelings and aspirations of a man who, like all of us, wants to obtain the object of his longing, all the while being completely aware of his inadequacies. One of the main reasons this song was a success was also due to the fact that the person singing the song, Thom Yorke, establishes his credibility from the start. Yorke is, to put it kindly, a very average looking man himself, and, thus, seems more than just a spokesperson, or singer, thereof; when he says â€Å"What the hell am I doing here? I don’t belong here† (Creep), it seems he is speaking right from the heart. Since Radiohead is an Alternative Rock band, the main audience of this song is young people, however, since it is written from the point of view of a man, perhaps young men would be the specific target audience. Though admittedly Alternative Rock is quite a popular genre of music, being the first single of the band, however, as there was no established fan-base of the ban d, the ethos for the song, musically, had to be built from scratch. Yorke’s personality, in this regard, seems also to foster the image of a young, average looking man who does not see his love being returned for want of a handsome outlook. This seems to be the reason why Yorke seems to have chosen to have written for this audience. Although inclusive language does not form any part of this song – it seems to be just the inner soliloquy of a man – however, the theme of the song is quite common. â€Å"But I’m a creep, I’m a weirdo† (Creep) are words used by many a young person, inwardly mostly similar to the soliloquist singer. Hence, there is a sense of inclusion portrayed in the song. In a rhetorical sense, the song also has an ethos-filled content. Creep is replete with emotional substance and passionate imagery. The beloved is described allegorically: â€Å"angel† for instance. Whereas the passion of just how special the beloved is stressed by a vulgar vernacular expression: â€Å"You’re so fucking special† (Creep). This stress is to describe just how highly stressed the specialness of the beloved is. On the other hand, words like â€Å"creep† and â€Å"weirdo† are used to describe the writer himself; again, vernacular is used to portray how low the person’s regard for himself is. There is much repetition in the song – the words â€Å"you† and â€Å"I† are used repetitively in the first and second verse. This repetition creates an aura of exclusion – the writer is differentiating between himself and his beloved. This lays bare his idolization of his beloved: â€Å"You’re just like an angel†¦ You float like a feather† (Creep), while at the same time, the second verse stresses on his need to be good enough for the beloved: â€Å"I want a perfect body, I want a perfect soul† (Creep). Though it does not do so directly, the so ng also has logos filled content. The logic of the impossibility of a â€Å"weirdo† or a â€Å"creep† to win the love of someone who is â€Å"an angel† and who â€Å"float[s] like a feather† is all too apparent. This is the reality of the world we live in, those who are beautiful do not, normally, tend to fall in love with those who lack any outward charm. All in all, the main rhetorical objective of this song seems to be to relay the hardship of unrequited, or unsaid, love, where the impossibility of gaining the love of someone â€Å"perfect† seems to be at the forefront. This is exacerbated by the low self esteem of the person writing this song,

Fundamentals of Finance Essay Example | Topics and Well Written Essays - 1750 words

Fundamentals of Finance - Essay Example Photos: Interior view of one of the master bedrooms showing a spacious area within the room. The outside view of the property showing a cultivated front yard suited with garbage cans and showing spacious distance from one property block to the next. The arrangement of the apartments allows a personal parking lot to the front and a walk through pavement connecting from the main residential interstate roads. Weblink: www.rightmove.co.uk/property-for-sale/property-41518172.html# Purchasing Price: ?59,500 The annual cash flows expected from the investment target is ?850 per calendar month as the area has competitive rental market given that area is spacious and secluded from industrial zones, hence fore, investors in this area are driven by the market valuation of the properties as well as the location which raises the expected valuation of the property to be higher than the market price. The market price of the same property along the Greater Manchester area is set at ?650 with regards to the proximity of properties and roads, shopping malls, security of the area, and demand and supply of rental properties along the same area. However the expected rental amount from this particular property is ?850 as the property is new, all its features are functional and the seclusion from the industrial areas makes the property higher valued than its market competition counterparts. Therefore, for Mr. Priddin to invest in this property, his annual cash flows are calculated as Annual Cash Flows Expected Investment Target: ?850 Per Calendar Month (PCM) = (?850 x 12) = ?10,200 The rationale of providing rental service for ?850 per month is because; after investigating the rental prices for 2 bedroom flats and apartments around the Little Lever Bolton within the Greater Manchester area, it is found out those property rentals per calendar month range from ?150-700 with regards to conditions and luxury facilities. With regards to the presence of communal gardens and the easy access to ground floor apartments, the prices for these properties are kept higher than the market price at either the threshold of ?700 PCM or above at ?1000. With Mr. Priddin expecting a 6% return on investment, the future value of the property is calculated as Perpetuity = (Rental Price x Months in a year)/r Therefore, If Mr. Priddin is to purchase this property at ?59,500 his annual returns would be Perpetuity = (850*12 months)/r = 10,200/0.06 = ?170,000 Hence fore, the present value of the future cash flows of ?170,000 is higher than the current selling price of ?59,500 and is therefore a good investment for Mr. Priddin to invest in. A) If as a landlord Mr. Priddin would like to keep this property and rent it forever raising the rent at the rate of 4%, is it advisable for Mr. Priddin to purchase this property? Then Using P = Co*(1+g)/r-g his return on investment would be calculated with regards to the purchase price of the property C0 divided by the difference between the return on in vestment and expected less the rate of rent increase per year. P = C1/r-g P = 59500/6% - 4% P = ?2,975,000 With respect to the present value of the future cash flows of ?2,975,000 the purchase price of the property is lower and therefore the property is still worth buying. The difference between the present value of the property and the future cash f

Management case study Example | Topics and Well Written Essays - 500 words

Management - Case Study Example There is a feeling of job insecurity. Shank’s social needs have not been met too by her previous employer. She did not feel a sense of belonging because the owners just did not seem to care about their employees. Shank’s esteem needs were not satisfied too. The company did not show any appreciation for their employees. She did not feel that she is being valued as an employee and she felt that she was taken for granted; thus, her self-esteem and personal worth was at a low. Her ideas were not important to management. Even her self-actualizing needs were not met because they were not concerned with her personal growth. There are several things that can be done to meet these missing needs such as recognizing achievements of employees through promotions, bonuses and salary increases, so they will feel appreciated and valued. Job security should also be provided for including the giving of retirement benefits. Management should also provide employees opportunities to reach t heir full career potential. Use the Expectancy Theory and/or the Equity Theory of motivation to explain how feeling underpaid might affect the work of a Flight 001 associate and what a manager can do to increase the employee's motivation.

