Monday, March 9, 2020

Dulce Et Decorum Est and Disabled Essays

Dulce Et Decorum Est and Disabled Essays Dulce Et Decorum Est and Disabled Paper Dulce Et Decorum Est and Disabled Paper For each of the texts, analyse how links between the beginning and end helped you understand a main theme or issue. The World War One poet, Wilfred Owen, wrote two poems named ‘Dulce Et Decorum Est’ and ‘Disabled’. The main themes running throughout both poems are that of the pain and worthlessness of war, and the crime towards the young soldiers it was. The beginning and ending of these two poems link these ideas through the use of imagery contrast and language features. The poem ‘disabled’ begins by describing a physically and mentally destroyed soldier, clearly a result of war, welcoming darkness to come and end his misery by taking him away. The image of a â€Å"wheeled chair† implies that he is disabled and probably dependent on others. Legless, sewn short at elbow† further implies the disability of the persona. Wilfred Owen describes him as a ‘ghastly suit of grey’ painting a picture of a colourless and lifeless man, an idea that is driven home through the use of the word ghastly, which the reader may easily mistake for ‘ghostly’. â€Å"Voices of boys rang saddening† reminds him of the old times when he used to be like them, playing and enjoying himself. The language used in this description of these boys carries very positive connotations, ‘play and pleasure’, in contrast to the dull words used to describe the wounded soldier. Darkness fell too quickly for these boys who were forced to end their games and retire inside, unlike the soldier who welcomed nightfall. The two contrasting sentences are used as juxtaposition, and set up the main theme of the poem, that would be the resentment and anger Owen had towards those at home who organized the war, and the sympathy he had towards the young men who had their lives taken away from them. Throughout the poem, Wilfred Owen illustrates how injury on the football field would be met with glory and pride, knowing you had put your body on the line for your team, but injury on the battlefield was neither glorious nor fulfilling ‘one time he liked a blood smear down his leg, after matches carried shoulder high†¦Some cheered him home, but not as crowds cheer goal, only a solemn man who brought him fruits thanked him’. The poem then switches back to the immobilized soldier, who through the destruction of war ad become an object, unable to fend for himself, once a very capable athlete, now reduced to a wheelchair. This links in with the first idea introduced in the poem of children having their childhood and potential life stolen from them by war. The second poem, also by Wilfred Owen, is called ‘Dulce et Decorum est’. The beginning of DEDE depicts the tiredness and pain caused by war. The poem opens with a group of soldiers, ‘bent double lik e beggars under old sacks’ trudging back to camp. The men are described as ‘marching asleep’ and ‘all went lame, all blind’ to show that their senses had collapsed and they were moving like zombies, not even bothered by the ‘outstripped five-nines that dropped behind’. This introduces the theme that young men had grown tired of the war, and tells the reader of the negative effects and pain war caused its victims. This is a complete contrast to the title ‘Dulce et Decorum est’ which translates to ‘it is sweet and right’, and this may shock the reader. As the poem progresses, it focuses on a man who couldn’t fit his gas mask in time when they were attacked. The scene is compared, through use of a metaphor, to being underwater as the gas drowns its victim who was left ‘floundering’. Owen then switches style and appeals to the reader ‘if in some smothering dreams you too could pace†¦Ã¢â‚¬â„¢ This is used to make the reader think about what it would be like to actually be there in the war, which once again, is aimed to shock. The killed soldier then becomes an object ‘the wagon we flung him in’. Very negative images are then used by Owen, such as cancer and hell, to further the pain and suffering caused by war. Owen ends the poem with sarcasm and the irony of the World War One quote ‘Dulce et Decorum est, Pro Patria Mori’ ‘It is sweet and right to die for your country’. This links in with the start of the poem which is intended to shock the reader and the truth about the destruction and pain of war, compared to the lie they had been given of the glory and honour to fight and die fighting for your country. In conclusion, Wilfred Owen writes two poems to shock his readers and enlighten them about how awful war really was. Both the beginning and end of each poem are linked throughout, and therefore, they retain the same messages throughout. These messages are reinforced through strong language features, contrast and imagery which play on the reader’s emotions and allows them to fully understand the magnitude of the war.

Saturday, February 22, 2020

Audit Industry Report - Airlines Essay Example | Topics and Well Written Essays - 1500 words

Audit Industry Report - Airlines - Essay Example As a comparison between two airlines, higher performance may just not be a measure of a better unit revenue as for many, the airliner may be facing a higher unit cost in contrast to others operating within the same industry. In parallel to all these factors, capital available for growth or horizontal and vertical integration of services is also a key factor to the industry’s long term success (Taneja, 1987). Many successful airliners may have to prefer long term gains and profits to measure their success and would plan to expand or integrate over a longer period of time. Specifically for the airline industry, growth may be accounted for in terms of the capacity for growth. Datamonitor.com (2007) reports that the United States airlines industry grew by more than 8 percent in 2006 which placed it at a combined value of more than $145 Billion. However, In order to grow, an airline and the industry itself would need more funding. The need for funding will be directly correlated to the performance of the company, as capital is generated form investors and for most equity investors, the airline may have to show growth in its equity over time. Moreover, apart the airline must also be a viable interest to the debt investors. For this to happen, and to conform with the debt investors, a more than reasonable ratio of debt-to-asset is required. Apart from the focus on these direct factors that influence investment, there are several other key factors that play a turning role in raising capital for the airline industry and more focus is placed on international expansion. To wage international expansion into the equity of an airline, a risk assessment factor has to be incorporated in the financial sheet of the airlines in such a way that it has to reflect more associated risks such as currency risks or political risks. These forms of risks are more appropriate

