Rowing :: essays research papers

Rowing, the Best Team Sport   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Rowing, the thrilling team sport that gets you physically/mentally fit and provides you a second family with many friends. In the sport of crew, teamwork is very crucial. With that teamwork comes new friends and wonderful coaches. Even though you might think this is a physical sport it is also considered to be a mental sport. Just think, baseball has nine innings, approximately two hours of play and a lot can change in that period of time for a loss or win. With crew you only have about seven minutes to get your eight man boat down a two thousand-meter racecourse to receive a medal or win. If you have the lead it is mentally hard to come back and win for the rowers behind the top three boats. Aside of the teamwork going on is the individual effort that you yourself is contributing to the boat. As you are out on the water in the eight man boat you always need to give it your all even if it means pain. In fact, our coach just tells us to eat pain. As you are giving 100% and in pain, your brain is working 100% too. Handle height, legs down quick and hands down and away quick along with the part of feathering the blade. Those are the things you focus on during a race. Oh yeah you also have a cool little person screaming at you to pull harder. They are known as the coxswain (Cox-in). When the coach isn’t there listen to them because they are the assistant coaches. All this is the first stride you take to get that gold medal. Come on you can do one more push up! When you’re in the gym you do not have the support of teammates. At crew you will not give up because of the support you have from your teammates behind you. In the gym you can just say, â€Å"Oh that set can be done another day,† and give up. We have in crew on Tuesday and Thursday a 2k-meter ergometer (erg) test to see who will be in an 8A boat, that is our eight fastest men of our crew. These are the days that you need your friends behind you pushing you so your time comes true that the couch gives you. I know this might seem harsh but when it is all over with you feel very great about the way you look and how you just pulled on the 2k test.

Poetic Drama /Verse Drama of Modern age Essay

Eliot’s plays attempt to revitalize verse drama and usually treat the same themes as in his poetry. They include Murder in the Cathedral (1935), dealing with the final hours of Thomas ÃÆ' Becket; The Family Reunion (1939); The Cocktail Party (1950); The Confidential Clerk (1954); and The Elder Statesman (1959)..(1) Indeed, Eliot hoped that the study and critical reception of early modern verse drama would shape the production of modernist verse drama. In the 1924 essay â€Å"Four Elizabethan Dramatists,† Eliot calls for the study of Elizabethan drama to have a â€Å"revolutionary influence on the future of drama.†(2) Yet, in his later writings as a verse dramatist, Eliot always keeps an arm’s length between himself and the early modern dramatic poets, especially Shakespeare, whom he saw as his strongest precursors in the development of a modernist English verse drama. In the 1951 piece â€Å"Poetry and Drama,† on the matter of verse style in his ow n first major poetic drama, Murder in the Cathedral, Eliot writes, â€Å"As for the versification, I was only aware at this stage that the essential was to avoid any echo of Shakespeare.†¦ Therefore what I kept in mind was the versification of Everyman.†(3) Elsewhere, he is keenly aware of the challenges of writing verse drama for a modernist theatre: â€Å"The difficulty of the author is also the difficulty of the audience. Both have to be trained; both need to be conscious of many things which neither an Elizabethan dramatist, nor an Elizabethan audience, had any need to know.†(4) Eliot finds his whip for training his [p. 105] audience and himself, as dramatist, less in the examples Shakespeare and his contemporaries provide than in the works their medieval predecessors left behind. This essay examines Eliot’s status as a medieval modernist. The periodicity of Eliot’s Middle Ages, problematic as it is, represents the convergence of his animus against modernity and liberalism with his desire for a religiosity that is not marginal, fragmented, and â€Å"compartmentalized† but rather central to the activity of everyday life in a culture and society best characterized by the words unity, integration, and order—the ideological language of conservatism. In part, the concept of Eliot as  Ã¢â‚¬Å"medieval modernist† is indebted to Michael T. Saler’s work on visua l modernism, the English avant-garde, and the London Underground transport system. What Saler describes in terms of medieval modernism is very much a stance or attitude towards the relationship between aesthetic production (imagination) and