Discuss the Representation of Civilisation in Heart of...

Heart of Darkness is a highly complex novella, as it does not provide the reader with an ending that satisfies his or her expectations, though the implications are profoundly more powerful and unsettling as it destabilises the reader’s notion of humanity. Conrad deconstructs the notion of western civilization being â€Å"a shining light and because of it knowledge has reached every quarter of the globe,† through the symbolic meaning of light and darkness and the breakdown of form in the narrative to echo theme. Notions of imperialism and colonialism are put into disrepute by Conrad through Marlow’s own justification and his struggles with the frame narrator, as he seeks to destabilize dominant ideology through ambiguity in his narrative, which†¦show more content†¦The Frame Narrator simultaneously names London as the â€Å"biggest, and the greatest, town on earth.† The British Empire in 19 century became â€Å"the empire which the sun never sets. † Conrad shows the glorification of imperialism in this passage. In an almost contradictory tone the Frame Narrator observes above London there ‘was a dark air, condensed into a mournful gloom, brooding motionless’ over the city. This suggests the oppressive atmosphere in London and the immoral and dark project of Imperialism, because of what British colonists bring to Africa; death, racism and unfair trade. Ultimately this is what Stanley also brought to Africa, words of a spiritual mission, but actions of darkness. The nature of colonialism and imperialism being a business, rather than a holy mission, is evident as the Frame Narrator begins introducing his companions by their titles instead of their names, â€Å"the Director of Companies was our Captain and host†. This implies that the people involved in colonial practice were looked at in terms of business as opposed to seeing the humanity in them. This is reflected with the aspect of imperialism stripping away all humanity from civilisation. Again in the novella’s contradictory manner, Conrad establishes the idealistic idea of imperialism by describing the Director standing â€Å"in the bow looking seaward,† suggesting a heroic character. His companions view him with â€Å"trustworthiness personified,† suggesting that suchShow MoreRelatedThe Forest in Folk and Fairy-Tales3104 Words   |  13 PagesIt has been said that in literature a forest is a place where you can both lose and find yourself. 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The Crucible And Twelve Angry Men Essay - 1145 Words

Can justice; fair treatment, exist in a world of prejudice; preconceived bias opinions? In both works of American Literature about the United States judicial system; The Crucible by Arthur Miller, and Twelve Angry Men by Reginald rose extol the pursuit of justice while questioning the place of prejudice in the judicial system. These plays unveil the fact that; only by overcoming and setting aside prejudices can justice be attained. The Crucible takes place during puritan times when the word of mouth was proof of guilty, while Twelve Angry Men takes place during the 20th century when the word of mouth must be proven true prior to a verdict. Hover both plays exhibit a reasonable protagonist who stands against all his misguided peers in the†¦show more content†¦By admitting he had an affair with a teen John admitted to adultery tarnishing his reputation in the name of justice. John even gives up his life, unwilling to charge other innocent people with witchcraft, because it is the just thing to do. John then Although John committed lechery, he redeemed himself by sacrificing his name, his reputation, and his life in the pursuit of justice. Similarly ,In Twelve Angry Men Juror 8 is a smart and moral juror who is willing to stand against all the other jurors for what he thinks is right. He is the main protagonist who believes a boy accused with murdering his father deserves a discussion prior to a guilty verdict. Although all the other jurors initially voted guilty, juror 8 believed that the jurors should not â€Å"send a boy off to die without talking about it first†(Juror 8, 12). Throughout the play Juror 8 combats the pressure from the other Jurors to just vote guilty and manages to convince his fellow Jurors one by one that there in fact is â€Å"reasonable doubt†(Judge, 6) and convinces them to arrive at a â€Å"not guilty†(Juror 3, 72) verdict. Reginald Rose extols Juror 8’s pursuit of justice through his success. Not only did Juror 8 stand by his principles and have the courage to stand against all the other Jurors, he also had the wits to convince his fellow jurors to change their verdict. Through these actions Juror 8 brings justice to the courts of New York city saving the life of a young boy.Show MoreRelatedFeminist Approach to Witchcraft; Case Study: Millers the Crucible6554 Words   |  27 PagesWitches in Arthur Millers The Crucible: A Feminist Reading Author(s): Wendy Schissel Publication Details: Modern Drama 37.3 (Fall 1994): p461-473. Source: Drama Criticism. Vol. 31. Detroit: Gale. From Literature Resource Center. Document Type: Critical essay Bookmark: Bookmark this Document Full Text: COPYRIGHT 2008 Gale, Cengage Learning Title Re(dis)covering the Witches in Arthur Millers The Crucible: A Feminist Reading [(essay date fall 1994) In the following essay, Schissel offers a feministRead MoreLangston Hughes Research Paper25309 Words   |  102 Pagesgoals. He had claimed a 160-acre homestead, which he farmed. In addition, he taught school and worked as a law clerk. His ultimate goal was to take the bar exam and practice law. When he learned blacks were not eligible to take the exam, Jim became angry and blamed the color line for blocking his progress. Searching for a better position, he eventually took a job in Mexico. Carrie refused to follow her husband. Instead, she traveled around the country, living with friends and relatives and workingRead MoreEssay on Silent Spring - Rachel Carson30092 Words   |  121 Pagesoffprint from Gales For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare Contrast, What Do I Read Next?, For Further Study, and Sources.  ©1998-2002;  ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design ® andRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesModel 23 An Overview 23 †¢ Inputs 24 †¢ Processes 25 †¢ Outcomes 25 Summary and Implications for Managers 30 S A L Self-Assessment Library How Much Do I Know About Organizational Behavior? 4 Myth or Science? â€Å"Most Acts of Workplace Bullying Are Men Attacking Women† 12 An Ethical Choice Can You Learn from Failure? 24 glOBalization! Does National Culture Affect Organizational Practices? 30 Point/Counterpoint Lost in Translation? 31 Questions for Review 32 Experiential Exercise Workforce Diversity