Thursday, February 6, 2020

Financial Contracts in Islamic law compared to that of American Law Dissertation

Financial Contracts in Islamic law compared to that of American Law - Dissertation Example Financial contracts can be entered in both written and verbal formats and must be discussed and accepted during a single meeting without any noticeable interruptions including multiple negotiation sessions or changes in the meeting venue. Unlike provisions under American law, Islamic financial contracts can be accepted based on personal conduct of the parties (Hassan, 2007). Under special circumstances, non-responsiveness to a given contract proposal is taken as an acceptance. Islamic law also allows further flexibility among parties within a given meeting session whereby parties have the right to refuse a contract up to the point when either party leaves the meeting venue physically. However, variations do exist over the interpretation, implementation and recognition of this feature even within countries where Islamic finance is practiced (Vogel, 2008). Contents of the financial contracts under Islamic law are prohibited from discussing or relating with any item prohibited by the re ligion. Such substances include alcohol and tobacco besides prohibition on gambling. All applicable items that constitute the contract content must further be in the possession or ownership of either party and legally exist at the time of the initiation of the contract (Rayner, 2001). In simple words, items that will be devised in the future may not be included in an Islamic contract. Specific properties of all these items including specifications, origin and quality must be clearly states in the terms of the contract. Other than deals that involve the exchange of money, the exact price at which the goods will be delivered should be agreed upon prior to contract agreement (Hassan, 2007). Contracts based on future prices that are speculative in nature are not allowed and cannot be developed based on the advice of a third party. While there are several types of Islamic financial contract, the most common one that is used for sale and exchange of goods is known as mu’awadat. Goo ds can be sold either for money or can be exchanges as part of a barter transaction. Even exchange of money is valid under Islamic contract. Real estate or equipment can be leased to external parties by using another type of contract known as the ‘ijara’ (Vogel, 2008). The concept of Islamic contracts has been in existence for several centuries in regions like the Middle East, Asia and North Africa where Islam continues to be a major religion (Ayub, 2009). Islamic finance is considered as a tool from the almighty and is based upon relevant Islamic principles that place a high value on moral principles that is expected of all followers of the religion. Conventional American law is aimed at helping create contracts that are ‘ethical’ in nature. Islamic finance advocates a similar approach when developing contracts and related transactions. However, this feature must not lead to an assumption that Islamic contracts bear a close resemblance with Western contrac ts (Rayner, 2001). In fact, contracts agreed upon under Islamic law are rather less binding than conventional American contracts that imply all aspects covered under them. Legal advice and further scrutiny is thus necessary in the case of Islamic contracts to understand the circumstances under which a contract may not be valid. In addition, the application of Islamic contracts has not been uniform across the Islamic world. While countries like Pakistan and Iran apply Islamic law in a stringent fashion, other countries

Tuesday, January 28, 2020

Automobile and Business Model Essay Example for Free

Automobile and Business Model Essay ?Introduction In 2000, Inspired by car-sharing concept in Europe, Chase and Danielson started Zipcar to pursue the opportunity of car sharing in U. S. market. By mid-October of 2000, Zipcar had enlisted nearly 250 members with 19 vehicles located throughout Boston. I will evaluate this potential venture and its progress based on the framework of â€Å"OUTSIDE1†, including opportunity, uncertainty, team, strategy, investment requirement, deal and exit. Opportunity Market – The market size of this industry is estimated at 26,400 members, which is 0. 04%2 of general population3 lived in Top 20 U. S. Markets. Usage of this industry grows rapidly at 30% annually. There are two competitors in U. S. market, but they focused on the environmental impact rather than convenience and cost effectiveness. Customer – Target segment are college-educated costumers who drive less than 6,000 miles per year and live in urban area. Acceptance of this business is very high referring to Major players in Europe market, whose marketing investment in this industry is low but the growth rate is continuously high (30% annually). Uncertainties Competition – Two current competitors in U. S. market and potential competitors from car manufactures Acceptance – Customer acceptance is to be proved in Boston before the business model could be replicated to other cities Management team – Co-funder’s commitment is not very convincing and the structure of the management is poorly organized Financing – Overhead continues to grow against limited financial resources Team. There are missing pieces in its team as founders are lack of experience in operation and relationship with car manufactures As a co-founder, Danielson commits not enough as she still have full time job and focus more on family Strategy Chase keeps pushing to start business operation maintain their promise to investors although the company is not ready. This Strategy would have negative impacts in the future. Using technology platform to improve cost effectiveness and adopting word-of-mouth are consistent with its current situation. Investment Requirement. Zipcar’s cash flow requirement is very high. It spent $375,000 in first year, and need additional 1. 3 million to complete technology platform, prove the business model and better understand demand. Overhead excess the projection and continues to grow, which will further increase the requirement of cash. Deal The current investors holds plenty of convertible loan, which would have negative impacts on future share holders. Exit The options for exit are available as this industry grows rapidly. The founders are not in a very strong position to potential exit. Business Model Car sharing business provides a hassle-free â€Å"ownership† for urbanite who don’t need to own a car but need the convenience to run occasional errands4. In the model before December 1999, it’s revenue comes from $25 application fee and $300 annual subscription fee, plus $1. 5 hourly driving charge and $0. 4 driving charge per mile. However, Chase decided to change the pricing model with a lower membership fee and a tiered pricing structure, increasing hourly charge to between $4. 5 and $7 and adding a maximum daily rate. The data from actual operations in September gives me a concern as seen in Exhibit 1, that the net contribution from actual operation in September is negative because of the very low revenue, though cost is only a little bit over the estimation. Conclusion The next step for Zipcar is to adjust its pricing model to increase its revenue. Chase need to pitch investors in Springboard forum by focusing on this: Though its cash flow is negative now, Zipcar is a unique business model with cutting-edge technology and well-established customer base. Zipcar will provide a great chance for investors to be rewarded a new market with 30% annual growth. Citation: 1 This framework is developed by Professor Steven Kaplan from University of Chicago 2‘At The Wheel, Volkswagen Pioneers Car Sharing Programs,† Fastlane, October 1997 3U. S. Census, http://census. gov/population/censusdata/90den_ma. txt, December 9, 2002 4According to the case Exhibit 1 Financial Plan in May 2000 September Operation Data Total Revenue 29,616 14,645 Number of Cars 12 19 Revenue per car 2,468 771 Lease per car 367 400 Access Equip 42 42 Fuel 90 99 Insurance 142 142 Maintenance 33 33 Parking 50 63 Cost per car 723 778 Net Income per car 1,745 (7) Source: Company Data.

