Toyota Final Simulation Bus310 Essay Example | Topics and Well Written Essays - 750 words

Toyota Final Simulation Bus310 - Essay Example Here, the contextual analysis puts accentuation on the three authoritative conditions and how each added to the mechanical turn of events. The achievement of each association is exceptionally reliant on such an organization’s asset piece and how best they assemble those inward assets. The innovation of the test system depicts Toyota as an association which prepares its interior assets: funds, characteristic and HR to all the more likely fulfill their clients (Liker and Meier, 2006). With the last recreation nearby, it is unsurprising that Toyota is bound to increase a gigantic inward ecological help since, at whatever point an association concocts another milestone innovation; such an association is constantly propelled to do significantly more. A propelled human asset, for example, is constantly described by innovativeness and development just as moving in the direction of the accomplishment of the authoritative objectives. Toyota is one association that can exceptionally be credited for how it has coordinated its inner condition to its outside condition. The close to outer condition is constantly described with those components that an association has little impact over rather than the inward assets (Liker and Meier, 2006). The indispensable factors in the close to outside condition incorporate the clients and the providers whose commitments are basic to the achievement of any association. For most business visionaries, it is the clients and the providers that an organization should hold dear to their exercises. It is consistent that an association that doesn't focus on their clients have no future. In concocting the ideal test system, it is unsurprising that Toyota completely abused their close to outside condition. The clients for example impact a tremendous measure of authoritative choices rely exceptionally upon the criticism such an association gets from its clients. In completely actualizing the driving recreation innovation, it is

Economies of Scale Essay -- Economics Economy Essays

Economies of Scale Financial aspects Test 1. Characterize and clarify every single Internal Economy of Scale:  · Internal Economies of Scale:Are decreases in since quite a while ago run normal expense as the size and yield of a firm increments. At the end of the day, they are preferences that huge firms have in light of the fact that they are huge. As they develop bigger over the long haul they figure out how to raise their yield quicker than the ascent in their complete expenses. The outcome is lower since quite a while ago run normal cost. - Marketing economies-Both in purchasing materials and selling its completed products a huge firm is n a superior situation than a littler one. In purchasing the items it needs, the huge firm regularly pays less for crude materials, apparatus, etc in light of the fact that providers are certain they are going to get enormous requests and would prefer not to lose a major client. For example A maker of shoelaces will sell its items for à ¢Ã¢â‚¬Å¡Ã¢ ¤1 per parcel to Nike since it has a request for 1000 parcels for each week. In any case, for Adidas it will sell them à ¢Ã¢â‚¬Å¡Ã¢ ¤2 in light of the fact that it has just a request for 100 bundles for every week. So Nike has a lower cost for each bundle contrast with Adidas. In selling its items, Nike can bear to pay for costly and expertly made ads or utilize authority sales reps much simpler than Adidas. The enormous all out expense of publicizing can be spread over an enormous yield that is sold. Along these lines, the normal expense of promoting will be low. - Financial economies-If Nike will obtain cash since it is a notable firm, it is viewed as progressively dependable, and less unsafe is simpler to obtain than Adidas. So Nike can acquire a lot of cash with a lower loan fee contrasted with Adidas. For example On the off chance that Nike obtains à ¢Ã¢â‚¬Å¡Ã¢ ¤1, 000000 it will pay a 8% financing cost while if Adidas obtains à ¢Ã¢â‚¬Å¡Ã¢ ¤1,000 it wil... ...At OQ the firm is getting a charge out of Internal Economies of Scale and its normal expense falls. Past this point, further development would make the firm less proficient. Rather than delivering with a low normal cost, extra creation would cause the normal expense of every unit of yield to rise. 8. For what reason do little firms despite everything exist? - New firms - Firms don't begin enormous. As it were. Numerous organizations are little since they are new. Those that will be effective are normal to turn out to be enormous throughout the years. - Desire to stay in charge Sometimes proprietors of little firms may not need the firm to become excessively enormous in the event that they lose individual control. - Lack of Finance-Small firms think that its hard to grow in light of the fact that they can't raise money. Enormous organizations have immense held benefits and furthermore can offer offers to the overall population. Little firms can neither of these.

How to End a Relationship the Right Way

How to End a Relationship the Right Way Relationships Spouses & Partners Print How to End a Relationship the Right Way By Anabelle Bernard Fournier Medically reviewed by Medically reviewed by Carly Snyder, MD on February 01, 2020 facebook twitter linkedin Carly Snyder, MD is a reproductive and perinatal psychiatrist who combines traditional psychiatry with integrative medicine-based treatments.   Learn about our Medical Review Board Carly Snyder, MD on February 01, 2020 rawpixel/Unsplash More in Relationships Spouses & Partners Marital Problems LGBTQ Violence and Abuse When we fall in love, we often believe that the relationship will last forever. We always hope that this one is the one, that it will be different this time, that theres no way anything can ever happen to break you up. Except, sometimes those things can happen and you do break up. If we only look at the divorce rate, research shows it is around 50% (although measuring divorce rates is more complex than comparing marriages to divorces in a single year).?? Because they are not as closely monitored, it is also much more difficult to obtain rates on casual and common law partnerships that break up. Why and How Do Breakups Happen? Most of us enter relationships with the hope that we will never have to end them. Marriage, especially, is built on the premise that it will remain until death do us part. Common causes for breakups include personality differences, lack of time spent together, infidelity, lack of positive interactions between the couple, low sexual satisfaction, and low overall relationship satisfaction. Ending a relationship is one of the most difficult things we have to do. No matter where you are in the breakup process, knowing how to break up well can help make this transition smoother and less harmful for both partners. How to Break up the Right Way We say right way, but in reality, there is no right or best way to break up. Every relationship is different, and every person in a relationship is different. It is up to you to consider the personality, needs, and feelings of your partner as you read through this article and figure out how to end things. Understand that there is no pain-free way to break up. We all wish that we could end relationships without any hurt or pain. But no matter how broken the relationship is, officially ending it will cause pain on both sides. Once you acknowledge that