The Hotel de Bourgogne Free Essays

The Hà ´tel de Bourgogne was the first permanent and only theatre that existed in Paris for multiple years, and it included relatively uncommon characteristics. It was built following a narrow rectangular shape that was 102 feet long and approximately 43 feet deep, consisting of an open space on the ground floor called the pit in which the audience would stand and three levels of galleries running round three of its four walls. The galleries that where perpendicular to the stage where partially divided into boxes, which were named loges. We will write a custom essay sample on The Hotel de Bourgogne or any similar topic only for you Order Now This where the theatre’s most expensive seats. The galleries that where parallel to the stage were built undivided. The higher ones where called the paradis, as a result of them being near the roof, or â€Å"heaven†. These seats were the most expensive ones in the theatre (excluding the pit that was free). Overall, the Hà ´tel de Bourgogne could hold up to approximately 1,600 audience members. It was not uncommon that audience members paid to sit on the lodges to be seen, more than to see the plays, since this was also the system used English private theatres. The stage rose approximately six feet from the ground, without an authentic proscenium arch, though the lodges implemented a sort of frame that was 25 feet wide and approximately 17 to 35 feet deep. In the late sixteenth and the early seventeenth centuries, the stage’s scenery varied from play to play, but usually, the style of design was a miscellaneous mix of renaissance and medieval styles, called simultaneous settings. A few scholars use this name to classify any medieval stage set-up, but at the Hà ´tel de Bourgogne, concurrent settings were considerably different. During the Italian Renaissance, the set was decorated in a manner in which a series of wings (called periaktoi) led the view upstage to a central vanishing point, partially on a perspective manner, resulting in an illusion of depth. At the Hà ´tel de Bourgogne however, there were no different fragments painted on the wings of one single setting, as it was the case in Renaissance decor. Instead, there was a mansion-like mural symbolizing a different location was on each wing. For example, if an actor or actress walked towards the front of one of these wings, on which was painted a mansion, the audience recognized that he or she was in front of the mansion; if he or she walked towards another wing that had a mural of a valley, the audience recognized that he or she was in a valley. Laurent Mahelot was a French scenographer who created multiple simultaneous sets in the early 17th century. Finally, the Hà ´tel de Bourgogne’s auditorium as well as the stage where lit using candle and oil lamps, following the Italian Renaissance’s lighting methods. The Hà ´tel de Bourgogne was the only perpetual theatre in Paris. However, companies could perform on other locations as long as they paid the Confrà ©rie de la Passion its fee. There were various locations, with similar architecture to the Hà ´tel de Bourgogne’s, and very available because a particular sport called jeu de paume had lost some of its popularity. This sport was a type of tennis, and the courts where the game was played were long and narrow rectangles that included galleries along the main hall. The theatre companies would construct a platform at one end of the court, transforming it into into a theatre. The French were on the right path to creating the proscenium arch theatre, significantly this can be seen in the auditorium’s characteristics, and it was noticeable in France prior than when identical structures were accessible to the public in either Italy or England. It was in 1634 when an adversary to the Hà ´tel de Bourgogne was constructed, called the Thà ©Ãƒ ¢tre du Marais. Its architecture was inspired on a tennis court, but it was then replaced in 1644 (when it first burned down) by a more elaborate building that could hold the complicated theatre machinery that had been growing progressively popular in France. This freshly built Thà ©Ãƒ ¢tre du Marais had a height of 52 feet and was 115 feet long, 38 feet wide. Its auditorium included three levels of galleries running round its walls. The first two galleries where separated into boxes and the top paradis was built as an open stadium seating. The rear wall also incorporated two levels of boxes and stadium-style seating at the top. The stage rose 6 feet from the ground, and it included a proscenium opening of 25 feet. It also contained was a second level acting space. This new Thà ©Ãƒ ¢tre du Marais could hold up to approximately 1500 audience members. Feeling threatened by the new Marais’ architecture, the Hà ´tel de Bourgogne was renovated in 1647 following the same fashion as the Marais. In the middle of the 1630s, there where little attempts of spectacles in either the Hà ´tel de Bourgogne or the Marais. The academy had urged play-writers to honor the solidarity of one singular place, which restricted plays to have only one set (with no variations). Whereas in the past, concurrent settings where used at the Hà ´tel de Bourgogne, after 1636 both theatres started to include relatively neutral settings. For comical plays, the set was a room with four doors and for tragical play, the set was a location in front of a palace. Theatres that provided plays to the court were more problematic in their use of spectacle. Courtly audiences where familiar with the Italian-style scene transformations as early as the 1620s in momentary locations, but it became more conspicuous in the 1640s. It was in 1641 when Cardinal Richelieu ordered a theatre to be built in his home, which he named the Palais Cardinal. In this theatre, a ballet