Fundamentals of Finance Essay Example | Topics and Well Written Essays - 1750 words

Fundamentals of Finance - Essay Example Photos: Interior view of one of the master bedrooms showing a spacious area within the room. The outside view of the property showing a cultivated front yard suited with garbage cans and showing spacious distance from one property block to the next. The arrangement of the apartments allows a personal parking lot to the front and a walk through pavement connecting from the main residential interstate roads. Weblink: www.rightmove.co.uk/property-for-sale/property-41518172.html# Purchasing Price: ?59,500 The annual cash flows expected from the investment target is ?850 per calendar month as the area has competitive rental market given that area is spacious and secluded from industrial zones, hence fore, investors in this area are driven by the market valuation of the properties as well as the location which raises the expected valuation of the property to be higher than the market price. The market price of the same property along the Greater Manchester area is set at ?650 with regards to the proximity of properties and roads, shopping malls, security of the area, and demand and supply of rental properties along the same area. However the expected rental amount from this particular property is ?850 as the property is new, all its features are functional and the seclusion from the industrial areas makes the property higher valued than its market competition counterparts. Therefore, for Mr. Priddin to invest in this property, his annual cash flows are calculated as Annual Cash Flows Expected Investment Target: ?850 Per Calendar Month (PCM) = (?850 x 12) = ?10,200 The rationale of providing rental service for ?850 per month is because; after investigating the rental prices for 2 bedroom flats and apartments around the Little Lever Bolton within the Greater Manchester area, it is found out those property rentals per calendar month range from ?150-700 with regards to conditions and luxury facilities. With regards to the presence of communal gardens and the easy access to ground floor apartments, the prices for these properties are kept higher than the market price at either the threshold of ?700 PCM or above at ?1000. With Mr. Priddin expecting a 6% return on investment, the future value of the property is calculated as Perpetuity = (Rental Price x Months in a year)/r Therefore, If Mr. Priddin is to purchase this property at ?59,500 his annual returns would be Perpetuity = (850*12 months)/r = 10,200/0.06 = ?170,000 Hence fore, the present value of the future cash flows of ?170,000 is higher than the current selling price of ?59,500 and is therefore a good investment for Mr. Priddin to invest in. A) If as a landlord Mr. Priddin would like to keep this property and rent it forever raising the rent at the rate of 4%, is it advisable for Mr. Priddin to purchase this property? Then Using P = Co*(1+g)/r-g his return on investment would be calculated with regards to the purchase price of the property C0 divided by the difference between the return on in vestment and expected less the rate of rent increase per year. P = C1/r-g P = 59500/6% - 4% P = ?2,975,000 With respect to the present value of the future cash flows of ?2,975,000 the purchase price of the property is lower and therefore the property is still worth buying. The difference between the present value of the property and the future cash f

Assess the hierarchical structure of the court system in England and Essay - 4

Assess the hierarchical structure of the court system in England and Wales. To what extent does the common law doctrine of binding precedent engage with this structure - Essay Example The structure of the courts that lie along all the three jurisdiction are always arranged in accordance to the cases subject matter that have been brought before the court instead of the source of the laws that will be applied in making rulings to the cases. The latter formed a strong basis for a great deal in the whole court structure in England and wales until towards the end of the nineteen-century, but some influence is still seen to date. All the other courts in the hierarchical structure of the legal system are bound to any decision and judgments made by the House of Lords. Despite this bond, the decision is only exempted to the House of Lords rulings itself. Previously, the House of Lords used to be bound to its decisions that were made in previous rulings until the practice was changed back in the year nineteen sixty-six. The old practice rationale was that the decision made by the highest court in the country was meant to be final so that certainty in the law would be and henceforth finality in litigation. However, due to changes seen in the social conditions, the law was changed. The current practice, therefore, enables the highest court that is the House of Lords to adapt to the laws of England and wales so that it can be able to meet the ever-changing social conditions. In addition, to enable the structure to be able to pay its attention to the decisions made by the superior courts within the commonwealth. The freedom bestowed upon the House of Lords currently to change its decision that it made previously creates recognition that law, whether it has been expressed in cases or printed in statutes, is considered to be living. Because of this, institutions must change to adapt to the circumstances under which these laws apply if practical relevance of the laws is to be retained. The court of appeal lies second in the ranking of the courts.