there will be a pain, you can be prepared for the aftermath. Do it face-to-face. If youve ever been dumped by text or email, you know how it feels to be given so little consideration that the other person didnt even bother to tell you in person. Why do the same to another person? Your partner deserves the dignity of a face-to-face conversation. An intimate setting is arguably better, but if you are worried about your partner having a violent reaction, a public place is safer. Be honest but dont give too much detail. In general, people want to know why theyre being dumped. While youre terrible in bed or you lack ambition might seem like an honest answer, it doesnt really preserve your partners self-esteem or dignity. Using a reflexive sentence like I dont feel were compatible sexually or I dont think our long-term goals align anymore are nicer ways to express your feelings. Dont do a play-by-play of the things the other person did wrong or use clichés like its not you, its me. Do not give in to arguments or protests. If the breakup is a surprise for the other person, they might try to argue, protest, or give reasons why you should remain together and try again one more time. If you are at the point of breaking up, nothing can restore or revive the relationship now. Giving in will only delay the inevitable. Make a Clean Break Do not suggest you stay friends. Avoid saying lets stay in touch. To move on from romantic relationships, you need to avoid further emotional entanglements with the ex-partner. It might possible to be friends again down the road, but this is not the right time to consider this possibility. Express your sadness at the breakup and share some good things about your time together. Being dumped feels really bad. You can soften the blow a little by sharing some of the good times you shared together: You taught me so much about cooking and I am a better cook now, thanks to you, or something similar. You want to make the other person feel like they had a positive impact on your life despite the relationship ending. You may also want to say something like: I had hoped for us to grow old together and I am sad that it will not happen. It shows that you share some of your partners hurt feelings about broken hopes. Avoid turning the other person into the bad guy. Nobodys perfect. You have faults too, and turning your ex-partner into an evil figure is not helpful (aside from obvious instances of violence, but thats not the kind of relationship were talking about here). They may have done some bad things, like cheating, but they are human too. Its better to resolve your feelings around what they did (if they did anything wrong) rather than who they are. Give yourself time to grieve. Even if you are the one breaking up, there will be a period of heartbreak, sadness, and pain. Realize that you will also need to adjust to your new situation. Surround yourself with people you love, do things that make you happy, and remember that crying and feeling sad is perfectly okay. A Word From Verywell In any breakup situation, the most important thing to remember is to be kind and compassionate. Its easy to forget how the other person might feel when we are so caught up in our own emotions, but it is essential to avoid centering the entire conversation on yourself. If you reach out with kindness and compassion, things will be much easier for everyone.

Leadership And Strategic Decision Making - 1667 Words

Leadership and Strategic Decision-Making in Social Movement Organizations Introduction Throughout history, social movement organizations (SMO) have been actively involved in their community’s seeking to mobilize others and gain resources in order to achieve their goals. It is important to study how SMO achieve their goals to understand the strategic decision-making process and leadership that movements develop for success. Aims: This study aims to investigate the interaction and processes of strategic decision-making and leadership by social movement organizations. The investigation will involve three major theories, rational action theory (Chong, 2014 and Junker, 2014), social movement habitus (Crosssely, 2003), and strategic†¦show more content†¦Individuals make strategic decisions based on life experiences and interactions with other people. Hence, culture, religion, work, background, etc. can influence strategic decision-making. Strategic capacity can also develop effective strategies under conditions in which strategists are highly motivated, enjoy access to diverse sources of salient knowledge, and employ deliberative practices committed to learning (Ganz, 2010). Rational action theory, social movement habitus, and strategic leadership capacity gives a more detailed structure into how social movement organizations leaders make strategic decisions based on benefits and life experiences to achieve their goals. Therefore, I argue that rational action theory, social movement habitus, and strategic leadership capacity identifies the reasoning and rational of how strategic decision-making evolves and how leadership is formed to enhance the power and resources of a social movement organization. Strategic decision making and leadership is fundamental for understanding what happens at the micro-level of individuals and their interactions in order to evaluate and improve our theories at the macro level of movements, states, revolutions, and so on (Jasper: 4). Objectives: To study strategic decision-making and leadership, there are five objectives and goals

Cross culture awareness for managers Free Essays

Introduction â€Å"A Fish only discovers its need for water when it is no longer in it. Our own culture is like water to a fish. It sustains us. We will write a custom essay sample on Cross culture awareness for managers or any similar topic only for you Order Now We live and breathe through it. What one may regard as essential, a certain level of material wealth for example, may not be so vital to other cultures.† (Trompenaars et al, 1999, p.20) To put it in simple term, culture is inclusive of the information, principles and awareness of the society. Demonstrate the different method of people who lives in various environments. With a wide range of approach in which cultural ideas are carried out. According to Ziauddin Sardar their features are as follows: Their aim is to carry out subjective study of cultural practices and how they are associated to control. It includes culture as both the object of study and the locations of political criticism and action. They are devoted to an ethical valuation of society and to political action (Olivier Serrat, 2008). â€Å"A value is a conception, explicit or implicit, distinctive of an individual or characteristic of a group, of the desirable which influences the selection from available modes, means and ends of actions.