performed for the court and it included nine different settings that changed a vista. When Richelieu died in 1642, both his newly built theatre and his home were taken over by the crown, the two being renamed as Palais Royal. Richelieu’s successor was Cardinal Mazarini, who changed his name into a more French version: Cardinal Mazarin. During King Louis XIV’s childhood, he was responsible for the prosperity of the country, the same way Richelieu had done with Louis XIII. Mazarin adored Italian opera, and didn’t hesitate to introduce that style to Paris. In order to accomplish the appropriate spectacular settings for these operas, Mazarin brought to Paris Giacomo Torelli, a very famous and talented scenic designer in Italy. In 1645, Torelli created an innovative stage scenery with set transformations and special effects accomplished by the use of theatre machines. He did it in the palace next to the Louvre, called the Petit Bourbon, where numerous court functions had been staged in the late 1500s. He integrated his own version of the chariot and pole system of scene transformations to amaze the courtly audiences. The Petit Bourbon’s most famous asset was the Great Salle. With 49 feet wide and 115 feet long and an apse that added additional 44 feet at one end, the hall’s dimensions were considered substantial by Parisian standards. The apse was decorated with fleur-de-lis during the Estates General of 1614 because it was the place where both the king and his courtiers sat. In this hall, the court was used to produce celebrations and ballets, where the princes and Louis XIV., when young, used to dance. The following year he incorporated identical changes to the theatre at the Palais Royal. This resulted in Paris promoting two public theatres and two court locations that produced sensational ballets in which courtiers danced by 1646. Operas, along with â€Å"machine† plays that gave its sets (most of the time designed by Torelli) a protagonist role, impressed audiences not only with the use of chariot and pole changes but also by introducing appearances of the king on stage. The king frequently made grand entrances and also danced in the 1650s. Even though Torelli acquired extraordinary fame, at the same time he gained powerful enemies. In response to Torelli’s newly obtained enemies, Cardinal Mazarin imported a rival Italian designer, Gaspare Vigarani, to develop an appropriate spectacle for the wedding of Louis XIV. Torelli’s Salle du Petit Bourbon was demolished, and in the Tuileries palace, Vigarani built a new theatre called the Salle des Machines, which became the biggest theatre in Europe. This enormous space was 252 feet long and 52 feet wide, including both a backstage area of 140 feet deep (space needed for Vigarani’s machines) and a proscenium opening of 32 feet. Architects Louis Le Vau, Franà §ois d’Orbay , and Charles Errard decorated and designed the Salle des Machines’s auditorium. It was sheltered in a pavilion placed at the north end of the palace, originally designed and constructed by architect Philibert de l’Orme for Catherine de Mà ©dicis. The auditorium could hold up to approximately 8,000 audience members. The unconventionally profound stage was placed in a gallery located between a new, more northern pavilion and the auditorium. Nevertheless, the Salle des Machines was completed in time for Louis’ wedding, its first production only premiered until 1662, when Vigarani bestowed the king with his delayed birthday present, an opera called Hercules in Love. This was a spectacle that included multiple ballets, but it was mainly about the theatre’s complex technology and machines. In the 18th century, there was transformation in the functional side of theatre as well as in its acting, architecture, design, and staging. French theatres in the 18th century appeared to be identical to eighteenth century English theatres. A clear similarity was their use of the pit, box and gallery system for their audiences. Another similarity that can be found is that both English and French theatres had cut back their forestage, concentrating all of the action within the scenic stage. Pushing back the forestage created more space for audience seating, resulting in a great improvement since more room was needed. In the eighteenth century, both English and French theatre auditoriums extremely increased in size. French theatres also had their audience members removed from their conceited onstage seats. Until 1782, French theatres preserved its parterre smooth. It was after that year that they started incorporating benches for audience members to sit. However, it appeared that a seated parterre was less active than a standing parterre, and forces had their hands full trying to silence the audience participation and noise from the standees in the pit. This resulted in the introduction of guards in the parterre that would demand order and keep the audience tranquil and silenced. The shape of the French theatres’ auditoriums also changed in the turn of the century. They transformed into curved ‘horeshoe† shaped spaces and stopped building rectangular boxed atriums. This method of construction increased the amount of available seats, as well as it aided. Behind the proscenium arch, French theatres were narrow, almost effortless spaces. The aged Hà ´tel de Bourgogne had been utilizing the same scenic techniques for almost a century. Neoclassical plays required one set singularly, as they were obligated by the solidarity of one singular place. However, as the century progressed there was a movement that was inclined to more complex settings and transformations of scene, significantly for plays written on alluring and distinct locales. In conclusion, the architecture and stage design for French theatres has changed over the course of two centuries. It was influenced by outside Italian forces that introduced new machinery that thrilled Parisian people in the 17th century, with its stage transformations and its classicist construction. In the 18th century, France started to adopt a more English style of architecture and scenery, making more space in the auditorium. So what is French theatrical architecture? It’s a combination new technologies invented by masterminds to thrill and amaze audience members, technologies that where brought to France by people outside the nation. It’s a multicultural style that was placed in the country’s capital, making Paris the greatest city we know today. How to cite The Hotel de Bourgogne, Papers