Film and Literature Essay Example for Free

Film and Literature Essay Literature and film feed at the same breast, considering the affinities between them. Since its very beginning, Hollywood has used works of fiction as source material for films. One of the most discussed adaptations is Francis Ford Coppola’s Film Apocalypse Now (1979) based on Joseph Conrad’s novel Heart of Darkness (1902). This paper compares and contrasts these works of art, arguing that while there are obvious differences, the film generally general remains true to the core meaning of the novel. One can say that Coppola’s film is a thematic and structural analogue to Conrads novel. Differences On the surface it seems that Apocalypse Now deviates largely Heart of Darkness. The differences can be seen in settings, events, characters, and other snippets of information such as quoted lines and strange actions of the major characters. The settings of the two stories are different and written in different periods of time. The setting of Conrads late nineteenth century novel is the Belgian Congo in the 1890s. By contrast, Coppolas 1979 film takes place in Southeast Asia in the 1960s during the Vietnam War. In addition, the novel centers on Charles Marlow, a British sailor employed by a European trading company as captain of one of their steamboats, whereas the film focuses on an American army officer, Benjamin Willard. Another major difference is that the ivory traders are in the Congo of their own greed and free will, whereas the American soldiers are drafted into Vietnam and engage in the war against their will. At the first glance, there seem to be character differences in the novel and film – Copollas Willard is nothing like Conrads Marlow. In the novel, Marlow is very eager to meet Kurtz and perhaps gain knowledge about the secrets of the ivory trade in the former Zaire. On the other hand, Willard seems to have a death wish. Copolla portrays Willard as a depressed human, having a soldiers killer instinct, throughout the entire film. The effectiveness of point of view also differentiates the novel and the film. While it is true that Willard remains on the screen more than anyone else in Apocalypse Now, and his comments are often heard on the films sound track, viewers still do not see others completely from his perspective as readers do in Heart of Darkness. Hence, the film is robbed of some of the emotional intensity that one feels when one reads the novel. This is simply because the narrator in the novel communicates his subjective reaction to the episodes from the past. In the film, the audience does not grasp the extent to which the narrator is profoundly affected by Kurtzs tragedy. Many of Marlows sage reflections about Kurtzs life and death are absent in the film. Moreover, while Coppola successfully creates a staggering experience of the wars madness, he seems to confuse the moral issues. This is perhaps because of his view of personalizing the novel. The director identifies so strongly with Kurtz that he modifies the issue of power and disturbs the delicate balance between Conrads story and the subject of Vietnam. Apocalypse Now succeeds in making its viewers experience the horror of the war and to realize their own complicity in it, but it fails to highlight the nature of Kurtzs horror illuminated in Heart of Darkness. Coppolas failure to combine Conrads story and the Vietnam War in this respect points largely to The films adaptation of Kurtz. In the novel, Kurtz is corrupted by his isolation in the wilderness, resulting in an obsession with power and unfolding frightening truths about himself: I think it had whispered to him things about himself which he did not know, things of which he had no conception till he took counsel with his great solitude-and the whisper had proved irresistibly fascinating. It echoed loudly within him because he was hollow at the core. (133) in the film, Coppola tries to resonate Kurtz’s â€Å"hollowness† by having the character recite The Hollow Men by T. S. Eliot. But this can be seen as more of an emblematic solution that does not somewhat applies in the Vietnam War context. Parallels While the settings, backgrounds, characters, and approaches of the novel and film are somehow different, the narration, structure, and that theme are similar. The following paragraphs summarize some of the essential parallels between Conrads Heart of Darkness and Coppola’s Apocalypse Now. In the novel, Marlow introduces his narrative with a passage about â€Å"devotion to efficiency†, the idea behind how the ivory trade makes profit, justifying cruel exploitation (Kinder 16). This statement is also applicable to the Vietnam War context as they are both in the stages of Western imperialism: The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea only. An idea at the back of it; not a sentimental pretence but an idea: and an unselfish belief in the idea-something you can set up and bow down before, and offer a sacrifice to. (70) Coppola does not retain this speech in the film, but it becomes the groundwork for the dramatic events that unite Kurtz and Williard: the former’s recounting of the inoculation story and the latters murder of a wounded Vietnamese woman. The two are driven into a situation in which â€Å"military efficiency is totally undermined, yet they have been trained to worship it and to internalize it as the source of their own personal pride† (Kinder 16). In the novel, although Kurtz embodies all of Europe, he can be viewed as a â€Å"universal genius† who shows what lies ahead for those who take the challenge to look into the abyss. Despite the shortcomings in the handling of Kurtz, Copollas conception of film remains a masterful work that complements the power of Conrads vision. The novel and the film embody the theme of insanity and madness and insanity caused by the evil of imperialism. Madness in the novel is the result of being removed from ones normal environment and how people cope with their new environment. The same theme is explored in the film. Many soldiers who are drafted into Vietnam are barely 18 or 19-year-olds. Their mental stability is shaken when they are thrown into a harsh environment, where their lives hang on by the minute. Soldiers such as Lance and Chef are ready to snap at any moment due to the shock and realization of what kind of situation they are in or what is the purpose of fighting fellow men. They also fear the fact that they do not know where they are headed. Copolla and Conrad literally and metaphorically confront the madness and insanity brought about by Western imperialism and colonialism. Through Kurtz and the American soldiers, Copolla is able to portray what war is like for them, and why so many of them suffered from Post Traumatic Stress Syndrome. The film suggests that wars are an imperialist tool that drives the weak into their destruction. On the other hand, Conrad exposes how the imperialist agenda leads to the exploitation of foreign