Monday, January 20, 2020

Three Arthurian Misfits of Gawain and the Green Knight :: Essays Papers

Three Arthurian Misfits of Gawain and the Green Knight "Hevys hys handys one heghte, and to the hevene lokes: 'Qwhythene hade Dryghttyne destaynede at his dere wille That he hade demyd me todaye to dy for yow alle.'" p. 264 Awholly determined and brave commitment, mouthed by a gracious king. The Gawain poet, however approaches Arthur much differently in his tale. In stanza five, he describes the hot-blooded nature of the king, who makes rash demands as a rule before eating. Stanza twelve shows us a king who is overwhelmed in speech by the Green Knight, and who seems to have ignored the challenger's statement of peace completely. Finally, the court is utterly ridiculed, to a point at which Arthur accepts the challenge rashly in stanza fifteen, akin to a child taking a swing at another after so much urging. The usual grace and courtesy with which King Arthur is usually endowed is clearly subverted by these stanzas in Gawain and the Green Knight, seemingly to no purpose other than comedy. Here we shall discuss the elements of the three stanzas described above, with their uncharacterisitic treatment of Arthur, and take a deeper look into their purpose within the poem. Stanza five elaborates on Arthur's desire to hear a marvelous tale before he joins in the feast. He appears to stand - "He stightles stif in stalle;" (104) he is not seated at the head of the feasting table, next to Guinevere as he should be. Instead, he is ready to listen to a tale "Of alderes, of armes, of other aventurus;" (95) or joust with a challenging knight - with the risk of losing his life. The wish of the king for deadly sport seems inappropriate in the Christmas setting of the poem, possibly even irreverent in light of the religious aspects of the holiday. Though the king's demands are childish or "child-gered" (86), he sets the scene for the appearance of the Green Knight, which effectively fulfills the request as Arthur "that aventure byholdes" (250) in stanza twelve. The impression of Arthur delivered by the poet is not a dauntless, seasoned leader, but an impatient, belligerent boy. We already know of his strange pre-dining antics, and we are also told that, "His lif liked hym lyght, he lovied the lasse | Auther too longe lye or too longe sitte," (87-88). He is too restless to stay lying or sitting for long, and thus he stands at the the end of the stanza. Three Arthurian Misfits of Gawain and the Green Knight :: Essays Papers Three Arthurian Misfits of Gawain and the Green Knight "Hevys hys handys one heghte, and to the hevene lokes: 'Qwhythene hade Dryghttyne destaynede at his dere wille That he hade demyd me todaye to dy for yow alle.'" p. 264 Awholly determined and brave commitment, mouthed by a gracious king. The Gawain poet, however approaches Arthur much differently in his tale. In stanza five, he describes the hot-blooded nature of the king, who makes rash demands as a rule before eating. Stanza twelve shows us a king who is overwhelmed in speech by the Green Knight, and who seems to have ignored the challenger's statement of peace completely. Finally, the court is utterly ridiculed, to a point at which Arthur accepts the challenge rashly in stanza fifteen, akin to a child taking a swing at another after so much urging. The usual grace and courtesy with which King Arthur is usually endowed is clearly subverted by these stanzas in Gawain and the Green Knight, seemingly to no purpose other than comedy. Here we shall discuss the elements of the three stanzas described above, with their uncharacterisitic treatment of Arthur, and take a deeper look into their purpose within the poem. Stanza five elaborates on Arthur's desire to hear a marvelous tale before he joins in the feast. He appears to stand - "He stightles stif in stalle;" (104) he is not seated at the head of the feasting table, next to Guinevere as he should be. Instead, he is ready to listen to a tale "Of alderes, of armes, of other aventurus;" (95) or joust with a challenging knight - with the risk of losing his life. The wish of the king for deadly sport seems inappropriate in the Christmas setting of the poem, possibly even irreverent in light of the religious aspects of the holiday. Though the king's demands are childish or "child-gered" (86), he sets the scene for the appearance of the Green Knight, which effectively fulfills the request as Arthur "that aventure byholdes" (250) in stanza twelve. The impression of Arthur delivered by the poet is not a dauntless, seasoned leader, but an impatient, belligerent boy. We already know of his strange pre-dining antics, and we are also told that, "His lif liked hym lyght, he lovied the lasse | Auther too longe lye or too longe sitte," (87-88). He is too restless to stay lying or sitting for long, and thus he stands at the the end of the stanza.