An unlikely haven for new plays Essay Example For Students

An unlikely haven for new plays Essay The unveiling of a new play by Edward Albee at an American professional theatre is a rare event, but it will happen this fall at Ensemble Theatre of Cincinnati. Lee Blessing is working on his second world premiere at the theatre in as many years. A new Eric Overmyer piece is expected to be on the companys slate a year from now, and the latest unproduced Michael Weller composition just arrived in the mail. For a tiny theatre created with $200 in the summer of 1986, that is an impressive stable of writers. But then the Ensemble Theatre of Cincinnati is the kind of operation that takes particular pride in accomplishing the unexpected. Simply housed in a former bank in an eclectic but troubled inner-city neighborhood named Over the Rhine, ETC appears an unlikely candidate for rapid growth and national prominence in the area of commissioning new work. For a start, the theatres annual budget is under $750,000, and the full-time staff numbers only nine. No one has a proper office, and artistic director David White sits in a cubicle at the back of the auditorium, shielded only by flimsy screens from the current performance. There is hardly any budget for advertising, so the theatre relies almost entirely on free media coverage and direct-mail campaigns. The company operates on a Small Professional Theatre agreement with Actors Equity Association and has never auditioned outside its home city, casting all its shows from its own company of local actors. Outline1 Beating the odds  2 A dear playwright letter  3 Maximum flexibility   Beating the odds   Worries about the neighborhood oblige the theatre to hire a security guard to watch cars. Just a couple of miles away sits a grand competitor, the Cincinnati Playhouse-in-the-Park, a long-established theatre with a comparatively hefty budget, impressive physical plant, solid reputation for new plays, and an idyllic setting removed from urban blight. Furthermore, this is Cincinnati, Ohio, a city notorious in artistic circles for the Mapplethorpe trial and pervasive conservatism. Whatever the odds against success, ETC managing director John Vissman recounts figures that would be the envy of many larger regional houses. Subscriptions have increased by 264 percent over the past three years; the budget and single-ticket sales have tripled. The theatre is currently adding to its 134-seat capacity, due to many shows attracting far more people than there are seats to fill. The final production of last season, an original adaptation of Zorro, broke box-office records and was extended several times. Virtually singlehandedly, ETC has created a strong pool of Equity actors in a city that used to be a union wasteland. And all this growth has been achieved by devoting three-quarters of each season to original work-33 of the 46 plays produced during the theatres first seven years have been world premieres. Weve carved out a niche in Cincinnati, says artistic director White. Most of the other arts organizations have been around here for a long time. Our audience is younger. Box-office income has swelled each Christmas with ETCs annual production of a rambunctious English pantomime, a popular and original family choice in a city where there are already five versions of A Christmas Carol within a 50-mile radius. Familiar television faces have also piqued audience interest: WKRPs Gary Sandy played Stanley in Streetcar a few years back, and Rosanne star Sara Gilbert made her stage debut in Gary Stewarts Downwinder Dance. White also hired Rebecca Miller to direct her fathers After the Fall last season, ensuring that Arthur Miller would show up to chat with delighted subscribers. By pooling resources with the University of Cincinnati and offering opportunities to teach, ETC was able to persuade (and finance) Albee to direct two of his own plays Everything in the Garden in 1990 and Seascape last fall. That developing relationship led Albee to agree to write a new play, Fragments, with ETC specifically in mind. The Blessing premiere next March will be a co-production with the Theatre in the Square of Marietta, Ga.; the show will feature a cast and design team staffed and funded by members of both theatres. .u7f1e77c71d5c2883888205cbf7057cf2 , .u7f1e77c71d5c2883888205cbf7057cf2 .postImageUrl , .u7f1e77c71d5c2883888205cbf7057cf2 .centered-text-area { min-height: 80px; position: relative; } .u7f1e77c71d5c2883888205cbf7057cf2 , .u7f1e77c71d5c2883888205cbf7057cf2:hover , .u7f1e77c71d5c2883888205cbf7057cf2:visited , .u7f1e77c71d5c2883888205cbf7057cf2:active { border:0!important; } .u7f1e77c71d5c2883888205cbf7057cf2 .clearfix:after { content: ""; display: table; clear: both; } .u7f1e77c71d5c2883888205cbf7057cf2 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7f1e77c71d5c2883888205cbf7057cf2:active , .u7f1e77c71d5c2883888205cbf7057cf2:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7f1e77c71d5c2883888205cbf7057cf2 .centered-text-area { width: 100%; position: relative ; } .u7f1e77c71d5c2883888205cbf7057cf2 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7f1e77c71d5c2883888205cbf7057cf2 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7f1e77c71d5c2883888205cbf7057cf2 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7f1e77c71d5c2883888205cbf7057cf2:hover .ctaButton { background-color: #34495E!important; } .u7f1e77c71d5c2883888205cbf7057cf2 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7f1e77c71d5c2883888205cbf7057cf2 .u7f1e77c71d5c2883888205cbf7057cf2-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7f1e77c71d5c2883888205cbf7057cf2:after { content: ""; display: block; clear: both; } READ: A critic in every port: familiar dangers Essay A dear playwright letter   White has succeeded in making his theatre an attractive place for both established and local playwrights to develop their work. How? I sent a letter to the 12 playwrights I admired most, he recounts. I told them about our facility, our finances and our company. I wanted to see what their response would be. Lee Blessing remembers White calling him