lands and its people, leaving the imperialist agents themselves deranged and empty (Papke 583). Both the novel and the film also give rise to a race discussion. Conrad and Coppola portray White men as the dominant. They not only rule over their respective crews; they also dominate the local peoples. Marlow and Willard look at the native people as if are the savage culture and White men are the civilized one. But it is interesting to note that each of the two main characters see a little of himself in Kurtz, a degenerated savage White man. Coppola’s take on Conrad’s Heart of Darkness has gained much attention from film scholars. In â€Å"The Power of Adaptation in Apocalypse Now†, Marsha Kinder states that â€Å"Coppola rarely hesitates to change Conrads story-setting, events, characters-whenever the revision is required by the Vietnam context. † (14) Moreover, the dialogues in the film, especially Willards voice-over narration, have been attacked by several film critics for sounding more like a parody of author Raymond Chandler than an adaptation of Conrads novel. But a deeper look suggests that Willards character and tone are not intended to be Marlows. To suit the Vietnam context, Willard has been totally transformed into a trained assassin, whose life has been drained of all meaning. Coppola retains Conrads focal image of the river. In the film, just as in the novel, each of the main characters embarks on a literal and metaphoric central journey. Marlows description of the Congo is an enormous snake uncoiled that fascinates him as a snake would a bird. The films structure is controlled by the image of the river â€Å"that snaked through the war like a main circuit cable,† carrying Willard to Cambodia. The novel and the film begin with the protagonists explanation of how they got the appointment which necessitated their excursion upriver. Marlow is dispatched to steam up the Congo in to find Mr. Kurtz, while Willard is mandated to journey up the Mekong River in a navy patrol boat to find Col. Kurtz. Moreover, while they travel up a primeval river to fulfill their respective assignments, they speculate about the character of the man they are seeking, with the help of the information they have pieced together about him. In both novel and film, the river eventually leads Marlow and Willard to Kurtz and his dying words of horror (Kinder 15). This final destination for both men is their soul-altering confrontation with Kurtz. Overall, it is an expedition of discovery into the dark heart of man. It is also a close encounter with mans capacity for evil. Coppola agrees with this observation and stated that he also saw Willards voyage upriver as a representation for the journey of life that people take within themselves and during which they decide which side to take: good or evil. The horror of the world dominated by hollow men is at the center of both Heart of Darkness and Apocalypse Now. Kurtz, in his god-like acousmatic voice and morally terrifying manifestation, is invested with much greatness: He fully understands existence in all its repugnance. Repelled and terrified Kurtz pushed himself to go into the very heart of darkness, to fully engage in the dualism (good and evil) of Being. To call Kurtz heroic or rapacious or good or evil, is to miss the point entirely. He is forever shaped by a dark satori, by an understanding of the omnipresent nature of darkness. Marlow and Willard are arguably Kurtzs spiritual sons, and they experience the same realization. Both of them look full face at the great condemnation, at the dark obscurity of Being. Each of them faces moral terror in the shape human conduct forced beyond decent limits; and each of them is profoundly transformed by this experience. In her book, Double Exposure: Fiction Into Film, Joy Could Boyum states that â€Å"in substituting Willard for Marlow, a madman for a sane one,† Coppola creates a character incapable of â€Å"any shock of recognition,† a man unable to â€Å"know evil when he sees it† (114). Boyum also argues that there is no discovery for Willard; he is a â€Å"murderer confronting a murder, a madman face to face with madness-it amounts only to a tautology. † Thus, Copollas Apocalypse Now can be argued as a movie that has no moral center. Unlike Willard, Marlow returns from the river experience with intact moral perspective and sanity, inviting the readers trust and identification. But one can also say that, like Apocalypse Now, Conrads Heart of Darkness, itself, is a novel that has no moral center. The book suggests that Marlows great realization is that existence itself has no moral heart. The character has not sustained the river journey with his intact moral perspective unchanged. Towards the end of the novel, Marlow is a transformed man, largely isolated and very different from those people aboard the Nellie. He is alienated forever in his wisdom. Willard, too, in the end, is vastly separated by his new knowledge. While many critics see Willard as immoral, insane, and unchanging, Kurtzs view of him is more fitting. In the film, Kurtz describes Willard when he sees him for the first time as â€Å"an errand boy sent by grocery clerks to collect a bill. † But in the end, Willard becomes wiser. He has been transformed, humbled by his face-to-face confrontation with the darkness natural in Kurtz, in himself, in existence. Therefore, the separate stories of Willards and Marlows river experiences follow a similar narrative pattern and arrive at a similar truth. Apocalypse Now is a thematic and structural analogue to Heart of Darkness. This is perhaps because, Copolla, in his authorial wisdom, fully understood that theme and technique, meaning, and structure are inseparable entities. To tell a story differently is to tell a different story. It seems that, ultimately, Copolla and Conrad tell the same story. Conclusion This paper looks at the differences and parallelisms between Conrad’s Heart of Darkness and Coppola’s Apocalypse Now. In comparing and contrasting the novel and the film, this paper suggests that the film has some significant deviation from the novel. Despite this, however, Apocalypse Now generally remains true to the core of Heart of Darkness. Both the novel and the film follow the same story line but Conrad and Copolla have different ways of presenting this story. This results in surface differences. But a deeper and closer reading of both the novel and the film reveals that they complement each other. This is one of the most important things in adapting a work of literature into a film. Works Cited Boyum, Joy Gould. Double Exposure: Fiction Into film. New York: Universe Books, 1985. Conrad, Joseph. Heart of Darkness. New York: New American Library, 1950. Kinder, Marsha. â€Å"The Power of Adaptation in ‘Apocalypse Now’†. Film Quarterly 33. 2 (1979-1980): 12-20. Papke, David Ray. â€Å"Joseph Conrads Heart of Darkness: A Literary Critique of Imperialism. † Journal of Maritime Law and Commerce 31. 4 (2000): 583-592.