the utility of consumption (reception) grounded in a social functionalism thought to have its origins in the medieval. I should be quick to point out that Saler is rather ambivalent on the point with regard to Eliot himself: â€Å"While T. S. Eliot might be called a medieval modernist because of his admiration for the organic and spiritual community of the Middle Ages together with his â€Å"impersonal† conception of art, his elitist and formalist views isolate him from several of the central terms of the tradition as I have defined it.Eliot’s ambivalence towards the early modern and repeated turns to the medieval evidence a contradiction between Eliot’s life-long desire for a clearly articulated unity, integration, and order in all aspects of everyday life, including writing and religion, and his fetishization of an early modern period he imagines in terms of anarchy, disorder, and decay. Eliot repeatedly mystifies the early modern period. In his introduction to G. Wilson Knight’s The Wheel of Fire, Eliot gives voice to a vision of the early modern past as a period of phantasmagoric peril, uncertainty, even unknowability: â€Å"But with Shakespeare, we seem to be moving in an air of Cimmerian darkness. The conditions of his life, the conditions under which dramatic art was then possible, seem even more remote from us than those of Dante Verse drama is any drama written as verse to be spoken; another possible general term is poetic drama. For a very long period verse drama was the dominant form of drama in Europe (and was also important in non-European cultures). Greek tragedy and Racine’s plays are written in verse, as is almost all of Shakespeare’s drama, and Goethe’s Faust. Verse drama is particularly associated with the seriousness of tragedy, providing an artistic reason to write in this form, as well as the practical one that verse lines are easier for the actors to memorize exactly. In the second half of the twentieth century verse drama fell almost completely out of fashion with dramatists writing in English (the plays of Christopher Fry and  T. S. Eliot being possibly the end of a long tradition). As Eliot sank ever more deeply into his Anglo-Catholic schtick and he no longer had Pound around to cut the fat and grain filler out of his work, he turned to writing verse drama. He wanted to  reach  people.  He  probably  wanted  to  be  Shakespeare.  Murder in the Cathedral was the first of these verse dramas, and the only one I can even begin to tolerate. The title is intended to evoke a whodunnit; it may be a ponderous Eliotian attempt at a â€Å"witticism†. The joke, such as it is, is that the murderee is Archbishop St. Thomas à   Becket, the killers are some of Henry II’s knights, and the scene of the crime is Canterbury Cathedral, anno domini 1170. If you happened to be hanging around Canterbury in 1935, this was a big win because Canterbury Cathedral is where the thing was first performed. (If you were hanging around  Canterbury  in  1170,  call  me;  we  should  talk).  The background: King Henry II’s wanted to gain influence over the Church in England. He appointed Becket as Archbishop of Canterbury to that end because Becket was his boy. Once in office, Becket’s loyalty shifted to the Church. The two came into conflict over the practice of trying clergy in ecclesiastical courts for civil offenses, and Becket fled to France. While  in France he continued to defy Henry, going so far as to excommunicate some of Henry’s more loyal bishops. At the beginning of the play, Becket returns from his seven-year exile in France. He goes straight to Canterbury, arriving in time for Act I. Four Tempters tempt him. Meanwhile, Henry has put on his John Stanfa hat and made an offhand remark to some of his knights about how convenient it would be if Becket weren’t around any more. The knights draw the obvious conclusion about what he means, and they depart for Canterbury. When they arrive, Becket explains that he is loyal to a higher power than the king. They reply that they aren’t, and they kill him at the altar. The bloodshed is followed by a flourish of self-exculpatory forensic rhetoric from the knights: They argue persuasively that they’ve done the right thing, but not too persuasively because the author doesn’t agree. Exeunt knights; some priests pray at each other and asperse the audience; good  night,  good  night.  Historically, Henry disavowed the whole thing, the knights fell into disgra ce, and Becket was canonized. The whole thing suffers from Late Eliot Syndrome: No tack is left unsledgehammered. He lectures us about his points rather than demonstrating or illustrating them, and the writing is  often less than inspired. Still, it’s better than his other verse dramas: The form and the language are at least appropriate to the material, and the material holds up under the weight of the Message. Eliot later attempted to pile similar Messages onto midcentury English bourgeois melodrama  -in  verse!  