out of the blue to offer a commission, and he was impressed with the offer. Using money from Richard and Lois Rosenthal, a wealthy local couple known for sponsoring a new play contest each year at the Cincinnati Playhouse, White offered Blessing a sizable fee. But Blessings decision to accept (and ultimately write a dark but well-received drama called Lake Street Extension) had more to do with the flexibility he was offered. First, White was willing to allow Blessing to work with his preferred director, Jeanne Blake, who is also his wife. Some theatres can accommodate that more easily than others, observes Blessing. Often artistic directors insist on directing the play themselves. White also offered the author free choice in determining the nature of the commissioned play. Many times a theatre will try to commission a play with the subject matter already in mind, notes Blessing. Thats not a way of working that I usually can accept . ETC just a sked me to tell them once I knew what it would be about. Maximum flexibility   The one non-negotiable area is that the plays must be cast from the local ensemble. We had no problem doing that, Blessing states. They have a lot of good, competent actors who have done enough work with well-known people that none of that fazes them. Offering writers maximum flexibility often means ETC must be willing to take risks that might worry larger theatres. Albee has visited Cincinnati and already cast Fragments with four men and four women. But long after the show had been announced, no one at ETC had seen a script. And other than a vague idea that the play would be concerned with contemporary romantic relationships, ETC seemed not to have the slightest idea what form the play would take. White seemed unconcerned, explaining: We give playwrights free reign without any constraints. ETC knows that Blessings new play, The Rights, will be a comedy with a cast of six, probably some sort of farcical exploration of the nature of greed and power. But the script remains incomplete and Blessing is reluctant to offer details, in case everything should suddenly change. Despite the star names, ETC remains committed to local playwrights, offering them a commissioning fee and one or two mainstage productions each year. Local scribe Joe Smith, whose play Freemen and Lunatics premiered this summer, says he enjoys the theatres supportive family atmosphere as well as the chance to workshop a work-in-progress with company members. Much of the new work from local playwrights has come from an informal playwriting workshop that meets weekly at the theatre. Like any resident theatre, ETC has its problems. Grants from the Ohio Arts Council and other funding agencies have been drastically cut back. Theres a small deficit to worry about, as well as the problem of funding enough large-cast projects to give a company of 27 hungry actors enough work to keep them in town. Still, the city of Cincinnati is talking informally to the theatre about taking up residence in the new downtown performing arts center currently under construction, and the upcoming season should bring national visibility. Plans are also underway to expand office space, and build a second, cabaret-style theatre. At the center of what White likes to term a theatre with protein lies the playwright and new work. White justifiably looks forward to next spring when Fragments should have moved to New Yorks Signature Theatre, The Rights will be playing in Marietta, and a new drama by local author E. K. Bowles will be opening in Cincinnati. That will make three simultaneous productions in three different cities, all having begun in Ohio and all featuring actors from the Ensemble Theatre of Cincinnati.

Aegean island of Chios Essays

Aegean island of Chios Essays Aegean island of Chios Essay Aegean island of Chios Essay Introduction In the undermentioned pages I am traveling to show a instance survey refering the Aegean island of Chios, in relation to the statements made alonside this survey. This peculiar instance survey is suited for the presentation and scrutiny of the current state of affairss every bit good as development proposals and development of the island from a tourer company or a tourer developer point of position. Description OF THE ISLAND The island of Chios covers an country of 342 square kilometres and has a population of about 60,000, a denseness of 62.35 dwellers per square kilometer. ( The corresponding figure for the state as a whole is 66.5 dwellers per kilometer ) . Administratively, Chios is composed of a individual state ( state of Nomos of Chios ) and includes one metropolis, three towns, 50 five small towns and 101 crossroadss. Lush green fragrant Khioss, besides known as the mastic island, has much to offer to the traveler. It is likely Homer s place of birth, and it has an huge naval and rational tradition. It was inhabited since the Neolithic epoch, has known consecutive vanquishers, was devastated by plagiarist onslaughts during the Byzantine old ages, and after a short period of Enetian domination it came under the Genoan commercial company Maona ( for two centuries ) . It paid a high monetary value during the Grecian Revolution, with the population slaughter ( 1822 ) , despite the fact that the ChioS did nt take part ab initio in the rebellion, since they enjoyed particular privileges given to them by the Turks due to the mastic production. In the South of Chios the mastic mastic has been cultivated for centuries ; the bantam tree that after being pinched by the locals, responds with cryings , offering its premium of cherished rosin. Mastic, which is an sole Chios merchandise, has been cultivated on the island since the first century A.D. and tradition has it that the lentisc started rupturing down when the Saint Isidor was tortured and martyred here by the Romans ( 250 A.D. ) . All the plants in respects to the tree, the rosin aggregation and its uncluttering down, are manual labor. PRESENT TOURIST SITUATION OF CHIOS Tourism in Chios is non developed in comparing with the rest.of the Eastern Aegean Islands. Chios occupies merely 6 % of the entire figure of tourers with Dodecanese ( Rhodes, Kos, etc. ) , 76 % , Samos 10 % and Lesbos 8 % . It has been felt that touristry can play an of import function in the economic life of the