† Values are feelings with arrows to them,i.e. it has a plus and minus pole. Hofstede, G (2003) A culture is adjusted in the direction of history and the future is the repetition of the history. Culture primarily directed to the present does not involve past or future. individuals are directly relate it with demands of everyday life. (Provenmodel, 2005) Past events of culture does not affect the future prospects of culture. Efficientway of interacting with the people in other countries, we should look into its deep roots on different cultures as per Geert Hofstede. Well understanding and its implication, the data will reduce concern and frustration. Apart from the Geert Hofstede will give you ‘edge of understanding’ which convert to more flourishing results. Below mentioned are the five dimensions: (Luciara N and Richard S, 2009) Power distance: It is true to say that the less developed and low powerful associates believe that power is dispersed unequally. (Provenmodel, 2005) Individualism: The true face of nature is that the people in the society are selfish, i.e. they are concerned for themselves and the family members only. (Provenmodel, 2005) Masculinity: The leading communal values are success, money, and things. (Provenmodel, 2005) Uncertainty avoidance: Nature is place where uncertainty happens, so the individuals living in that society are feared by the unhappening scenarios and feels that it is wise to avoid such scenarios. (Provenmodel, 2005) Long Term Orientation: It represents the values like economy, determination, and conventional value of social obligations. (Provenmodel, 2005) Trompenaar and Hampden –Turner gathered data over 10 years using a process that relied on generous respondents , predicament or distinct tendencies. Here the problem consisted of two options which are mentioned as follow:- (Anonymous , N.D. ) Universalism vs. Particularism: Universalism is the ideas/practices which can be applied everywhere, high universalism countries and these are close adhere to business contracts while particularism are those circumstances which dictate how ideas/practices apply; high particularism countries often modify contracts. (Provenmodel, 2005) Individualism vs. Communitarianism: In Individualism, people as individuals and countries with high individualism are included, and are stress personal and individual matters which assumes great personal responsibility. On the other hand, in communitarianism public look upon selves as part of group and value group-related issues and take committee decisions for which they are joint responsibility. (Provenmodel, 2005) Neutral vs. Emotional: Neutral: culture in which emotions not shown. In high neutral countries, people maintain serenity. While in emotional, emotions are shown in open and they act as they are, i.e. they don’t behave in different way, they behave naturally. (Provenmodel, 2005) Specific vs. Diffuse: In Specific, huge public areas are used by many while small areas are looked after closely. In Diffuse, public and private areas are similar in size wherein public areas are guarded as it is common with the private areas. (Provenmodel, 2005) Achievement vs. Ascription: In Achievement culture, it doesn’t matter who does it, what matters is how is it done (job, performance, etc.) while Ascription culture is truly based on who does it and what is done. (Provenmodel, 2005) Time:- In simple way, it means the whether the role is done one by one or all the things are done together. Sequential means that the activity is conducted in a series or pattern wherein the line of performance is pre decided. Synchronous means all things are done together, i.e. multi tasking. The last method is present v/s future. (Provenmodel, 2005) The Environment: Inner-directed people believes in control of outcomes while Outer-directed people are opposite to them.(Provenmodel, 2005) Let us see the comparison between Hofstede and Trompenaars which are out of seven dimensions of Trompenaars, two are closely reflected in Hofstede’s dimensions. Also there is a practical similarity between their communitarians value orientation. Trompenaars and hofstede’s studies are not entirely similar, Hofstede’s power index is related to how the status is accorded and to the power distance that is acceptable with the society, while Trompenaars and Hampden-Turner has not discussed anything about power distance. Trompenaars achievement value orientation is related to Hofstede’s power distance index. Which shows that status is accorded not by achievement but by the nature, this gives greater acceptability to power distances. Trompenaars other dimensions seem to focus on the feelings, and the extent to which they are expressed. Thus it only focuses on the behavioural aspect, not on the value. Trompenaar’s universalism value orientation holds relationships above the rules, which appears to relate to hofstede’s uncertainty avoidance dimension and also to collectivist dimension to some extent. Trompenaars specific value orientation is not identical to any of the Hofstede’s dimensions. However, human time relationship and Hall’s polychromatic and monochromic time perceptions are quite similar to each other. There is also a similarity in their findings. For eg. according to them, india and japan are weak as far as individualism is concerned, on thte other hand UK, Denmark and USA are comparatively individualistic. According to Hogget’s and Luthans, the difference between the two studies is due to the difference in time frames in which they were conducted. Thus, Hofstede’s findings are becoming outdated. For eg. mexico’s step towards being global, can be taken as a moving away from its communitarian values. According to Trompenaars findings, communist countries that is Hungary, Russia and CrechRepublic are quite individualistic, with a communist past. According to Trompenaars, UK and the North America have egalitarian cultures, while, Spain and France are Hierarchical. As per Hofstede’s research spain and france are high when it comes to power distance as compared to UK and the North Ammerica. Trompnaars and Hofsdete hold different views about Germany. According to the former, Germany’s corporate culture is hierarchical, while the latter considers Germany as low in terms of power distance. Trompenaars research is extensive, he has examined corporate cultures in terms of nationality, for which he introduced another dimension named equality versus hierarchy. Now contrasting the two approaches of the Geert Hofstede , dutch expert and Fons trompenaars Charles Hampden-Turner. The findings and studies of Geert hofstede and Fons Trompenaars have been adopted by many businesses, for the purpose of understanding the differences in individual and organizational cultures across the globe. Other anthropologists, sociologist have grave misgivings and are important for analysis used by Hofstede. Hofstede’s 5 dimensions have a strange similarity to national character studies that were conducted in 1940’s and WW II on which intensive research was carried out by researchers, the research was spoilt and was not of any use because it was prone to bias and simply created sterotypes of other cultures. Hofstede and trompenaars work should not be associated with WW ii studies, except the fact that lessons learnt from the past should be remembered. In the current state of affairs, anthropologists might be uncomfortable in popping down the trap of understanding the culture to â€Å"5 dimensions of culture† which can be notched up. (Hassoun R, 2006) Similarly, Trompenaars and Turner have framed a seven dimensions model, which can be taken as varying from the idea of reducing cultural dimensions. Culture, as defined by most anthropologists is that which is adapted and passed to next generations and the structure through which the world is viewed cannot be condensed into a set of simplistic parameters. (Hassoun R, 2006) The Anthropological have looked into the model given by Hofstede and Trompenaars and Turner. But the point to be noted here is that in the anthropological technique concentrated on an overall knowledge of cultures and the sub-cultures. The problem could occur in anthropological approach which will be like raising cultural