How Does Law And Order SVU Portray Women?

How Does Law And Order SVU Portray Women? Contents 1. Introduction This study examines the representation of women on Television which is one of the most litigious topics surrounding the medium and is strongly dissected in this day and age. I will be conducting my research specifically on portrayal of women in Law and Order: Special Victims Unit. The examination should reveal whether the depiction of female characters on Law and Order is positive or negative. 1.1 Women On TV Joseph (2004) argues that women were underrepresented on network dramatic shows in 1950s to the 1970s and when they did appear, they were frequently seen in token or stereotyped roles. Although representation of women have changed greatly in the last two decades as we are progressing into a more contemporary society, the question is, has it really changed modern representations of women or it merely replicates gender stereotypes (Dobash et al. 1998). In recent years, Xena Warrior Princess and Buffy The Vampire Slayer pioneered the strong leading female characters in fantasy genre. Magoulick (2006) elucidates the positive reviews of Xena and Buffy demonstrate the extent to which these women characters resonate with female viewers longing for strong role models, or even just strong female roles on television. However, these characters were based in fantasy and science fiction genre. Still, programmes like Cagney and Lacey, Cats Eyes and Juliet Bravo paved the way for future strong fema le characters which were popular police/detective dramas depicting strong women. 1.2 Law Order: Special Victims Unit Currently in its 13th season, Law and Order: SVU first aired in 1999. The detectives on the team solve sexually motivated crimes and child abuse cases, which includes an exceptionally strong female lead character Olivia Benson (Mariska Hargitay) and other popular female characters such as Amanda Rollins (Kelli Giddish), Assistant District Attorney Alexandra Cabot (Stephanie March) and Assistant District Attorney Casey Novak (Diane Neal). Law Order: Special Victims Unit offers a unique blend of characteristics placed within a masculine detective genre with strong main female lead along with a male partner, Detective Elliot Stabler portrayed by Christopher Meloni. The episodes often feature real life crime stories and create episodes based on crime stories ripped from the headlines (Green 2009, pp.2). Law Order: Special Victims Unit is one of the most successful and popular spin off series of Law and Order franchise which has won many awards as well as the 2006 Emmy for Outstanding L ead Actress in a Drama Series for Mariska Hargitay (Emmys, 2006) who describes female audiences reaction to her character Olivia Benson in Greens book Law Order: Special Victims Unit: The Unofficial Companion: As the show got more popular, I received so many emails from so many survivors. They were identifying so much with my character, identifying with this lion, this strong powerful (Olivia Benson). And then I had thirteen-years-old going, I want to be you; you are my role model. Hundreds of emails going, I want to be a cop when I grow up. And I thought this character has touched something deep in so many women and provided a safe place to goà ¢Ã¢â€š ¬Ã‚ ¦ I felt I had a responsibility. (Green 2009, pp. 90) 1.3 Relevance Of The Research Women representation on television has significant value to female audiences because they view strong characters as role models. Singh, Vinnicombe and James (2006) studied career-minded women who keenly draw on role models from different aspects of like, television being one of them. They discovered that women used female characters from Television as role models such as Buffy, Alias and Xena: The Warrior Princesss. Analysing this aspect of female characters on Law Order: Special Victims Unit will provide me with the tools to examine the codes used in the portrayal of women. Research has been conducted on Law and Order: Special Victims Unit in the past i.e ethnic minorities, victimization of women. For example Britto (2007, p40) has deconstructed that portrayal of women are overplayed on crime drama series as offenders and victims with the help of content analysis in her article Does Special Mean Young, White and Female? Deconstructing the Meaning of Special in Law Order: Special Victims Unit. Furthermore, there has been extensive research on representation of ethnic minorities, male and female on Law and Order: Special Victims Unit. However, my research will focus on the female characters such as Olivia Benson (Mariska Hargitay), Amanda Rollins (Kelli Giddish), Assistant District Attorney Alexandra Cabot (Stephanie March) and Assistant District Attorney Casey Novak (Diane Neal) and deconstruct the codes employed to characterize them. 2. Literature Review Theoretical framework will direct my research in a focus manner whilst facilitating a proficient and comprehensive analysis. It will provide a major foundation for my investigation. As representation of women is such a diverse topic, I will focus and limit my research with the help of theoretical framework to achieve an accurate conclusion. 2.1 Representation Of Women On TV In order to build my research, the history of women representation would greatly aid in my investigation. Consequently, DAccis (1994) meticulous exploration of Cagney and Lacey, which aired from 1981 to 1988 and widely recognized as an innovative treatment of working women would provide the perfect groundwork for the investigation. While researching this book, DAcci had unprecedented access to the set, to production meetings, and to the complete production files, including correspondence from network executives, publicity firms, and thousands of viewers. In this book she examines the development of women characters and the representation of feminism on prime-time television. This would provide me thorough knowledge of what goes behind making a drama series with female lead characters and will equip me with the right tools to compare the representation of female characters on Law and Order:SVU. Furthermore, it contains other example from the history of American television which would be beneficial for my research. Brunsdon, Charlotte and Spigels (2007) book Feminist Television Criticism: A Reader provides a detailed examination extending across television, media and screen studies which looks into representation of feminism as historical categories and political identities. This book gives a valuable analysis of women working behind the camera and in-front of the camera as well as female audience and their response to television in their daily lives. I would be able to evaluate the depiction of women on Law Order: SVU in regards to historical and political viewpoint. The representation of