Sunday, January 12, 2020

Drama In The National Curriculum Education Essay

The purpose of this study is to understand where Drama stands in instruction within England at present. It searches for its ‘ reference within the National Curriculum and interprets what this means for the instruction of the topic. It looks at primary and secondary schools ‘ current tendencies towards Drama as a discrete topic, and argues the benefits and disadvantages of it holding its ‘ ain topic heading within the National Curriculum. The grounds will be evaluated and a decision formulated.1. Play in the National Curriculum.The National Curriculum website provides the most up to day of the month information on how Drama is placed within the course of study. At first glimpse Drama is absent but reference of it can be located, chiefly within the topic of English. [ See Appendix One for a description of the demands and activities for Key Stages ( KS ) 1 & A ; 2. ( National Curriculum, 2011a ) ] . Whilst there are purposes and aims published for KS1 & A ; 2, at KS3 & A ; 4 there is reference of selected dramatists as topics to be studied and the outlook that at least one Shakespearian drama will be explored in deepness at each phase ( National Curriculum, 2011b & A ; degree Celsius ) . References to the usage of Drama appear under Literature [ See Appendix Two ] ( National Curriculum, 2011d ) . For England the Teachernet ( Teachernet, 2011 ) , DFES Drama Objectives ( DFES, 2011 ) and QCDA ( QCDA, 2011 ) resources have been/are being decommissioned with emended high spots looking in the National Archive. In fact most of the Government resources advocated by the Initial Teacher Education web site for English are no more ( ITE, 2011a ) . The Department of Education web site is replacing it, but the lone suited stuff found for Drama is an point for the Speaking and Listening component at KS1 & A ; 2 dated 2004 ( Department of Education, 2011 ) . In Ireland play is within the ‘arts ‘ sector, alongside ocular humanistic disciplines and music. The strand is â€Å" Drama to research feelings, cognition and thoughts, taking to understanding. † They expect that when this topic is taught right it can assist kids at a immature age to understand/relate and cover with life state of affairss that can happen ( Irish Curriculum, 2011 ) . Whilst Drama is placed steadfastly in Arts Education as a three with the ocular and aural mediums, there is small support to be found in their Curriculum Planner as good ( NCCA, 2011 ) . Compare this to 52 resources for Drama in the Scots Curriculum ( Scottish Curriculum Resources for Drama, 2011 ) . In Northern Ireland Drama is mentioned in Language & A ; Literacy and has its ain topic within The Humanistic disciplines and resources are good provided ( N. Ireland Resources, 2011 ) . At KS1 & A ; 2 the statutory topics that all students must analyze are art and design, design and engineering, English, geographics, history, information and communicating engineering ( ICT ) , mathematics, music, physical instruction and scientific discipline. Religious instruction must besides be provided at KS 1 and 2 ( National Curriculum, 2011e ) , although there is a non-statutory plan of survey. From the National Curriculum ( 2011e ) for Religious Education there are the following two points: 1 ) . Research how spiritual beliefs and thoughts can be expressed through the humanistic disciplines and pass on their responses. 2 ) . Using art and design, music, dance and play to develop their originative endowments and imaginativeness. Art and design does non advert play until KS 2 as follows from the National Curriculum ( 2011f ) : Researching a scope of get downing points for practical work [ for illustration, themselves, their experiences, images, narratives, play, music, natural and made objects and environments ] . Yet doing marionette theaters, and besides making atmosphere in sounds, illuming, backgrounds and costumes for full size dramas would do the topic more merriment whilst specifying a practical intent for the work. Drama in a similar manner should be a fertile land for scenery and particular effects within Design and Technology yet it is non mentioned at all ( National Curriculum, 2011g & A ; 2011h ) . Music and Physical Education in a similar vena have a relationship to Drama through Dance but there is no recognition for it. History could conceivably utilize period play to exemplify points and the grasp of truth in the texts and authors ‘ prejudice would so be covered in Drama. Stenhouse ( 1981, p.29 ) is against the thought that Drama is for learning other topics in the course of study and rejects the imagined worlds of Drama for the attested worlds of pure history. ICT could supply a multi-media back bead similar to that of exhibition trade bases and modern public presentations that use computerised effects and elephantine screens. When the National Curriculum was being formulated instructors were vocal in their disapproval of the many course of study topics being loaded into the National Curriculum, such that topics were curtailed following Music and Art ( Baldwin, 2011 ) . As the ( NCCCE, 1999, p.75 ) study provinces ‘ †¦ there are more than 10 topics in the universe. † It besides notes that Dance is non found with athletics, games and sports after instruction and that Drama is non merely verbal. ( NACCCE, 1999, p.76 ) points out that of all the states in the QCA/NFER INCA archive, England was alone in holding 10 distinct topics from KS 1-4. â€Å" When the National Curriculum was introduced, specialist play practicians thirstily awaited the National Curriculum for Drama. They are still waiting. â€Å" A ( Baldwin, 2011 ) .Drama as portion of English in the National Curriculum.One of the on-going arguments about the nature of English Centres around its relationship [ sic ] the originative humanistic disciplines. â€Å" Is English an Humanistic disciplines based, originative subject, or a much more functional, competence led capable? â€Å" , and â€Å" Is Drama itself an Humanistic disciplines based subject or a method of instruction, a signifier of larning? † ( ITE, 2011b ) The function of play in the course of study remains in pattern really much in uncertainty. It is believed that future employers have been unhappy with general educational criterions of school departers. A contributionary factor to this low appraisal ( for the topic ) has been the political displacement from a broad position ( of the centrality of aesthetic and artistic experience in instruction ) towards a more vocationally – orientated position in which the secondary course of study is seen instead as a feeder of commercial, industrial and post-industrial demands as they have been immerging in recent old ages. ( Morton, 1984, p.56 ) . The Arts Council England ( 2003, p.6 ) explains that all students ‘ minimal statutory entitlements for the survey of Drama are acknowledged within the National Curriculum for English. Harmonizing to Ashcroft & A ; Palacio ( 1995, p. 196 ) , â€Å" The national course of study steadfastly places play within the English sphere. † Neelands ( 2008, p.1 ) refers to the National Curriculum as the English Model where, â€Å" Drama was foremost introduced into the secondary course of study