proficiency in a small guidance wherein the psychological pattern for understanding cultural complexity matters a lot and have significant affect on it. When the guidance which is provided gets completed, it takes bit more time to know the real competency which itself is also a as a procedure. It is very realistic to know that there is desperate need to be patient with good listening skills and open mindedness to grasp the knowledge of different culture which will then guide to know cultural competency. (Hassoun R, 2006) The personal features on the behaviour was not identified by both, Hofstede and Trompenaars. The dimensions of their theories has bifurcation on cultures but what they failed to know and provide guidance was that how to work with some specific cultures. Apart from this, no declaration could be placed ahead that the seven dimensions were the only one and the list was full. Authors such as including Ohmae (Borderless World) and Levitt (Globalisation of Markets) didn’t went ahead with the thing that there is need for different companies to admit there is no similarity in cultures of countries in which they operate (which was said by Trompenaars and Hofstede), rather they said that the world is one and is not filled with different cultures and different countries. (ProvenModel 2005) It is imperative for every manager that he has an understanding of the different cultures. Managers who are more successful their values seem to favour dynamic, pragmatic and achievement – oriented, along with this they believe in interacting with others. On the other hand, managers who are less successful have passive and static values; and are relatively inactive in interacting with others. Cultural competency is focuses on promoting self – confidence of individuals and the teams, this can be achieved through empowerment and by breaking down barriers. A person with interculturally effective skills has attributes which are discussed below:He has the skill of communicating with people of different cultures in a manner that earns them trust and respect.He has the ability to adapt his managerial and technical skills in a way that fits in well with the local constraints and the local conditions.He has the ability to change personally so that he has mental peace, is content and at ease in the mass culture References: Olivier serrat (2008) Cultural theory [Internet] Available from : [Accessed on 19th March 2011]. Hofstede, G. (1994) Uncommon Sense About Organisation 1st Edition USA. Hofstede, G. (1980) Culture[internet] Available from: http://wallaby.vu.edu.au/adt-VVUT/uploads/approved/adt-VVUT20080910.150544/public/04chapter3.pdf [Accessed on 19th March 2011]. Proven Model (2005). Seven dimensions of culture [Internet] Available from: [ Accessed on 19th March 2011] Ananymous , n.d. Home and Host Country determinants of International Bank Entry [internet] Available from: http://www.scribd.com/doc/43918450/Factors-Affecting-International-Bank-Entry[Accessed on 20th March 2011]. 6. Luciara N and Richard S, (2009).The cultural theory jungle:divergence and convergence in models of national culture. 1st editionCambridge ,Uk. Hassoun R, (2006) Intercultural/Cross-Cultural Training: Rejecting Hofstede and Trompenaars [internet] available from: http://www.goldfinchtraining.biz/hofstederejected.htmls [accessed on 19th march 2011]. Titre F (2005) Cultural dimensions and social behavior correlates:Individualism-Collectivism and Power Distance. Journal of cultural Dimensions 18(1) . Trompenaars et al (1999) (p.20)10. Hofstede, G (2003) Available from: Culture’s consequences: comparing values, behaviors, institutions, and organizations across nations. SAGE. (pp. 5,6) How to cite Cross culture awareness for managers, Essay examples

The Harrowing of Hell Dialectic and Spectacle Essay Example For Students

The Harrowing of Hell Dialectic and Spectacle Essay Roland Barthess essay on The World of Wrestling draws analogically on the ancient theatre to contextualize wrestling as a cultural myth where the grandiloquence of the ancient is preserved and the spectacle of excess is displayed. Barthess critique which is above all a rewriting of what was to understand what is is useful here insofar as it may be applied back to theatre as another open-air spectacle. But in this case, not the theatre of the ancients, but the Middle English pageant presents the locus for discussing the sport of presentation, or, if you prefer, the performance of the sport. More specifically, what we see by looking at the Harrowing of Hell the dramatic moment in the cycle plays that narratizes doctrinal redemption more graphically than any other play in the cycle as spectacle offers a matrix for the multiple relationships between performance and audience and the means of producing that performance which, in turn, necessarily produces the audience. The implications of the spectacle could sensibly be applied to the complete texts of the cycle plays, and perhaps more appropriately to the full range of the pageant and its concomitant festivities. The direction of pseudo-historical criticism, especially of the Elizabethan stage, certainly provides a well-plowed ground for advancing the festive and carnivalesque inherently present in the establishment and event of theater. Nevertheless, my discussion here is both more limited and more expansive: its limits are constructed by the choice of an individual play recurrent through the four extant manuscripts of what has come to be called the Corpus Christi plays; its expansion is expressed through a delivery that aims to implicate the particular moment of this play in the operations of a dominant church-state apparatus, which is, ostensibly, a model of maintaining hegemony in Western culture. The Harrowing provides a singular instance in which the mechanisms of control of the apparatus appear to extend and exploit their relationship with the audience (i.e. congregation). The play is constructed beyond the canonized operations of the sacred, originating a narrative beyond (yet within) the authorized vulgate; it is constructed only through church authority yet maintains the divinely instituted force of the orthodox doctrine. We will write a custom essay on The Harrowing of Hell Dialectic and Spectacle specifically for you for only $16.38 $13.9/page Order now Two introductory instances, one from the Chester cycle and the other from the Towneley cycle, situate the narrative and event of the play as a spectacle which engages the possibility of being consumed by its historical and particular mass culture a culture which was primarily illiterate in both the official and the vernacular writings of the church and being understood within the hegemonic orthodoxy. The introductory speech in the Chester Plays (The Cookes Play) describes a previous knowledge that Adam as representative for a fallen humanity apprehends exactly at the moment he articulates his speech:Nowe, by this light that I nowe see,joye ys come, lord, through thee,and one thy people hast pittyeto put them out of payne. Similarly, though now through Jesuss self-proclamation, the introduction in the Towneley cycle reveals the already known nature of its narrative:A light will thay haueTo know I will com sone;My body shall abyde in gaueTill all this dede be done. The doubled nowe of Adams speech and the perfected futurity of Jesuss speech dictate a time before narrative. By expressing the nature of narrative to be known and that the outcome of the particular battle which is hardly a battle between Satan and