island, after the diminution of the transportation industry. Chios has non developed touristry, chiefly because of the two following grounds: foremost, the tierce of the male population used to work on the ships and secondly, the ship proprietors wanted the island much to them ­selves and the dwellers to be employed mostly by them. From the old analysis we can see that touristry developed really quickly over the last few old ages in Greece and that in some topographic points, the sequences of that development had negative effects, altering the societal, economic and environmental balances. Subsequently, the alone character of topographic points was lost and it became similar to other tourer resorts around the universe. So, in a sense, Chios is lucky because has the chance to analyze different tourer development undertakings and signifiers of Tourism and can work the experiences of the other topographic points to its benefit. S.W.O.T ANLYSIS We have so far presented the basic features of Chios. Those features allow us now to continue with the island s SWOT analysis: STREGTHS The civilization and history of Chios of import archeological sites and memorials The life traditions of the island The natural environment of Chios clean seas Tourism in Chios has most expressed features of alternate signifiers of touristry. Large figure of commercial stores and supermarket. Short distance to Turkey ( 1/2 hr to Chesme and 11/2 hr to the 3rd biggest metropolis Ismir ) Quality agricultural green goods Dynamic local industrial companies of rural agricultural merchandises ( citrous fruit fruits, mastic gum, herds and spices e.t.c ) . The long naval tradition. Technical support from the University of the Aegean ( Business School ) which is based in Chios. Failing Lack of Tourist civilization, a development and selling scheme Small tourer period ( 4 to 5 months ) Low degree of tourer modernisation. Large figure of comparatively little tourer endeavors. Lack of specialized employment. Absence of tourer investings Control of the local tourer market from large circuit operators. Relatively little haven and airdrome Opportunity Low tourer activity could be the island s biggest chance for development. Evidence from topographic points with high tourer entreaty like Rhodes, Corfu, Paros, Kos, etc. , already demo environmental and cultural jobs, overcrowding, pollution, e.t.c, sometimes irreversible. Sustainable touristry development that will take to the uninterrupted, parallel and balanced development of all the sectors of the local economic system and esteem the cultural features of the country to the benefit of both locals and tourers. Development of altrnative signifiers of Tourism such as agrotourism local touristry, cultural touristry, ecological touristry, sea and H2O touristry e.tc. The stimulation of local trades and other local popular art which would hold a larger patronage and more agencies of support Encourage investings Incentives to change over traditional edifice into tourer adjustment. Joint tourer undertakings with neighbour Turkey Menace Uncontrolled Tourist development and growing. Unilateral growing of touristry. Ccultural and societal change Damage of the environment Intensity of competition. from states such as Turkey which is expected to accomplish good public presentation in the coming old ages The uncertainness about the future developments of the universe fiscal and economic crisis, makes anticipations on the Greek travel and touristry industry during the forecast period peculiarly hard. Decision An of import measure in strategic planning is to measure concerns and demands of assorted sectors of the local community ( different age groups, the concern sector, the educational and societal services sector, and so on ) and to measure all the elements related to touristry and other options for economic development and environmental preservation in Chios

Free Essays on Cathedral

The narrator in Raymond Carver’s â€Å"Cathedral† has two fully functional eyes, in which he chooses never to use to their full potential. They eyes of the narrator are insecure, jealous, lonely, and prejudiced. They are limited in what they choose to see. The tone of the narrator conveys his inability to see throughout the entire story. The narrator’s tone also reveals his character and personality. The first few pages of the story reveal the narrator’s blurred view of his own life, his wife’s life, and the entire world around him. The reader is quick to discover that the narrator seems to have an unhappy and insecure outlook on life. The narrator’s blurred view of everything that happened in his wife’s life reveals the insecurity that plagues him. When referring to his wife’s ex-husband he says, â€Å"Her officer- why should he have a name? He was the childhood sweetheart, and what more does he want?†(pg225). BY treating everyone the same and denying them importance, the narrator is trying to make himself seem more important in the lives of others. He simply calls his wife’s first husband â€Å"the officer† or â€Å"the man†(pg224). His refusal to even use his wife’s name while narrating as well as constantly referring to Robert as â€Å"the blind man†(pg224). Shows he blocks the importance of p eople around him. The narrator chooses not to be like Robert at first because of his disability. The narrator is aggravated and insecure about the fact that his wife talks and writes that she allowed Robert to touch her face. â€Å"She told me he touched his fingers to every part of her face, her nose- even her neck†(pg224)! Because of the fact that his wife is so close to Robert, and is so happy in the event of his arrival, â€Å"I saw my wife laughing†(pg227), â€Å"She was still wearing a smile†(pg227P, is makes it easier for him to judge Robert according to his disability. The reader first learns of the narrato... Free Essays on Cathedral Free Essays on Cathedral In the short story â€Å"Cathedral† by Raymond Carver. I relate with the husband since personally I have never spend any time with a blind person. I would feel the same way as he did, since I wouldn’t know how to start. I used to have the same idea of a blind man as the narrator of the story. The narrator was expecting someone who never laughed and moved slowly. I relate to this character in every sense, it is hard to start a conversation with a blind person, you might feel intimidated. The ending is where I relate more to the character than any other place. At the ending the narrator closes his eyes and just imagines himself to be blind and he finally connects with the blind man. I have closed my eyes a few times and I have imagined how it will be to not be able to see my love ones appearance. In the second short story â€Å"A Clean, Well-Lighted Place†, by Ernest Hemingway. I can’t relate to the young waiter he is just self-absorbed. The young waiter is an excellent example of the type of human beings that only think about themselves. Throughout his conversation with the older waiter, the young waiter insults the old deaf man, calling him â€Å"a nasty thing.