through the English course of study and timetable † . He divertingly cites the fact that Shakespeare was English to explicate how we arrived at this alone place, which has non been followed elsewhere in the universe except possibly Wales ( Welsh Curriculum KS 1 ( 2008 ) & A ; Welsh Curriculum KS 2-4 ( 2008 ) where Drama is mentioned within English and to a lesser extent Welsh. Drama as a topic in its ‘ ain right is non present in the primary course of study, but as a portion of English or R.E, or supplying other countries and cross curricular subjects. Even though Drama is absent from the course of study for primary schools, it is still present through the activities and lessons which are taught utilizing play, â€Å" †¦ many primary schools already include plaies in their course of study, without recognizing that the activities the kids are involved in are really drama. † ( Humanistic disciplines on the move, 2010 ) . For High School instructors, it can be a job for them to cognize what to anticipate of students come ining KS 3, this is because of the deficiency of continuity in Drama across all the Primary Schools, hence merely an educated conjecture can be made on the students ‘ anterior play experiences. Neelands ( 2004, p.9 ) offers 6 points of common mention which can be found in Appendix Three. Harmonizing to Neelands ( 2008, p.2 ) statistics show that, aˆÂ ¦many schools in England do offer play as a separate timetabled topic in Key Stage 3 and this makes play the lone ‘subject ‘ in the English system which is ‘unregulated ‘ in footings of a nationally agreed course of study beyond the mentions to talking and listening in the Orders for English † . So merely at KS 3 do some students get the chance to take Drama as a separate topic but it is still an unofficial 1. Whilst this offers a complete freedom in how the topic is taught and presented [ see Neelands ( 2004, p.5 ) for three different attacks at secondary degree ] , it besides means there is small in the manner of a safety cyberspace for its practicians that criterions, appraisals, guidelines and official support can supply. So it would look that Drama has become a Cinderella topic that is busy working in the shadows whilst the Ugly Sisters of English and Religious Education take all the recognition.1.2 How we got to where we are now.â€Å" Most of what immature people know of the universe, they know through representations of it. † ( Neelands, 2008, p.9 ) , proposing that schools have a moral duty to assist determine the citizenship of their stundents. â€Å" There is small clip allotted in the day-to-day modus operandi for play in early childhood instruction scenes, due to the force per unit area that many instructors feel to cover excessively many stuffs in excessively small clip. † ( Jones and Reynolds, 1992, p.7 ) . This suggests that caput instructors and instructors are forced to concentrate their concentration and resources on the topics the ‘really affair ‘ For illustration, those topics that are recorded as National statistics, demoing how many A* – Degree centigrade pupils have obtained ; in peculiar on Maths, English and Science. Drama being mentioned in the course of study saw a assorted reaction. Some celebrated the â€Å" fact † that Drama would now hold to be taught. Others were speedy to indicate out that there was a cardinal defect here. There were few trained Drama instructors left. The world has been, that barely any Drama is go oning ( in Primary ) A despite the fact that it is deemed statutory. ( Baldwin, 2011 ) . Yet Neelands ( 2008, p.1 ) states that, â€Å" In the English instruction system, all pupils in the 5-16 age scope have an entitlement to drama within the National Curriculum Orders for English. † Baldwin ( 2011 ) the president of the International Drama/Theatre & A ; Education Association provides a background to how Drama fell from grace, how a timely reaction to the stiff course of study being built capable by topic stopped it being included at the 11th hr and so, as it was no longer a topic, support for it fell off. Practitioners were left high and dry, as Drama was no longer portion of Ofsted unless a fee was paid to measure it, which in one instance ended up being marked as a ‘Satisfactory ‘ P.E. lesson. Dearing tried to soften the course of study but so came the restraints of the National Literacy Strategy which concentrated on reading and composing for the ‘Literacy Hour ‘ at the disbursal of speech production and hearing. However Winston & A ; Tandy ( 2001, p.75-86 ) in their chapter entitled ‘Drama and literacy ‘ supply some thoughts for including Drama within the hr. Then at Secondary degree we find a menu blanche where anything goes with Drama either as a separate topic taught by a Drama specializer or as a go oning add-on within English or as another entity, which possibly suits the more marked different watercourses of ability. Neelands ( 2004, p.5-6 ) noticed that the assorted beginnings of national counsel for Drama, for illustration the specific mentions to Drama in the Programs of Study for English showed a general understanding for the purposes and aims for Drama, such as: Play as personal, societal and moral instruction Drama as English Drama as a topic in its ain right. As stated earlier he cites three really different secondary schools each exemplifying one of these points as their single attack to Drama. The demands of a nationally prescribed course of study put considerable force per unit area on instructors to â€Å" suit everything in † ; each topic has it ain outlooks and makes its ain peculiar demands. Finding the clip for Drama, nevertheless extremely you and your category may value it in its ain right, can be difficult- the more so if we are traveling to give the Drama clip to develop, intensify the kids ‘s engagement and apprehension, and make a satisfactory decision. ( Winston & A ; Tandy, 2001, p.54 ) Ashcroft & A ; Palacio ( 1997, p.6 ) infer that longer functioning instructors will happen the prescribed nature of the National Curriculum and all its alterations to be a bone of contention. On the other manus – The deficiency of nucleus counsel for Drama, the parallel development of Drama within English with its development as a distinct Arts topic, together with the diverseness of theoretical accounts of course of study and appraisal to be found in schools make it a peculiarly debatable country of English learning for trainees. ( ITE, 2011c ) Particularly as: School Drama Co-ordinators disappeared about nightlong, as did LEA Drama Advisers and consultative teachers.A Drama courses became few and far between, trusting more and more on professional administrations, which were and are run voluntarily, by progressively stretched full clip instructors and lectors. ( Baldwin, 2011 ) .Chapter TWO – Arguments FOR DRAMA BEING ADESCRETE SUBJECTâ€Å" As portion of a wide and balanced course of study, play has a important part to do † ( Winston & A ; Tandy, 2001, p.73 ) . â€Å" Drama, more than any other topic in the course of study, mirrors life as it is lived and experienced † ( Winston, 2004, p.18 ) . Please see Appendix Five for some positive consequences Winston ( 2004 ) notes as being seen in kids ‘s composing due to their engagement with Drama. â€Å" At