Jesus is already determined, both Adams and Jesuss speeches establish a code for participating in the festival. The audience is relegated within this code beyond the activity of interpretation; they are placed outside of the hermeneutic circle. Instead of calling for interpretation, the play calls for consumption, which means, in this case, to view the spectacle. The public then is subordinated to its own activity of visualization its own sense of perception to gain access to the operations of the festival. At this point of subordination to the visual, the audiences motives, according to Barthess description of the effects of the spectacle, are extinguished: The public is completely uninterested in knowing whether the contest is rigged or not, and rightly so; it abandons itself to the primary virtue of the spectacle, which is to abolish all motives and all consequences: what matters is not what it thinks but what it sees. Though Barthess explanation is particularized to explain our fascination with wrestling, his reading may become more useful if we explore exactly the points of knowing and not knowing which are significant for the audience of the Harrowing. The virtual awareness that the Harrowing is rigged becomes impertinent in comparison to the consequence of knowing the narrative as sacred as authorized and privileged text of doctrinal truth. By seeing what they know, the members of the audience affirm their own knowing that is their own capacity to know validating their own immersion in the light. As Barthes suggests, the activity then is not of thought, but instead, of repetitive affirmation. The yearly festival reincorporates the known realities of the church year into the memories of its congregation. The Harrowing happens because it always happens; its events do not change because the narrative is merely spectacle, revealing the necessity of its outcome it happens because it always happens or it happens because God (i.e. the church) says it happens. Every sign of the players and the play is endowed with an absolute clarity, since one must always understand everything on the spot. The play is constructed in and as total intelligibility, which should empower the audience to affirm and control its relationship to the spectacle to judge its authority and position. The play gains its position as spectacle through repetition and institutionalization. The pageants yearly performance, as an iteration of doctrinal litanies, hypostatisizes the narrative of redemption in the cultura l milieu. Moreover, the authority by which the play is produced and written validates the history being told. Indeed, it is not a history, but the history. Even beyond the force of the church-instituted process of validation, the play holds ceratin social values through convention, concretization, and repetition. W. A. Davenport has noted that though these scenes convey no great moral force, the morality theme, present in the cycle as it is in even lesser known morality plays such as Mary Magdalene, gains liveliness by the conventionality of its presentation. If Barthes is correct about the nature of the spectacle, then our reading of the Harrowing should allow for a positioning of the audience where it obtains to a judgement concerning the outcome. For Barthes, the audience must participate in a pure and full signification:Leaving nothing in the shade, each action discards all parasitic meanings and ceremonially offers to the public a pure and full signification, rounded like Natur e. This grandiloquence is nothing but the popular and age-old image of the perfect intelligibility of reality. What is portrayed . . . is therefore an ideal understanding of things; it is the euphoria of men raised for a while above the constitutive ambiguity of everyday situations and placed before the panoramic view of a univocal Nature, in which signs at last correspond to causes, without obstacle, without evasion, without contradiction. By the positioning and antecedent action of the Harrowing of Hell, the signification of plot articulates itself in totality an ideal understanding of things. Since the center of dramatic action hinges on Christs confrontation with Satan, the dramatic action folds to that exact point, where Satan has already been diminished as a force of opposition and the playwright had prepared for his demise. In the Chester Plays, specifically, the audience has already been told that Christ hasse overcommen the devil (Chester 224, line 176). But what Barthes f ails to negotiate or perhaps notice in ascribing a power to the full signification of the spectacle is the audiences necessary involvement in the perfect intelligibility of reality when it is predicated not on the intelligible reception but on the nature of reality. When the stage is more than the wrestling mat, but the very ground of heaven and hell, the audiences position becomes tantamount to eternal destruction or eternal bliss within this intelligible reality. It is exactly at the point where the audience loses control in the appearance of control that the operations or mechanisms of the hegemonic orthodoxy become discernible. Just as the spectacle privileges the audience and not the production of the spectacle, so the play, at least the Cookes Play in the Chester cycle, suggests a privileged subjectivity for the members of the audience a privileged subjectivity that will ultimately be rewritten in the master narrative of Gods (that is the churchs) history. As David comments o n the spectacle for the audience, he describes his own privileged position, which, in turn, escalates the position of the audience to a heightened knowledge of self-delivery or self-redemption:I, kinge Davyd, nowe well may sayemy prophecye fulfilled is, in faye,as nowe shewes in sight verey,and soothly ys seene. .u46097d7cf146859a8c78bebdd9e857d5 , .u46097d7cf146859a8c78bebdd9e857d5 .postImageUrl , .u46097d7cf146859a8c78bebdd9e857d5 .centered-text-area { min-height: 80px; position: relative; } .u46097d7cf146859a8c78bebdd9e857d5 , .u46097d7cf146859a8c78bebdd9e857d5:hover , .u46097d7cf146859a8c78bebdd9e857d5:visited , .u46097d7cf146859a8c78bebdd9e857d5:active { border:0!important; } .u46097d7cf146859a8c78bebdd9e857d5 .clearfix:after { content: ""; display: table; clear: both; } .u46097d7cf146859a8c78bebdd9e857d5 { 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; } .u46097d7cf146859a8c78bebdd9e857d5:active , .u46097d7cf146859a8c78bebdd9e857d5:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u46097d7cf146859a8c78bebdd9e857d5 .centered-text-area { width: 100%; position: relative ; } .u46097d7cf146859a8c78bebdd9e857d5 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u46097d7cf146859a8c78bebdd9e857d5 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u46097d7cf146859a8c78bebdd9e857d5 .