It  didn’t  work.  At the height of his powers, Eliot might have done something really interesting with Murder in the Cathedral. Christopher Fry, who has died, aged 97, was, with TS Eliot, the leading figure in the revival of poetic drama that took place in Britain in the late 1940s. His most popular play, The Lady’s Not For Burning, ran for nine months in the West End in 1949. But although Fry was a sacrificial victim of the theatrical revolution of 1956, he bore his fall from fashion with the stoic grace of a Christian humanist and increasingly turned his attention to writing epic films, most notably Ben Hur (1959). The Lady remains Fry’s most popular play: the leading role of Thomas Mendip has attracted actors as various as Richard Chamberlain, Derek Jacobi and Kenneth Branagh. Today, one is struck by the way in which Fry’s euphuistic language – at one point, the hero describes himself as a â€Å"perambulating vegetable patched with inconsequential hair† – overtakes the dramatic action. But in a postwar theatre that had little room for realism, Fry’s medieval setting, rich verbal conceits and self-puncturing irony delighted audiences, and the play became the flagship for the revival of poetic drama. At the same time, Eliot’s The Cocktail Party enjoyed a West End vogue, and a new movement was born. Though less of a public theorist than Eliot, Fry still believed passionately in the validity of poetic drama. As he wrote in the magazine, Adam: â€Å"In prose, we convey the eccentricity of things, in poetry their concentricity, the sense of relationship between them: a belief that all things express the same identity and are all contained in one discipline of revelation.† For a period in the late 1940s and early 50s, Fry helped to revive English verse drama, to which he brought colour, movement and a stoic gaiety. How many of his plays will survive, only time can tell. But, at his best, he brought an undeniable, spiritual elan to the drab world of postwar British theatre. He certainly deserves to be remembered as something more than the inspiration for Margaret Thatcher’s famous remark, â€Å"The lady’s not for turning†. For many centuries from the Greeks onwards verse was, throughout Europe, the natural and almost exclusive medium for the composition and presentation of dramatic works with any pretensions to  «seriousness » or the status of  «art ». Western drama’s twin origins, in the  Greek Festivals and in the rituals of the medieval church, naturally predisposed it to the use of verse. For tragedy verse long remained the only  «proper » vehicle. In comedy the use of prose became increasingly common – giving rise, for example, to such interesting cases as Ariosto’s I suppositi, written in prose in 1509 and reworked twenty years later in verse. (La cassaria also exists in both prose and verse). Shakespeare’s use of prose in comic scenes, especially those of  «low life », and for effective contrast in certain scenes of the tragedies and history plays, shows an increasing awareness of the possibilities of the medium and perhaps already contains an implicit association between prose and  «realism ». Verse continued to be the dominant medium of tragedy throughout the seventeenth century – even domestic tragedies such as A Yorkshire Tragedy (Anon., 1608) or Thomas Heywood’s A Woman Killed With Kindness (1603) were composed in blank verse. For all the continuing use of verse it is hard to escape the feeling that by the end of the seventeenth century it had largely ceased to be a genuinely living medium for dramatists. Increasingly the prevailing idioms of dramatic verse became decidedly literary, owing more to the work of earlier dramatists than to any real relationship with the language of its own time. By 1731 George Lillo’s The London Merchant, or The History of George Barnwell, for all its clumsiness and limitations, in its presentation of a middle-class tragedy in generally effective prose archieved a theatrical liveliness and plausibility largely absent from contemporary verse tragedies – from Addison’s Ca to (1713), Thomson’s Sophonisba (1730) and Agamemnon (1738), or Johnson’s Irene (1749). The example of Racine was vital to such plays, but it was not one that proved very fertile. Lillo was praised in France by Diderot and Marmontel, in Germany by Lessing and Goethe. It is not unreasonable to see Lillo’s work as an early and clumsy anticipation of Ibsen’s. The London Merchant constitutes one indication of the effective  «death » of verse drama. Others are not far to seek. In France, Houdar de La Motte was also writing prose tragedies in the 1720’s, and Stendhal, in the 1820’s was insistent that prose was now the only possible medium for a viable tragedy. Ibsen