least a national understanding provides some external, comparatively nonsubjective and seeable stuffs to discourse † ( Neelands, 2004, p.6 ) . However, the absence of a nationally agreed model for Drama gives two points of concern ; The single Drama instructor has no external model to follow, therefore the success of the Drama category is wholly at the clemency of the ability or deficiency thereof of the instructor ; How Drama is perceived at the school may good be based on the caput instructors ‘ preferences and biass. To exemplify this point I found at X High School, where the writer has experienced Drama via a teaching preparation twenty-four hours arrangement, it was noticeable that Drama is thought of as a high precedence topic. This was thanks to the Head realising that in a catchment country of high poorness Drama provided involvement and look for kids that found reading and composing hard. The school used Drama besides as a selling tool to advance itself to the wider community and its governors. It held one-year Drama productions, school assemblies were punctuated with Drama in the signifier of amusing studies or more serious pieces designed to entertain and inform, it supported fund-raising activities etc. Drama here is a timetabled topic throughout all the twelvemonth groups, and is offered as an A-level topic. As Ashcroft & A ; Palacio ( 1995, p. 196 ) advocator, â€Å" Primary school students can develop through play an extended scope of linguistic communication utilizations, including the bulk of those referred to in the national course of study. † â€Å" aˆÂ ¦drama is a societal procedure of doing meaningaˆÂ ¦the model and method of play provides a alone context for developing a sense of individuality and productivity. † ( Morton, 1984, p.37 ) . â€Å" All Our Futures † had already clearly recognised the importance of Drama, both as a originative instruction and larning medium and as the most powerful pupil incentive: A † OFSTED informations on student response to larning indicates play to be at the really top in actuating acquisition † ( NACCCE, 1999, p.77 ) . Drama in instruction can assist pupils learn and understand whatever is required, in ways that are emotionally, aesthetically and cognitively connected and meaningful to kids who are natural dramatic participants. †Chapter THREE – ARGUMENTS AGAINST DRAMA BEING ADESCRETE SUBJECTâ€Å" aˆÂ ¦drama is a procedure that can non be divided into a series of distinct and accessible results in the sort of manner that course of study theoreticians have managed to make with many other topics in the course of study † ( Young, 1981, p.94 ) . Baldwin ( 2011 ) provinces: Trainees are likely to meet a diverse scope of agreements for play within schools. In the absence of national orders and a statutory capable model, schools are free to plan their ain local fluctuations of a play course of study based on the specific value given to drama in a peculiar school. Cynics were heard to mumble, that with an appraisal driven course of study emerging, procedure based play would be excessively debatable for SCAA ( as it was so ) to cover with.A Appraisal in Drama has ever been slippery as so much goes on cognitively and emotionally during the Drama procedure that is non easy or even possible to assess.A It is noted that this statement appears amongst many professionals, but no suggestions as to what standards could be used is suggested. Is this because they believe there is to be none. Baldwin, ( 2011 ) continues. â€Å" Assessment records were being revealed as lists of statements of attainment tick boxes and needed to be based on easy discernible, extrinsic results † proposing that Drama specializers were non certain they wanted such a meaningful and aesthetic art signifier measured and graded in this way.. Neelaands appears to belie his issues by saying The local course of study can be based on a extremely idiosyncratic and ideologically motivated choice. What is taught may be left to the caprice of an single instructor and may reflect personal biass and involvements instead that the comprehensiveness of deepness of survey which is a student ‘s entitlement ( Neelands, 2004, p.6 ) . Yet harmonizing to Neelands on the Initial Teacher Education web site ( ITE, 2011d ) , The non-statutory Framework play aims might usefully organize the footing of the programme of survey for play at KS3. However, these specific aims are improbable to be considered sufficient as nucleus aims for play as a discrete topic because they do non cover physical, ocular, design and proficient facets of play. This suggests that although the concerns of Patrice Baldwin are relevant, the concerns of the ITE is that without a defined construction and specific aims, the importance of Drama could be overlooked. This point of position is rejected by Way ( 1967, p.12 ) who points out, â€Å" If we make drama another topic, so we make another ‘progressive heterosexual line ‘ – in fact many consecutive lines, one for babies, one for juniors, and so on through the different age groups. † Again, because of its ‘uniqueness ‘ there is a concern over how Drama can be ‘measured ‘ i.e. marked. Way ( 1967, p.3 ) wrote, â€Å" Education is concerned with persons ; play is concerned within the individualism of persons, with the singularity of each human kernel. Indeed this is one of the grounds for its intangibleness and its immeasurability. † As Drama is non in the National Curriculum as its ain topic, it might be seen as unimportant. With the force per unit areas on schools to be ranked via conference tabular arraies on the nucleus topics of English, Maths and Science, it is possibly non surprising that schools focus on these topics to the hurt of all else. However, the topic still has its ain written scrutinies and an external tester is called in to tag public presentations. It is hence ill-defined as to the grounds behind why the topic is deemed by some to be hard to measure.Decisionâ€Å" Ultimately, play is a valuable tool, but foremost the tool itself must be fashioned. † ( Way, 1967, p.7 ) . There appears to be a divide in international pattern over whether Drama should be used across the course of study or as a topic within its ain right and/or as portion of the humanistic disciplines docket. There were those who thought that if appraisal was traveling to be the name of the game, so play could and should be made to suit, in order to guarantee its topographic point in the new curriculum.A And there were those who breathed a suspiration of alleviation that play did non suit and had been left outside the new course of study, where at least it would let a greater freedom of pattern and content, within the broader course of study ( Baldwin, 2011 ) . Therefore, unless the person schools value Drama, and promote Drama instructor preparation, the concern is that the degree of learning Drama will non be sufficient to add any value to learning within the school as a whole. Harmonizing to Ashcroft and Palacio ( 1995, p.203 ) there are two types of Drama within the National Curriculum spectrum, one being public presentation based activities, such as assemblies and school dramas, and the other being educational Drama, which involves kids in the active creative activity and