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; } .u46097d7cf146859a8c78bebdd9e857d5:hover .ctaButton { background-color: #34495E!important; } .u46097d7cf146859a8c78bebdd9e857d5 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u46097d7cf146859a8c78bebdd9e857d5 .u46097d7cf146859a8c78bebdd9e857d5-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u46097d7cf146859a8c78bebdd9e857d5:after { content: ""; display: block; clear: both; } READ: Things Are Different From Each Other, And Each Can Be Reduced To Very EssayI taught men thus here in my lyefe-dayeto worshippe God by all waye,that hell-yates he should afrayeand wonn that his hath bynne. (Chester 332-3, lines 185-192)Davids speech couples the fulfilling of his prophecy that Christ would overcome Satan and the gates of hell and his didactic function as Israels king. He has taught the act of worship, and, in the juxtaposition of prophetic fulfillment and Judaic history, Christs actions become utterly dependent on the activity of the people. Fulfillment is necessarily derived from the worshippe of God by all waye. The apparent privileging of human activity in enabling the freeing of the spirits in hells prison is problematized, however, by the synchronizing of history by the completion of the act of redemption in a single speech (or series of plays within the pageant) and by the position of the plays audience in relationship to human activity. The Corpus Christi pageant posits a temporal space that constructs human history as a priori in other words, human history exists only insofar as it can be narrativized in the playing of the historical scene. For the audience, history is not a text, but is instead, to borrow form Spinoza, an absent cause that is only accessible in textual form. Or, as Fredric Jameson says in his contesting of the master narrative of history that people desire to possess, history is inaccessible to us except in textual form, and that our approach to it and to the Real itself necessarily passes through its prior textualization, its narrativization in the political unconscious. The entire history of humankind is consequently directed by an absent cause or master narrative that is only accessible for the Harrowings audience through the offices of the church proper. Human activity is subdued beneath the force of a performative narrative that gains its position from the sacramentalizing of its word. The word is not contestable; it derives its puissance from its history and from its already known and knowing completion as narrative. The history of the Corpus Christi pageant in general and the Harrowing of Hell in particular provide a ground for the authority of the text and performance. Some scholars have debated, often with little effect, the doctrinal and historical connection between the Feast of Corpus Christi and the cyclic drama that literary historians have attached to it. Indeed, Harden Craig zealously argues that the necessary historical connection between the two is possibly an ineradicable heresy. Likewise, Glynn Wickham encourages us to question how the plays ever became attached to a procession, a form of celebration so antipathetic to their performance. Nonetheless, as Jerome Taylor has aptly noted, the feast did attract and gather the procession, and, historically, the plays as contained within the festival represent the cultural activity of re-historicizing the present in the master narrative of Catholic history. We may establish part of the Harrowing of Hells historical significance by relating the audiences participation, which is an active-passivity similar to the effects of a lack of drama under Calvinist dogma, to the congregations delimited and litanized response to the office of readings for Holy Saturday:Quid istud rei est? Hdie silntium magnum in terra; silntium magnum, et solitdo denceps; silntium magnum, quniam Rex dormit; terra tmuit et quivit, quniam Deus in carne obdormvit, et a sculo dormientes excitivt. Deus in carne mrtuus est, et infrnum concitvit. Something strange is happening there is a great silence on earth today, a great silence and stillness. The whole earth keeps silent because the King is asleep. The earth trembled and is still because God has fallen asleep in the flesh and he has raised all who has slept ever since the world began. God has died in the flesh and hell trembles with fear. The prevailing silence controls the responsiveness of the congregation. Sovereignty is determined only through the agency of Christ a real privileged subjectivity whose sleeping or waking determines the trembling of the world. And just as the world trembles so does hell the two becomes analogous spaces marking a simultaneous harrowing of hell and harrowing of here. The congregations response to the Matins reading confirms its position in the present only as it is textualized and narratized in the past performance of Christ: This is the day when our Savior broke through the gates of death. The audience of the feast of Corpus Christi, like the congregation of Holy Saturday, responds to the power of the dramatic harrowing by realizing a position of deprivation. The audience cannot act; it can only be acted upon. The audiences passivity is further underscored by both the textual and visual representations of the Harrowing of Hell preceding the dramatic performances during the Corpus Christi pageant. The narrativizing of the visual in the iconography (see the Holkham Bible Picture Book, for example) again represents the completion of activity before the activity begins. As in much of medieval iconography, temporal spaces are collapsed, endings and beginnings are conflated in single representative moments, and the spatiality of the image subjugates the implicit narrative of events. Rosemary Woolfs description of the Limbo of Fathers demonstrates the conflation of crucifixion, harrowing, and resurrection in a single spatial moment: the Limbo of Fathers is depicted as a small, battlemented building: its doors with their heavy locks, have already crashed to the ground at the touch of Christs Resurrection Cross (emphasis mine). Complementing the iconographic representations of the Harrowing, the Go spel of Nicodemus, in its full mystical and miraculous detail, was the popular and textual source for the Harrowings dramatists. Yet, as Rosemary Woolf and other contextual critics have noted, the plays hardly convey the dramatic force or poetic possibility of the Gospel. Instead, the plays textualize the apocryphal source into the orthodox doctrine, creating a spectacle of excess without the empowering visual interpretation by the audience. To some degree, the iconographic and apocryphal referents of the Harrowing of Hell provide the base level for interpretive possibilities: the historical and textual referent. However, as I would hope to demonstrate, interpretive possibilities are obliterated in the dominating desire of the play and the church to control the social structure and to entrench the values and therefore laws of the church apparatus. Oscillating within the literal referential articulations of the play, the allegorical, moral, and anagogical levels or senses operate. The allegorical mode is directed through the implicit parallel between Christs history his redemption of the souls and the churchs history the break near the end of the play (Chester 337 and Towneley 305) when the audience/congregation chants the Te Deum laudamus. The moral level is the individual, where the subject in the audience is able to participate in self-interpolation, placing the individual of today in the history of both the pas t and the future simultaneously. The individuals redemption, however, remains collective, addressed to Adams osspringe:Peace to thee, Adam, my dearlynge,and eke to all thy osspringethat ryghtwise were in yearth livinge. From mee yee shall not severe. To blys nowe I wyl you bringethere you shalbe withowt endinge. (Chester 334, 205-210)Isias. Adam, thrugh thi synhere were we put to dwell,This wykyd place within;The name of it is hell;here paynes shall neuer blyn. That wykyd ar and fellloue that lord with wyn,his lyfe for vs wold sellEt cantent omnes salutor mundi, primum versum. (Towneley 294, 37-44)Identification with Adams sinfulness prefigures a (re)collection in