largely abandoned verse after Peer Gynt (1867), in favour of prose plays more directly and realistically concerned with contemporary issues. A well-known letter to Lucie Wolf (25 May 1883) proclaims that  «Verse has been most injurious to the art of drama†¦ It is improbable that verse will be employed to any extent worth mentioning in the drama of the immediate future since the aims of the dramatists of the future are almost certain to be incompatible with it ». Against the background of such a pattern of development, later dramatic works in verse have often seemed eccentric or academic; this should not blind us, however, to the considerable achievements of modern verse drama and to the importance of the testimony they bear to an idea of drama often radically different from the prevailing modern conceptions. A genre which has given rise to some of the most interesting work of D’Annunzio and Hofmannsthal, Yeats and Eliot, is surely not a negligible one. In the English context, the verse dramas of the Romantics and the Victorians already constituted a kind of  «revival » part of a conscious effort to bring poetry back to the theatre. For the Romantics there was still a potential audience with some sense that verse was the proper  medium for tragedy. The theatrical inexperience of the poets, however, made them ill-equipped for real dramatic achievement. The efforts of Wordsworth (The Borderers), 1795-6), Coleridge (eg. Remorse, 1813), and Keats (Otho the Great, 1819) remain of only antiquarian interest, judged as works for the theatre, though all have much to tell about their makers, and the Borderers, at least, is a work of considerable poetic substance. Perhaps slightly more praise might be extended to some of Byron’s verse dramas (eg. Manfred, 1817; Marino Faliero, 1820; Sardanapalus, 1821) and Shelley’s Cenci (1818) contains some scenes of considerable power. For most of the English romantics, however, the sha dow of Shakespeare proved oppressive; admiration, or rather reverence, for his example produced in their own work a poetic and theatrical idiom lacking all freshness and contemporaneity. It was in the work of other lands and languages that the example of Shakespeare could work more positively. In Germany, for example, there emerged a rich new tradition of verse drama in the works of Lessing (eg. Nathan Der Weise, 1779), Goethe, Schiller, Werner, Kleist (notably in Penthesilea, 1808, and Der Prinz von  Homburg, 1821) and others. In Italy the early plays of Manzoni (Il Conte di Carmagnola, 1820; Adelchi, 1822) provided en example which only a few poet-dramatists endeavoured to follow, while others -such as Niccolini – were more concerned with an attempt to revive Greek models of tragedy. (In Italy verse drama could often not escape from the shadow of the operatic tradition). In America too, verse drama was being attempted by dramatists such as John Howard Payne (eg. Brutus, 1818), Robert Mongomery Bird (The Gladiator, 1831) and, a work of some quality, George Henry Boker’s Francesca da Rimini (1855). In 1827-8 the English troupe made its famous visit to Paris, performing, amongst other works, all four of Shakespeare’s major tragedies. The impact was enormous. One of those most affected and impressed was the young Victor Hugo. In Hugo’s plays, much influenced by Shakespeare, romanticism found far more effective expression in verse drama than it had ever found in England. In plays such as Hernani (1830), Le roi s’amuse (1832), Ruy Blas (1838) and Les Burgraves (1843), Hugo creates a verse idiom of immense vigour which articulates visions of concentrated and extreme human emotion. At his best Hugo’s discrimination of character, if crude, is also striking. Other succesful versedramas later in the century included Francois Coppà ©e’s Severo Torelli (1883) Les Jacobites (1885) and Pour la couronne (1895), as well as Edmond Rostand’s Cyrano de Bergerac (1897). Certainly it is in the work of French and German poets (in plays by Hebbel, Grillparzer and Grabbe as well as those of the poets mentioned earlier) and in the early verse plays of Ibsen notably Brand (1866) and Peer Gynt (1867) – that something li ke the full potential of verse drama is expressed. In England nothing of similar power exists in the nineteenth century. The  plays of James Sheridan Knowles (1784-1862) – such as William Tell (1825) and The Love Chase (1837) – provided effective roles for the great actor-manager Macready, but have little now to offer. Macready also acted in Lytton’s The Lady of Lyons (1838) and Richelieu (1839), both of which had considerable theatrical success, and are not entirely without enduring merits. Poets such as Tennyson (eg. Queen Mary, 1876; Harold, 1876; Becket, 1879) and Browning (eg. Strafford, 1837; A Blot in the Scutcheon, 1843) also wrote for the theatre but displayed very