geographic expedition of state of affairss based on fact or fiction. â€Å" †¦ it is regarded by many instructors as a larning method instead than a capable country because it can be employed to present many facets of the course of study really efficaciously. † ( Ashcroft and Palacio, 1995, p.204 ) . Art is utile, non because it is true but because it is genuinely enlightening. It is because play – as – art maps in this manner that a dramatic work can non be explained, paraphrased or deconstructed into essays. Like any other art signifier, play is alone and non – convertibleaˆÂ ¦ it resists crassly useful attempts to corral it into the service of geographics, history or direction preparation every bit much as it refuses to be the biddable retainer of personal, societal, or political instruction. In a secular age, the utility of play lies in its ability to joint significance in peculiar direct and accessible ways so that we, in bend, can do better sense of the universe in which we live. For these grounds, play is an indispensible portion of the humanistic disciplines course of study. ( Hornbrook, 1991, p.40-41 ) . Whilst we can non anticipate the committedness of the National Theatre at every Primary School ( Turner et al. , 2004 ) they offer a theoretical account of best pattern that can be used within the topic of Drama to truly convey out the assurance and mind of immature kids and this should be the ultimate end whether Drama is housed within English or is a topic in its ain right. Does this so mean that play is yet another topic that has to be fitted into an already overcrowded course of study? No. Drama is non another topic ; theater might be, with its land work in history and its survey of dramatists and their plants but non drama. Drama is every bit intangible as personality itself, and is concerned with developing people. Indeed, it is every bit necessary to fling educational conventions as to ignore theatre conventions ( Way, 1967, p.7 ) . The statements will ramp on but merely the will of the authorities can do a difference to the place Drama as a topic or non-subject is in. The decision drawn from all the grounds in this study is that Drama should be included as a topic in its ain right in the National Curriculum, but non as the course of study presently stands. There appears to be deficient construction and no unequivocal manner that the success of students taking Drama can be measured. To seek and ‘fit ‘ it into the current course of study could curtail its utility as a holistic well being tool for the personal growing of students. How could this be measured in academic footings? There could be students who come alive as histrions and give fantastic public presentations, but can non interpret this successfully into a written piece of work. How does one step personal growing? How can we tag a pupil who has grown in assurance, can show themselves better than before the debut of the Drama lesson, and inter acts good with other pupils in the category? Whereas before the usage of Drama they may hold been counter, covering with personal issues which had no voice except in eruptions of violent behavior. One can put trials to mensurate the cognition of the literacy greats, the hunt for significance in the plants of the dramatists but should this prevarication here or within the kingdom of English Literature, such that it can non be used as a grade of success or failure for Drama pupils. The decision gathered is that this testing should be left within the English topic, therefore leting pupils of Drama more freedom to show themselves through this fantastic medium. It has been shown that Drama is a utile tool in the apprehension of other topics, but it should foremost be enjoyed and understood in its ain right. The greatest job for Drama being included in its ain right in the National Curriculum appears to be the manner the success of topics are presently judged. There does non look to be current processs that can reasonably mensurate the true success and positive impact Drama can hold on a pupil ‘s life. For illustration with a Mathematics test there is a definite right reply with Markss available for demoing your workings out, but what is the ‘right ‘ reply in Drama? The division between the instruction professionals as to the inclusion or non of Drama in the National Curriculum can be understood after researching and look intoing this inquiry. The concerns are that the importance of Drama within the schools is presently dependant on the will of the caput instructor and the ability, passion and committedness of the Drama staff. Drama instructors ‘ sing schools who category Drama as a ‘fill-in ‘ topic and non that of import will hold experienced first manus the statement that Drama should be included. It could be really corrupting to the Drama instructor who feels that their work, nevertheless committed they are, possibly seen as unimportant. However those Drama instructors sing and basking a school that appreciates Drama and uses it throughout school life for illustration in assemblies, community assemblages and the one-year school public presentation may bask the freedom of the topic non being included in the National Curriculum, as they do non experience threatened about the cogency of their instruction accomplishments. There appears to be no straightforward decision over Drama ‘s inclusion in the National Curriculum, nevertheless it must be pointed out that other parts of the British Isles make Drama a topic in its ain right and supply first-class support for it. Possibly there are lessons to be learned from the manner they have gone about this by an exchange of thoughts on best pattern. For illustration what standards are they utilizing to mensurate Drama ‘s success as a topic ; are more or less pupils taking Drama as a topic at Secondary degree ; has its position had a positive or negative consequence on the instructors? Without cognizing the replies to these inquiries and many more besides we can non keep these states up as reflecting illustrations. There needs to be a manner of seeking to take the best from the statements for and against Drama ‘s inclusion in the National Curriculum. For illustration this research has shown that most of the Drama professionals feel that both the topic and they benefit from its inclusion to set them on a flat playing field with other topics. They believe that they may be taken more earnestly and have more support from developing being given. The concern of its inclusion appears to be that it could smother the really creativeness and freedom of look some professionals believe Drama should be. They all appear to hold that Drama can non be measured in academic footings as easy as other topics as no ‘marks ‘ are awarded for pupils personal development. Therefore after research and probe into this inquiry, the concluding decision is that Drama should be included in the National Curriculum as a distinct topic but merely after the creative activity of relevant success standards is added. Once there is an acceptable measuring expression in topographic point Drama would so profit from inclusion. As it stands at present at that place does non look to be sufficient stairss in topographic point to recognize Drama pupils ‘ success.