females on the television screen has been a subject of much discussion since the television became commercially available in the late 1930s. In 21st Century, even though television produces programs like Pan Am, Charlies angels, The Playboy Club with female lead characters, they are still viewed through a very patriarchal ideology (Ingham, 2007). Dominicks (1979) article The portrayal of women in prime time, 1953-1977 concludes that female characters appearing on prime-time television from 1953-1977 were underrepresented on television and were frequently seen in stereotyped roles. This article will help me setting the groundwork for my research as I can put female characters on Law and Order: SVU side by side with previous characters. Further research (Elasmar, Kazumi and Brain, 2009) showed that women were more likely to be shown playing minor roles and playing characters of housewives and involved in a romantic relationship. I would need to further explore the depth of women representation on television which will allow me to conduct adept research. Gills (2007) work on Gender and Media looks like an interesting book for my research which explores the contradictory character of contemporary gender representations. Gender and the Media is also concerned with the theoretical tools available for analyzing representations. A range of approaches from semiotics to postcolonial theory are discussed, and Gill asks how useful notions such as objectification, backlash, and positive images are for making sense of gender in todays Western media which relates to my current study. Melanie (2011) cross-examines the construction of feminism and femininity in cinema and television from a wide variety of female centric programs such as chick flicks, reality shows and drama. This book will provide me with the understanding of the relationship between feminism, femininity, and visual culture and tools to analyze images of female representation in media. 2.1.1. Narrative Writing The Woman In order to relate characters and peak interest of the audience, formulation of the character through narrative is of uttermost importance. The character and narrative in the text have an emotional connection and resonate with the reader if they identify with the character. Hence, analysis of female representation in Law and Order SVU through their characterization in the narrative would allow me to deconstruct the signs from the text. Furthermore, specific aesthetic and narrative strategies used by the producers to create characters also append to feminism and female representation (Geetha, 2007). Mulveys (1975) groundbreaking article Visual Pleasure and Narrative Cinema would greatly aid in exploring the relation of narrative structure in construction of female characters in Law and Order: SVU where she unravels the narrative and visual techniques in cinema and puts forward the male cinematic gaze that objectifies the female character, hence, turning her into a spectacle, to-be-loo ked-at-ness (1975, 19). Mulvey (2009) revisits her theory in Visual and Other Pleassure by applying her feminist theory to more contemporary work concerning film spectatorship. She also talks about young modern woman of the 1920s in terms of images and narratives employed in Hollywood and European films which will be relevant to assess portrayal of women in Law and Order: SVU. In regards to narrative and women representation in media, Teresa de Lauretiss (1984) work would facilitate my research in the right direction as she investigates the structural representations of woman in cinema. De Lauretis (1984) disagrees with Mulveys (1975) theory of women representation as being permanently subjective and affirms that it is in a consistent stage of self-progression. De Lauretis believes that narrative structure draws upon the characters aspiration in social and cultural context and reproduces subjectivity. De Lauretis argues that female characters are formulated to incline towards femininity and conventionally portrayed as ideal image perceived by men (1984, 143). De Lauretiss conclusion of womens oppression by employing techniques of cinematic narration would provide a diverse perspective in representation of women in Law and Order: SVU. 2.2 Women Crime Genre The characteristics of gender have been reallocated in modern era in crime dramas where the female and male personalities are synthesized. The transformation also saw the shift of feminine traits of emotions, compassion and bond between traditionally masculine traits of heroism, vigor, and power giving rise to alternative action hero (Feasey 2008, p. 67). In 1970s and 1980s, crime genre progressively began depicting women in significant characters embarking on TV revolution. Snauffers (2006) book called Crime Television would aid in my research tremendously as it would be idyllic to find out the history of crime genre as it was dominated by men (Maureen 1988, p. 2). Since the beginning of television, crime dramas have been a prime genre of TV. According to Snauffer (2006), crime television has proven to be a fascinating reflection of changes and developments in the culture at large. In the 50s and early 60s, the square-jawed, just-the-facts detectives of The Untouchables and The FBI put police work in the best light possible. As the 60s gave way to the 70s, however, the depictions gained more subtle shading, and The Streets of San Francisco, The Rockford Files, and Baretta offered conflicted heroes in more complex worlds. This trend has of course continued in more recent decades, with Steven Bochcos dramas seeking a new realism through frank depictions of language and sexuality on television. In chronicling these developments and illustrating how the genre has reflected our ideas of crime and crime solving through the decades, author Douglas Snauffer here provides essential reading for any fan. This work provides a comprehensive history of detective and police shows on television which will contribute to my research immensely. Turnbull (2013) in her book The Crime Drama: TV Genres provides a historical study of the crime drama series as a genre which presents a number of case studies to clarify major concerns in the course of the genre. This book will facilitat e my argument as it looks at female led crime drama series from around the world such as The Wire and The Killing. Crime dramas generally feature subject matter related to public sphere with male dominance, however, the addition of female characters into crime genre has enabled to pursue a dynamic approach concerning gender bending transgressions, domestic issues and other feminist concerns (Feasey 2008). Nevertheless, women werent always depicted as strong willed and independent on TV. Cavender (1999) examines the depiction of women crime victims by comparing episodes from