little sense of the genuinely theatrical (Tennyson assumed that he could leave it to Irving to  «fit »Ã‚  Becket for the stage). Other poets wrote closet dramas never intended for performance – Sir Henry Taylor’s enormous Philip Van Artevelde (1834) is an archetypal example of the genre, a work which, its author readily confessed  «was not intended for the stage » and was  «properly an Historical Romance, cast in dramatic and rythmical form ». Much the same might be said of two later and finer works: Swinburne’s Bothwell (1874) of which Edmund Gosse rightly observes that  «in bulk [it] o ne of the five-act Jidai-Mono or classic plays of eighteenth-century Japan, and it could only be performed, like an oriental drama, on successive nights », and The Dynasts (19038) of Thomas Hardy, the text of which occupies some 600 pages and which is described in its subtitle as  «An Epic-Drama of the War of Napoleon in Three Parts, Nineteen Acts, and One Hundred and Thirty Scenes ». The requirements and possibilities of practical theatre have clearly been left far behind; the divorce of the poet from the performers seems complete. Yet there were others who sought to maintain the relationship between poetry and theatre. The plays of Stephen Phillips, for example (eg. Herod, 1901; Ulysses, 1902; Paolo and Francesca, 1902; The King, 1912) have neither the psychological perception of Swinburne nor the historical insight of Hardy, but they did hold the stage with considerable success. Phillips had plenty of theatrical experience, having been an actor in the theatrical company of his cousin, Frank Benson. Phillips’ verse plays were produced by Beerbohm Tree, and they display a sophisticated command of theatrical effect and a wide-ranging, if almost wholly derivative, verse rhetoric which has, very occasionally, genuinely poetic moments. Elsewhere in the early years of the century there is to be found worthwhile work by a multitude of minor figures. Lawrence Binyon’s Attila (1907) and Ayuli (1923); Gordon Bottomley’s King Lear’s Wife (1915) and Gruach (1923); John Masefield’s Good Friday (1917), Esther (1922) and Tristan and Isolt (1927); John Drinkwater’s Cophetua (1911) and Rebellion (1914); Arthur Symons’ The Death of Agrippina and Cleopatra in Judea (1916); T.Sturge Moore’s Daimonissa (1930) – are all of interest and substance, but none can be said to make an overwhelming case for the genre, and all are, in varying degrees unable to escape from the long shadow of Shakespeare, especially as reinterpreted by the nineteenth-  century. Under fresh influences – French Symbolism and Japanese Noh theatre in particular – verse drama began to explore new possibilities. Gordon Bottomley’s later works – such as Fire at Callart (1939) showed an awareness of the possibilities offered by the model of the Noh. Yeats, of course, had more fully explored such possibilities in works such as At the Hawks’ Well, The Only Jealousy of Emer, The Dreaming of the Bones and Calvary (composed c.1915-20), insofar as they were the means of liberation from the obligations of a naturalistic theatre. Verse, music, ritual and dance were woven into a complementary whole. (Irish successors to yeats include Austin Clarke, whose verse plays have been performed by the Abbey Theatre, the Cambridge festival Theatre and others). In later plays such as The Herne’s Egg (1935) and Purgatory (1938) evolves a personal and convincing idiom (both verbally and theatrically) for verse drama. These are superficially simp le, but metaphysically profound works, both verbally exciting and theatrically striking. Elsewhere in Europe, the work of Gabriele D’Annunzio (eg. La città   morta, 1898; Francesca da Rimini, 1901; La figlia di Iorio, 1904) and Hugo von Hofmannsthal (eg. Jedermann, 1912; Das grosse Salzburger Welttheater, 1922) was bearing eloquent testimony to the continuing potential of the genre. In France Claudel was creating a series of verse plays upon religious and philosophical themes, whose intense lyricism and startling imagery for long went without full appreciation (eg. Partage de midi, 1906; Le pain dur, 1918; Le Soulier de satin, 1928-9). Other French twentieth-century verse-dramas include works by Char, Cà ©saire and Cocteau, but the poetic qualities which characterise much that has been most striking in modern French drama have more generally found expression in prose plays rather than verse plays – as, for example, in the work of Giradoux, Anouilh, Beckett, Ionesco and Vian. In Spain, Lorca mixes verse and prose in his plays. In Britain the 1930’s saw a new generation of poets whose experiments did much to broaden the range – in terms both of form and content – of verse drama. The Dog Beneath the Skin (1936) and The Ascent of F.6 (1937) were collaborations by W.H. Auden and Christopher Isherwood which brought a fresh wit and