Saturday, January 4, 2020

In His Famous Soliloquy, Hamlet Reasons Himself Out Of

In his famous soliloquy, Hamlet reasons himself out of committing suicide, in which he first acknowledges how an individual with a copious amount of complications and predicaments in life can potentially be lured into a tempting and appealing idea of death. Throughout his soliloquy, Hamlet appears to be at a constant conflict with himself, proving his insanity and his inability to decide on what to act upon. He struggles to figure out whether to commit suicide to avoid this complication and a cruel act that is worthy of damnation or move forth to assassinate the murder of Hamlet’s father. Hamlet’s indecisive speech influences the rest of his actions in the play due to his constant contemplations that results in poor decisions, ignites a†¦show more content†¦By the end of the play, all of his regrets and poor decisions he truly hoped to avoid came to life, which then left him in another indecisive conflict with himself yet again. People that meant the world to H amlet fell into a deep, eternal deep, while he is left alone wondering whether what he is doing is the right move to continue. His famous â€Å"To be or not to be† soliloquy is quite important to the play since it further exploits his characters and personality that justifies the constant internal conflict that he constantly combats with himself; all the contemplation is vital to figure out what is best, but his indecisiveness and deep thinking leaves him in a state of never really choosing the best options to fix the unfair life problems he must endure. In his soliloquy, Hamlet compares death to a little sleep, where once an individual ends their life, this person would simply be in an eternal sleep for a good amount of time. The option of sleeping forever and death appears to be appealing and simple to Hamlet, yet he still worries about the final outcomes if he were to pursue his plan to do so. Hamlet fears the â€Å"dreams,† or the afterlife, that would follow, which forces him to experience and witness them as if his death did not occur. He mentions how â€Å"To sleep, perchance to dream—ay,Show MoreRelatedWilliam Shakespeare s Hamlet 1208 Words   |  5 PagesHamlet is considered to be Shakespeare’s greatest work, and the soliloquy to be or not to be is equally as famous. Hamlet is one of the greatest dramatic characters of all time and the role of Hamlet is one that many actors strive to play. Shakespeare wrote the character Hamlet in a very specific manner and it is because of this that few have found s uccess in performing this role. Moreover the soliloquy to be or not to be has been one that has defined the level of success of an actors role of HamletRead MoreHamlet, By William Shakespeare929 Words   |  4 PagesHamlets Soliloquys Drama literature is told through a story of dialogue about a character who experiences conflict through out the play. These kind of plays are often performed on the stage of a theatre. One of the most famous screenwriters of the 16th through the early 17th century was William Shakespeare, and his work continues to live on in the 21st century. The longest play Shakespeare had ever written was Hamlet, which is about a young prince who grieves over the death of his father and seeksRead MoreWilliam Shakespeare s Hamlet As A Tragic Hero1251 Words   |  6 PagesHamlet is one of Shakespeare’s most famous tragedies. Hamlet himself is commonly known as a tragic hero in the play. He knows he possesses the flaw of indecision but cannot overcome it, and this is a weakness that eventually causes his downfall. Therefore, this paper will discuss his own fate by examining some of his characteristics. Different people have their own understanding towards Hamlet. As a tragic hero, some think he is young, brave and thoughtful; some think he is conscientious, becauseRead MoreHamelts Third and Fifth Soliloquies Essay964 Words   |  4 PagesIn the play Hamlet written by William Shakespeare the main character Hamlet delivers 6 very philosophical soliloquies. I will be discussing the third and fifth soliloquies. The second soliloquies has the most quoted line in literature â€Å"to be or not to be†.1( pg. 103 Shakespeare) The third soliloquy in the book is all about suicide and weather Hamlet should continue to exist or not. He contemplates the ups and downs and reveals his inner thoughts to us about it. The fifth soliloquy is about killingRead MoreHamlet Character Essay1189 Words   |  5 PagesPrince: An Analysis of Hamlet â€Å"To be, or not to be: That is the question†(3.1.58). This is probably the most famous quote in all of Shakespearean literature and was uttered by the main character, Hamlet, of the play â€Å"Hamlet† written by Shakespeare. It demonstrates his instability and suicidal thoughts. Throughout the play he comes off as a very unpredictable and complex character. He makes many rash decisions, but at the same time often takes a lot of time to contemplate many of his choices. Through Hamlet’sRead MoreHamlets Key Soliloquies Essay1436 Words   |  6 PagesHamlets Key Soliloquies The purpose of a soliloquy is to outline the thoughts and feelings of a certain character at a point in the play. It reveals their innermost beliefs and offers an unbiased perspective said to themselves and not to any other characters that may cause them to withhold their true opinions. The character of Hamlet is very intriguing; without soliloquies Shakespeare would be unable to give the audience such an insight into his personality and motivationsRead More Hamlet: Soliloquies Essay1204 Words   |  5 PagesHamlet: Soliloquies Hamlet, one of Shakespeare’s tragic plays, portrays the story of a young man’s quest to avenge his murdered father and his quest to find his true identity. In his soliloquies, Prince Hamlet reveals to the readers his personal perceptions of the events that take place in his homeland, Denmark, and of which are either indirectly or directly tied to his father’s murder. Many critics and scholars agree that while Hamlet’s soliloquies reveal the search of his identity and true characterRead MoreHamlet Speech In Hamlet1117 Words   |  5 PagesShakespeare’s famous play Hamlet is a tragic play in which, one of the most famous speeches ever written was said. The speech â€Å"To be or not to be† was spoken by hamlet in Act 3, the first scene, in the famous â€Å"nunnery scene†. It referred to as soliloquy, the staging of this scene ¬ considerably was to test Hamlet by King Claudius and Polonius. They were trying to figure out if Hamlet was t ruly mad or pretending to be, Hamlet by then surely knew who killed his father because of the earlier appearanceRead MoreWhat Is A Soliloquy? A Soliloquy Is An Instance Of Talking891 Words   |  4 Pagesis a soliloquy? A soliloquy is an instance of talking to or conversing with oneself, or of uttering one’s thoughts aloud without addressing any person (speech to the audience) Shakespeare’s effective use of soliloquies reveal the protagonist, Hamlet’s most personal inner thoughts and struggles Hamlet – a complex character; analytical (looks at situations from all angles)/reflective/contemplative/intelligent Thesis: In the famous revenge tragedy â€Å"Hamlet† by William Shakespeare, soliloquies (insertRead MoreHamlet, By William Shakespeare846 Words   |  4 Pagescontemplative topic. In Hamlet, the main character Hamlet thinks to himself about suicide. Hamlet was written by William Shakespeare. Shakespeare wrote Hamlet between 1599 and 1602. William Shakespeare is one of the greatest playwrights in history. Hamlet is about Prince Hamlet of Denmark who is trying to find out about the death of his father after his father s ‘ghost’ comes to him telling him it was his uncle who had killed him. While Hamlet contemplates suicide he gives his famous soliloquy â€Å"To be or not