† The older waiter defends the senior, however, saying that he is clean and dignified in his drunkenness. The younger waiter forces the man to pay the bill, and soon the man leaves. The young waiter is impatient with the old man, hoping to return home to his wife by a decent hour. He doesn’t understand the old deaf man circumstances as the older waiter does. He doesn’t understand how important it is to offer such a clean, well-lighted place to his customers. In â€Å"Cathedral† I would change the negative response that the narrator has about spending time with a blind person. I do relate with his feelings and thoughts about blind people but not his first reaction. He tells us immediately that his visitor's blindness molests him and that he is not looking forward ... Free Essays on Cathedral The narrator in Raymond Carver’s â€Å"Cathedral† has two fully functional eyes, in which he chooses never to use to their full potential. They eyes of the narrator are insecure, jealous, lonely, and prejudiced. They are limited in what they choose to see. The tone of the narrator conveys his inability to see throughout the entire story. The narrator’s tone also reveals his character and personality. The first few pages of the story reveal the narrator’s blurred view of his own life, his wife’s life, and the entire world around him. The reader is quick to discover that the narrator seems to have an unhappy and insecure outlook on life. The narrator’s blurred view of everything that happened in his wife’s life reveals the insecurity that plagues him. When referring to his wife’s ex-husband he says, â€Å"Her officer- why should he have a name? He was the childhood sweetheart, and what more does he want?†(pg225). BY treating everyone the same and denying them importance, the narrator is trying to make himself seem more important in the lives of others. He simply calls his wife’s first husband â€Å"the officer† or â€Å"the man†(pg224). His refusal to even use his wife’s name while narrating as well as constantly referring to Robert as â€Å"the blind man†(pg224). Shows he blocks the importance of p eople around him. The narrator chooses not to be like Robert at first because of his disability. The narrator is aggravated and insecure about the fact that his wife talks and writes that she allowed Robert to touch her face. â€Å"She told me he touched his fingers to every part of her face, her nose- even her neck†(pg224)! Because of the fact that his wife is so close to Robert, and is so happy in the event of his arrival, â€Å"I saw my wife laughing†(pg227), â€Å"She was still wearing a smile†(pg227P, is makes it easier for him to judge Robert according to his disability. The reader first learns of the narrato... Free Essays on Cathedral The protagonist in â€Å"Cathedral,† Bub, is a man who has several defining characteristics. Bub is insecure, insensitive, and ignorant. This is clearly shown in Bub’s relationships with his wife and Robert. Bub’s insecurities are blatantly shown when he comments on his wife’s ex-husband: Her officer-why should be have a name? He was her childhood sweetheart, and what more does he want? Bub resents the ex-husband for being his wife’s first love. He would have liked to have had that role so he negatively addresses his wife’s past relationships. Bub’s unconfident mannerisms further transpire when he comments on his wife’s relationship with Robert. He states: In time she put it all on tape and sent the tape to the blind man. Over the years she put all kinds of stuff on tapes and sent the tapes off lickety-split. Next to writing a poem every year, I think it was her chief recreation. On the tape, she told the blind man she’d decided to live away from her officer for a time. On another tape she told him about her divorce. She and I began going out, and of course she told her blind man about it. She told him everything, or so it seemed to me. This intense friendship between his wife and Robert further exacerbated his insecurities. Robert and his wife have an intimate relationship that Bub has never, and probably will never, have with his wife. He goes on to say: My wife finally took her eyes off the blind man and looked at me. I had the feelings she didn’t like what she saw. I shrugged. This relationship offers Bub only one consolation, he believes that because he can see that has an advantage. He constantly refers to Robert as â€Å"the blind man.† He never uses Robert’s name or assigns any human attributes to him. This insecurity is partially responsible for his wife’s continued involvement with Robert. Also responsible for his wife’s close relationship with Robert is Bub’... Free Essays on Cathedral Cathedral by Raymond Carter is a story about a man (the narrator of the story), his wife, and her longtime friend Robert, who is blind. Robert is coming to visit the man’s wife. Robert’s wife, Beulah, had just recently died and he is visiting his dead wife’s relatives in Connecticut. The narrator is not enthusiastic about this visit from his wife’s friend. At the beginning of this short story, the tone of the narrator is bitterness and ignorance. His tone moves to enlightenment by the conclusion. This dinner party will break down the barriers between the blind and those who have full use of his or her eyes. Within the first two paragraphs of the story, the narrator describes how Robert and his wife met and continued their relationship over several years within the first two paragraphs of this short story. The narrator is bitter about the relationship between Robert and his wife. He is