reality crime program. He analyzed that women talked about their victimization; however, men spoke more often and presented master narratives about the crimes. In both seasons, the program imagery emphasized feminine vulnerability to violence from strange, devious, and brutal men and masculine technical expertise and authority as womens protection from such violence. His analysis would be helpful in further studying the crime genre as well as involvement of women. Humphries (2009) examines women, violence, and media presentati ons through the lens of feminist criminology. This book contains chapters on Gendering Constructions which lays the foundation for the volume and examines media presentation of gendered violence, female killers on Law and Order and women in media. This book will give me tools to analyze the media text meticulously. In crime genre, male protagonist used to focus on solving the crime neglecting the public concerns during the process. Though, attitudes started to change when women were portrayed unconventionally as brave, independent and intelligent characters breaking away from the societal norm resulting in shaping a new feminist archetype (Aisenberg, 1994). In her book Ordinary heroines: Transforming the male myth Aisenberg (1994, p. 240) believes that female representation has progressed into equal active crime-solving characters with slight borrowing from conventional masculine traits such as Dana Scullys (Gillian Anderson) character in The X Files who was a powerful and independent professional woman even though FBI agent roles were profoundly male-dominated. Cuklanz and Moorti (2009) examine a wide variety of text to delve into the representations of gendered violence against women and formulation of gender. They believe that Law and Order SVU featuring lead female characters engage in stereotypical representation of women showcasing violence against them including inherent misogynist communiquà ©. Cavender and Jurik (2012) inspect the optimistic side of representation of women on TV as they analyse Prime Suspect starring Helen Mirren as policewoman Jane Tennison in popular British drama series where her character disrupts the conventions of the traditionally male genre (p.65). They focus on the portrayal of gender and law enforcement in the show featuring modern social tribulations where women play the central character. On one hand, Prime Suspect has become a cult hit for being an exceptionally feminist show in a traditionally male dominated crime genre. On the other hand, it is still not devoid of gender politics where Tennisons char acter shown as a successful woman is pigeonholed into an old lonely and friendless career woman. Cavender and Jurik (2012) work will provide the framework to deconstruct the meanings and connotation in depiction of women in Law and Order: SVU in relations to social norm. There has been a dramatic rise in representation of women detective in modern text whether be film or television which used to be dominated by men (Mizejewski, 2004). Whilst examining Jodie Fosters character Clarice on The Silence Of The Lambs, Mizejewski believes that traditional Hollywood cinema has been unconsciously organized along these lines: men looking and taking action, women being looked at. The conventions of framing, lighting and editing in portrayal of women all play to these dynamics (p. 7). Tasker (2007) believes women representation has progressed tremendously in recent years with transformed and empowered gender egalitarianism; however, there is still substandard issue. Gender is a key constructor and differentiator of character in ensemble workplace dramas (Allen 2007, p 48). The meticulous examination of Crime Scene Investigation (CSI) in Reading CSI by Michael Allen, a popular crime drama including the relationship of characters to their narratives and response of fans would provide great depth and widespread view which I can apply to Law and Order: SVU during my research. 1.3 Female Heroine Gunter (1986) argues that women are represented in a stereotypical manner associating with the characters traits they typically exhibit. In comparison with men, their characters were subjugated by personal relationships and family issues. However, this began to change in the 1970s when women were portrayed in more dynamic roles. Knight (2010) believes that it wouldnt have been possible without Sigourney Weavers character Ellen Ripley in Alien (1979) franchises which has become an avant-garde symbol. Ellen Ripley signified the first final girl archetype, a term coined by Carol J. Clover in the book Men, Women and Chansaw: Gender in the Modern Horror Film (1992), who conquered and triumphed against an evil villain without any help or rescue from a man (p.98). Knight (2010) and Clover (1992) examinations of women representation would aid in decoding the signs in Law and Order:SVU. Anthony (2009) believes that the progression in women portrayal on television and films was because women h ad taken over the market and were able to acquire positions as Producers and Directors. Consequently, women were portrayed in more heroic roles which cancelled out the notion of women as victims, resulting in a positive ideological advance (p. 80). Innesss (2004) Action Chicks is a groundbreaking collection of essays providing a new look at female action icons such as Xena, Buffy, Lara Croft and so on. These essays take a look at how recent depictions of women in action films, TV shows, comic books, and video games reflect a changing acceptance of women in traditionally male heroic or tough-guy roles. This highly specialized and scholarly study is suitable for my research and would enable me to view Law and Order: SVU in different light. In order to analyze the representation of women in Law and Order: SVU, I will construe if the women embody four essential constructing features which are body, attitude, action and authority in a tough hero (Innes, 1998). Brown (1996) has the same belief of women portrayed as action heroes stating, female action heroines body is represented by using same codes as a male hero in regards to object and subject in action films (p. 56). Goodwill (2011) agrees with Browns statement that new female ac tion hero possesses positive masculine characteristic which were preserved for men only, breaking away from orthodox feminine attributes. With the fusion of traits, earlier archetype of the hero has been amended in popular culture containing both masculine and feminine traits which will enable me to interpret female traits presented in Law and Order: SVU. Hill (1999, p 38) states, action heroines are the new type of protagonists in action genre who are smarter and tougher than conventional female heroines and even their male counterparts. This new breed of action heroines contravenes not only