Jesuss redeeming effort to break the gates of hell. Nonetheless, the activity is utterly collective; morality cannot be apprehended on an individual level, excluding individual interpretation from the audiences role. The exclusion of the individual places the interpretive dilemma at the anagogical level, confronting the collective meaning of history and giving authority to the spectacle of the performance itself. Earlier in this paper I identified the performance with sport a type of game in which the arbitrariness of the result is predetermined by the apparatus of its production. What the Corpus Christi pageant in general and the Harrowing of Hell play in particular present is a dialectical foundation of empowerment and control. The spectacle posits a knowing of truth, creating an audience empowered by its own capacity to know what is and to therefore possess that knowledge. The real, as it is signified in the clarity of its repetition and form, is entrusted to an audience of arbiters, who decide a personal validity for the means of its articulation (to extend Barthess reading of wrestling, the audience may judge the performance and the value of the performance even if it does not judge the necessary relationship between the body of the wrestler and the outcome of the event). The play, however, within its limited origination as church extension, reaffirms the authority of the church by limi ting the authority of the individual. The collective is privileged over and against the individual so that, indeed, an individual consciousness exists in the play only as rebellion (e.g. Judas and Cain are left to dwell in hell with Satan exactly because they positioned themselves as individuals, against the dominant domain of Adams sinfulness). The dialectic between the play as spectacle and therefore a means of enlightenment and value-producing mechanism of the collective church which institutes the myth as valid poses the problem of seeing both operations, that is both functional modes, within the play as identical. Adorno and Horkheimers potent and persuasive definition of myth and enlightenment shows how each mode of cultural operation serves to exercise power through what Lukacs calls reification:Myth turns into enlightenment, and nature into mere objectivity. Men pay for the increase of their power with alienation from that over which they exercise their power. Enlightenme nt behaves toward things as a dictator toward men. He knows them in so far as he can manipulate them. For Adorno and Horkheimer, myth and enlightenment, magic and science, mechanization and spirit, all serve as polar oppositions in a dialectically organized agenda of manipulation and control. Likewise, the pageant and the play orchestrate a subsumption of the individuals power especially the interpretive power of the masses into the collectivized agency of the church. The result of transforming the individual consciousnesses present in the audience and the congregation into a homologized and homogenized extension of orthodox values is coded in the presentation of its form. All history as it is posited within the play has already been written; the only question and here I mean the undervalued question of a member in the audience is what position is marked not necessarily predestined or predetermined, although the means of making this a self-determination have been completely rem oved from the mass culture of medieval Catholic orthodoxy for the individual. Will the audience member be a member classified as goat or sheep (a question addressed in a parable played briefly before the Harrowing? Is hell harrowed for him/her? Moreover, the result of the question interrogates mass culture itself, for the operations of the church-state apparatus are not distinctly separate in effect from the culture industry and the mechanization of the factory that Adorno and Horkheimer evaluate:Culture as a common denominator already contains in embryo the schematization and process of cataloging and classification which bring culture within the sphere of administration. And which entirely accords with this notion of culture. By subordinating in the same way and to the same end all areas of intellectual creation, by occupying mens senses from the time they leave the factory in the evening to the time they clock in again the next morning with matter that bears the impress of the l abor process they themselves have to sustain throughout the day, this subsumption mockingly satisfies the concept of a unified culture which the philosophers of personality contrasted with mass culture. Indeed, what could be more subsumptive than a mythos of redemption and salvation, constructed through a series of social and socially required events, that ultimately demand a vilification of self-value and a celebration of the church establishment. .u7bcbb09adc104fa687e32800d03ce7d6 , .u7bcbb09adc104fa687e32800d03ce7d6 .postImageUrl , .u7bcbb09adc104fa687e32800d03ce7d6 .centered-text-area { min-height: 80px; position: relative; } .u7bcbb09adc104fa687e32800d03ce7d6 , .u7bcbb09adc104fa687e32800d03ce7d6:hover , .u7bcbb09adc104fa687e32800d03ce7d6:visited , .u7bcbb09adc104fa687e32800d03ce7d6:active { border:0!important; } .u7bcbb09adc104fa687e32800d03ce7d6 .clearfix:after { content: ""; display: table; clear: both; } .u7bcbb09adc104fa687e32800d03ce7d6 { 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; } .u7bcbb09adc104fa687e32800d03ce7d6:active , .u7bcbb09adc104fa687e32800d03ce7d6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7bcbb09adc104fa687e32800d03ce7d6 .centered-text-area { width: 100%; position: relative ; } .u7bcbb09adc104fa687e32800d03ce7d6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7bcbb09adc104fa687e32800d03ce7d6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7bcbb09adc104fa687e32800d03ce7d6 .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; } .u7bcbb09adc104fa687e32800d03ce7d6:hover .ctaButton { background-color: #34495E!important; } .u7bcbb09adc104fa687e32800d03ce7d6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7bcbb09adc104fa687e32800d03ce7d6 .u7bcbb09adc104fa687e32800d03ce7d6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7bcbb09adc104fa687e32800d03ce7d6:after { content: ""; display: block; clear: both; } READ: Harrison bergeron by kurt vonn EssayIn both the Towneley play and the Chester play, the chorus of prophets, all participating in the monolithic community of hell-to-be-redeemed, offer a collective subsumption of the individual. The greatest desire of the audience must be to share in voice with the prophets who speak of both praise and thankfulness. The consumptive and subsumptive chorus in the Towneley play moves from Moses to David to Isaiah in progressively shorter lines to silence the audience, rather ironically, by invoking their collective chorus in litany:Dauid. As I saide ere yit say I so,ne derelinquas, domine,Animum meam in inferno;Leyfe neuer my saull, lord, afte r the,In depe hell wheder dampned shall go;suffre thou neuer thi sayntys to seThe sorow of thaym that won in wo,ay full of fylth and may not fle.Moyses. Make myrth both more and les,amd loue oure lord we may,That has broght vs fro bytternesIn blys to abyde for ay. Ysaias. Therfor now let vs singto loue our lord ihesus. (Towneley 305, 389-402)Affirmation through association becomes the fulfillment of the audiences constructed desire. The members of the audience join ranks with the great prophets who have all been associated with their own histories during the action of the Harrowing. The audience