especially disturbed or bothered by the level of intimacy between the two. The narrator’s wife and Robert communicated with each other via taped letters. His wife shared every detail of her life with Robert including moving from base to base, divorce from her childhood sweetheart, and an attempted suicide. On her last day at work with the blind man, she allowed him to â€Å"see† her by permitting him to touch her face and neck. At this point in the short story more bitterness is displayed by the narrator. This bitterness seems to be about a poem written about the experience! The narrator displays his ignorance regarding the blind and his or her limitations in several instances throughout the story. He first admits that his knowledge of the blind is limited to images that he had seen in the movies. He described the blind as people who move slow and never smile or laugh. The man’s wife gives him more information about Robert after he suggests they go bowling together. His wife mentions that Robert was married to a woman named Beulah, who th... Free Essays on Cathedral Question: Compare the two couples evolving in Raymond Carver's Cathedral. Overcoming Differences Human being in nature is an integrated system that is influenced by his complex environment. As a matter of fact, we interact with our surrounding; human being is always seeking for a mate. In the following essay, I will discuss the differences between the two couples who evolve in Raymond Carver’s â€Å"Cathedral†; such as religious beliefs, physical appearance and relationship. Firstly, physical appearance plays a major role in today’s society. In our time, most people judge their equals based on their look, not their core. In â€Å"Cathedral†, Robert, a blind man, and his wife give no importance to perception. Their love is true and it is not based on the exterior. In contrast, the narrator overplays the importance of vision and physical appearance: â€Å"All this without his having ever seen what the goddamned woman looked like. It was beyond my understanding† (11). It is obvious that his love isn’t based on fundamental values. Had his wife been different looking, it is very likely that they wouldn’t be together. Secondly, religious beliefs of the two couples are an issue that seems to divide whole populations and often it is used as a pretext to initiate conflicts. The author makes it clear that the two couples do not share the same spiritual values. In the story, Robert and his wife appear to be religious persons; they both agree to marry in a church: â€Å"Pretty soon Beulah and the blind man had themselves a church wedding† (11). On the other hand, the narrator openly states, while talking to Robert, that he does not believe in God: â€Å"I guess I don’t believe in it. In anything† (14). On a different occasion, he also makes fun of the prayer and says: â€Å"Pray the phone won’t ring and the food doesn’t get cold† (12). His couple does not share the same divine beliefs. Thirdly, relationship in a couple has good ...

Coffee Industry in Vietnam Case Study Example | Topics and Well Written Essays - 1000 words

Coffee Industry in Vietnam - Case Study Example Initially, coffee industry was run by government. The total area under coffee production in 1995 was 186,400 hectares and increased to 535,100 hectares by 2002. The coffee type mainly grown in Vietnam is Robusta, a relatively low quality coffee in comparison to Arabia. But Vietnam's coffee is of high quality and planted on mountainous areas because of "a large range of temperature between day and night and basaltic soil" (Sinh, Sutcliffe, and Van, 1999, p.68). The coffee produced in Boun Ma Thout is widely accepted by the customers due to its improved quality. In order to get a clear cut idea and gain a better understanding over the coffee industry in Vietnam, it is necessary to draw a dividing line over the periods of coffee industry in Vietnam stretching from 1996-97 to 1999-2000. During the first period, i.e. 1996-1997 due to the high price, coffee farmers were inspired to cultivate it more while the second period brought them to the world coffee market when it reached its peak level in 2001 as their domestic coffee demand was static. During this time, government brought the country's coffee industry to the highland regions and took effective production and export oriented programs. Boun Ma Thout Coffee Festival of 2005 was a turning point for Vietnamese coffee industry. In this festival, Hanoians came to see the entire process of coffee production - planting, harvesting, drying, roasting and grinding. Subsequent to this, they came to enjoy cup coffee. Such festivals have opened the doors for all to be familiar with coffee culture and at the same time help developing it. Current Scenario Mainly grown coffee type in Vietnam is Robusta. It grows in plenty in highland regions of Vietnam. Robusta has a relatively less potential to be affected by diseases and it needs less water supply. As the Vietnam began to earn huge currencies through importing this improved quality coffee at much higher rate, the policy makers tempted the farmers to cultivate it more. As a consequence of this, the farmers became somewhat blind to the coffee cultivation and began to cut down tropical trees along with other trees. As a result, at the end of late 1990s, the world coffee price fall down only because of Vietnamese overproduction. Restlessness of market price and the condition ordained on them let them facing a serious financial hardship. However, this led coffee farmers neglect densely planted "dollar trees" (Greenfield, March 2004) too. Again use of chemical fertilizer instead of organic fertilizer quickly fertilized and increased coffee production and ultimately affects on the long run fertilization. Standardization There is an urgent necessity to take proper initiatives for making the proper standardization of coffee industry for ensuring its perfection and better quality. Sinh, Sutcliffe, and Van (1999) states that- "General Department of Quality Control, the Polytechnic University, and the Department of Science, Technology and Quality Control and after reviewing the coffee standards of ISO and some countries such as Indonesia, Brazil, and the Standardization Committee of Vietnam Coffee Corporation (VINACAFE) has developed standards