cinematic but cultural gender codes of women being submissive and tangential characters and transform traditional cinematic depiction of women. Noble (1999) produces an innovative framework to create new epitome of heroism for women in her book The Sound of a Silver Horn: Reclaiming the Heroism in Contemporary Womens Lives. She puts forward certain qualities that a female hero should possess to transform her and the world such as strong-minded, valiant and a risk-taker. Harriss (2004) groundbreaking work would provide a framework for my research where she looks at intricate representation of girls in recent history. Siehlohrs (2000) anthology investigates generic codes used in gender in regards to national identity in European films. She also exa mines how representations of women are effected by particular national milieu. This provides a baseline to investigate influences of societal factors on representation of women in Law and Order: SVU. Hanson (2007) proposes alternative ways of viewing classic and contemporary Hollywood heroines and the associations of gender with genre. She investigates representation of women as investigator and heroine in the variable context of the film industry which will enable me to apply the same approach to my research. She confers meticulous attention to the production of narrative, actions and perception as well as negotiation of feminine self and desires across the past. Jaceys (2010) book about The Woman in the Story: Writing Memorable Female Characters would be of significant value on this topic. She states that by creating a heroine, the screenwriter has to consider all kinds of differences, from character development to gender issues in the development process. This would allow me dig deeper into the depiction of female characters on Law and Order: SVU such as Olivia Bensons character as a Detective and Alexandra Cabot character as a District Attorney. According to Knight (2010), female action heroes extensively influence individuals in society and also reveal a lot about our society. Her analysis on female action here would help me understand Olivia Bensons character on Law and Order: SVU as she is seen as a role model and a super heroine to a lot of women. Furthermore, I will examine Buffy which was a very popular show with very sharp and provocative commentaries on gender. In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism (Levine and Parks, 2007). Stuller (2010) illustrates the triumph of female hero in contemporary mythology which has cracked through male dominated environment and divulges into the crucial role of female crime fighters in popular culture. METHODOLOGY: Litosseliti (2002) book on Gender, Identity and Discourse Analysis will provide me with the tools to employ discourse analysis to the media text for my research. I will conduct a discourse analysis on Law and Order: SVU to find out why Olivia Benson is considered a positive role model. Benson has been taken up as a feminist icon by artists and bloggers because shes the type of person who triumphs over adversity, stands up against injustice, and never blinks when shes staring down a bad guy. Furthermore, it will aid me in examining other female characters re-presented as victims and criminals. Research has shown that violence against women is a serious public health and human rights concern (World Health Organization 2000) and that the concurrent presentation of women as sex objects and victims in various forms of media increases acceptance of violence against women (Malamuth, 1996). As television has the widest audience of any medium (Gunter Wober, 1992), it is of uttermost importan ce to have an improved representation of women on television. I will draw primarily upon the discourse analysis of Law and Order: SVU to examine the meanings behind the representations of women as victims to more positive and hopeful depictions. Marion (2008) argues that the contemporary portrayals of women within popular culture are shaped by two major trends: the mainstreaming of pornography and its resultant hypersexualization of women and girls, and the commodification of those images for a global market. Wood (2000) book will provide both the practical steps for doing discourse analysis and the theoretical justifications for those steps. This book shows students how the social world revolves around talk and text. This book will aid in my research a great deal as it presents actual examples, covers data collection methods and strategies for data analysis, and addresses issues of reliability and validity. Tolsons (2006) book Media Talk: Spoken Discourse on TV and Radio investigates distinctive forms of mediated speech on TV and radio through discourse analysis. Media Talk is the first book to provide a comprehensive review of this important work. Lorenzo-Duss (2008) Television Discourse examines the specific forms and structures of talk across media genres. This book will provide me an in-depth knowledge of the discourse analysis on TV as it examines four defining characteristics of the current broadcast landscape: Storytelling, Closeness, Conflict and Persuasion. This would allow me to analyse the characters on Law and Order: SVU and find out if they are portrayed positively or negatively. Even though the women on LO: SVU are tough and strong, there are still some problematic issues in their representation. They are re-presented as victims or offenders in a lot of episodes. For example, Detective Olivia Benson is frequently victimized throughout the show, including her being stalked in Seasons 1 and 3, and more recently she is sexually assaulted while undercover in a prison. Furthermore, there were several suggestions in episodes on how the female detective pays a lot of attention to her appearance. An in-depth research would allow a more precise and comprehensive investigation on the topic. References [You may optionally use Bibliography or Works Cited] Cavender, Gray , 1999. The Construction Of Gender In Reality Crime Tv. Journal Of Broadcasting Electronic Media , Volume 13, Issue 5, 643-663. Dobash, R. E., Dobash, R. (1998). Rethinking Violence Against Women. Thousand Oaks, Calif, Sage Publications. Dominick, Joseph R. , 2004. The Portrayal Of Women In Prime Time, 1953-1977. Sex Roles, Volume 5, Number 4, 405-411. DAcci, Julie, 1994. Defining Women: Television and the Case of Cagney and Lacey. Edition. University of North Carolina Press. DAcci, Julie, Brunsdon, Charlotte and Spigel, Lynn , 2007. Feminist Television Criticism: A Reader. Edition. Open University Press. Douglas M. Snauffer, 2006. Crime Television (The Praeger Television Collection). Edition. Praeger. Elasmar, Michael, Hasegawa, Kazumi and Brain, Mary. 2009. The portrayal of women in U.S. prime time television. 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