must join, for it does not have access to the already written history; by being displaced from the narratizing of redemption, it can only associate with the characters who already participate in the code. By this code I intend to suggest the positioning of the already achieved narrative action which cannot be possessed as spectacle, but, instead, must be apprehended as the mechanism of the church-state apparatus to maintain power. The state apparatus is defined by the perpetuation or conservation of organs of power. The state apparatus, to borrow an analogy from Deleuze and Guattari, is a contained system with components and limits similar to the game of chess. The game is played with a definite code, the pieces are determined to be what they are by what they are. A knight is always a knight simply because he is. A king will always be protected. In the same way, as a character to be played again and again, in every year of the pageant and in every other formulation of church doctrine, Jesus is always Jesus; he must always win against Satan who is always Satan. God, in his redemptive activity must be consistent (we still have this code and its response in contemporary culture, as is ty pical in the Baptist belt where the phrase thats not my God, my God is indicates an utter lack of interpretive understanding as it is constrained by the operations of a fundamentalist approach to a univocal God in a univocal way). The consistency of the players, whether on a chess board or a medieval horse-drawn carriage platform, necessitates the homogenization of the players audience the churchs congregation. Deleuze argues that the states ability to reproduce itself exactly is determined through its own public presentation i.e. the fact that the state is and must be public: The State-form . . . has a tendency to reproduce itself, remaining identical to itself across its variations and easily recognizable within the limits of its poles, always seeking public recognition (there is no masked state).The Corpus Christi plays offer then an extension of the church-state apparatus to construct, even as the mass does, a congregation utterly unified in its interpretive understanding and consolidated in its desire for redemption and its means of happening. The collective meaning of history the anagogical level of interpretive meaning is discernible only through the allegorical which is to say that church history accurately reflects redemptive history to the point of requiring participation in one to assure inclusion in the other. These claims concerning the plays and its most dramatic representative of redemptive force, the Harrowing of Hell, attempt to discern the mechanism of producing the power of the church-state apparatus how indeed, the superstructure gains support from its base and how, in fact, the pageant is the most accessible form for disseminating the conservation of this power. The plays demonstrate as a combination of social artistry and cultural design an historical moment of political conservation and dominant authorizing. It seems we are not merely to claim, as Hardin Craig does, that the plays are a theological intelligence motivated by struc tural imagination that lasted from age to age in the development of a great cycle of mystery plays. Instead, we should interrogate the multiple dimensions of artistry and artificiality of the play; our task is to ask how these plays operate as a performative moment coming directly from the dominant arms of orthodoxy while still being influenced by the severely limited mass culture. We may find, then, at the center of the controlling mechanisms of the church-state apparatus, the necessitated desire for community that even Satan validates and proclaims: Nay, I pray the do not so; Vmthynke the better in thy mynde; Or els let me with the go, I pray the leyffe me not behynde! The desire, of course, extends past Satans plea, for the homogenized desire of the congregation ultimately which is in history written and yet to be is directed toward a different answer from Jesus: one that affirms salvation and again confirms the churchs orthodox pageantry of performance. .

Ocean Pollution Essay Example

Ocean Pollution Essay Example Ocean Pollution Paper Ocean Pollution Paper You authorized the report on September 23. At your request the formal report presents information on ocean pollution and how it affects the earth. This report presents information in three broad categories: top zone, second zone, third zone. The report includes the six cos of communication and PAP format. As always, helping you with this report and future endeavors is anticipated. So Ocean Pollution Prepared for Prepared by Antonio Burped September 26, 2013 Table of Contents Transmittal Memorandum Title Page 1 Table of contents 2 TOP zone 3 Second Zone 4 Third Zone 5 Conclusion 6 Currently, ocean pollution is a significant issue affecting the oceans and the rest of the earth. Problems like oil spills, toxic wastes, garbage, vehicle pollutants, global warming hazards, and other detrimental materials are all kinds of pollution that damages oceans every day. Ocean pollution directly affects aquatic life and indirectly affects humans and resources. Water shelters 70 percent of the planet making up rivers, lakes, and oceans. Scientists trust the worlds largest garbage dump is found in that water. (The Great Pacific Garbage patch, 2011) There are three zones that make up the ocean: the top zone, second zone, and third zone, all of which are polluted from different things and different reasons. Top Zone The topmost region of the ocean is termed the Epiphytic Zone or sunlight zone. Here you will trace most oceanic life where algae can cultivate lucratively and the temperature is kindlier, which is inviting to most sea creatures. (Surface Area and the Seabed Area, 2010) This zone is roughly 600 et deep, but is the nominal precinct out of the three. One of the numerous kinds of contamination in this zone is oil pollution. This is triggered by ships either leaking, or carrying oil that crash in the sea. Whenever you take your boat out for a good time, it is actually polluting the marine. The boats running engine can kill animals with the chemicals in the exhaust, and the extra gas the engine gives off. Another type of effluence that is most times associated with ocean pollution is garbage dumping, which includes trash, human waste, bathing water, and plastics. Garbage dumping is found in roughly the top 90 feet of the ocean. In that 90 feet you can find six times more pieces of plastic than there is plankton, which is the main food source for many of the sea creatures in the top zone. (Ocean Pollution) (Out of sight, Out of Mine, 2009) Second Zone The second zone is known as the Despotic Zone or twilight zone. Practically no sunlight will ever see this zone, resulting in very few plants being able to grow. The only animals you will find here are those that live with very little sunlight, exceedingly cold water, and extremely high pressure. This zone is ,400 feet making it the second largest zone. Pollution in this zone includes metals and toxic chemicals. These chemicals come from Agriculture causes. Chemical pesticides or fertilizers used to kill harmful insects or substances on land, are the chemicals that are poisoning the fish population. When rain hits plants on land, the pesticides and fertilizers get taken out and run off into the oceans. (Ocean Pollution, 201 1) The chemicals then settle at the bottom of the ocean and eventually are eaten by fish.