intellectuality, a new radicalism of social comment and contemporary relevance, to the genre. T.S.Eliot’s plays – notably Murder in the Cathedral  (1935) and The Family Reunion (1939) offered persuasive instances of how verse might, for the dramatist, be the means by which one could  «get at the permanent and universal » rather than the merely ephemeral and naturalistic. Murder in the Cathedral was written for performance in Canterbury Cathedral, while The Family Reunion was composed for the commercial theatre. The  idioms of the two plays are, therefore, necessarily very different; taken together the two offer a promise not wholly fulfilled by Eliot’s later plays, such as The Cocktail Party (1950), The Confidential Clerk (1953) and The Elder Statesman (1958). In these later plays the verse lacks the confidence to be genuinely poetic – the linguistic intensity of the pre-war plays gives way to something far more prosaic. Murder in the Cathedral is, in part, striking for its mixture of verse forms and idioms; the Auden and Isherwood collaborations drew on the techniques of the music hall, the pantomime and the revue. From the 1930’s onwards verse dramas have continued to be composed in Britain (and America), many of them works of considerable distinction. Most have been composed for performance outside the commercial theatre – for churches and cathedrals, for universities or drama schools, or for some theatrical groups devoted to verse drama. In London, for example, the Mercury Theatre in Notting Hill Gate, holding no more than 150, was opened by Ashley Dukes in 1933 and was home to E.Martin Browne’s Pilgrim Players. Browne was central to the revival of verse drama in the middle years of the century. He directed all of Eliot’s plays, including the first performance of Murder in the Cathedral. In the 1940’s he directed, at the Mercury, several important verse plays – both religious (eg. Ronald Duncan’s This Way to the Tomb, 1945; Anne Ridler’s The Shadow Factory, 1945) and comic (eg. Christopher Fry’s A Phoenix too Frequent, 1946; Dona gh MacDonagh’s Happy as Larry, 1947). Browne was also associated with the remarkable religious plays by Charles Williams (eg.Thomas Cranmer of Canterbury, 1936; Seed of Adam, 1937; The House of the Octopus, 1945). Indeed, the variety of the verse drama produced in these years was very considerable. It includes the grave beauty of Williams’ plays and the fantastic gaiety of Happy as Larry, its language informed at every turn by the ballads of Dublin and the idiosyncrasies of  colloquial  «Irish ». In the plays of Christopher Fry there is a substantial body of work characterised, at its best, by both a vivacity (even exuberance) of language and a well-developed theatricality. Plays such as The Lady’s Not for Burning (1948)), Venus Observed (1950), A Sleep of Prisoners (1951) and Curtmantle (1961) display a considerable range. Fry can be funny and moving, dazzling and beautiful. He can also be verbose and sentimental. Immensely successful – critically and commercially – at the beginning of his career, Fry’s reputation has suffered since. His best plays are both intelligent and entertaining, and will surely continue to find admirers. There is much that is rewarding, too, in the work of Ronald Duncan – in Our Lady’s Tumbler (195 0), which has some fine choric writing, or in Don Juan (1953); Stephen Spender’s Trial of a Judge (1938) is an intriguing experiment, with some highly effective moments. Louis MacNeice’s The Dark Tower (1946) is a rich and  mysterious  «radio parable play » in verse. The tradition of verse drama has continued to attract writers, and they have continued to produce interesting plays; such plays have, however, largely been seen (or read) only by specialised audiences. Few have found their way on to the commercial stage. Robert Gittings’ Out of this Wood (1955); Jonathan Griffin’s The Hidden King (1955); John Heath-Stubbs’ Helen in Egypt, (1958); Patric Dickinson’s A Durable Fire (1962) the list might be extended considerably. More recent years have seen the production (or publication) of significant verse plays by, amongst others, Peter Dale (The Cell, 1975; Sephe, 1981), Tony Harrison (eg. The Misanthrope, 1973; Phaedra Britannica, 1975; The Oresteia, 1981; The Trackers of Oxyrhynchus, 1990), Seamus Heaney (The Cure at Troy, 1990) and Francis Warner (eg. Moving Reflections, 1982; Living Creation, 1985; Byzantium, 1990). In America the tradition begun in the nineteenth century and continued by dramatists such as Josephine Preston Peabody (eg. Marlowe, 1901) and William Vaughn Moody (eg. The FireBringer, 1904), has had such later practitioners as Percy Mackaye (The Mystery of Hamlet, 1949), Maxwell Anderson (eg. Elizabeth the Queen, 1930; Winterset, 1935), Richard Eberhart (eg. The Visionary Farms, 1952; The Mad Musician, 1962) and Archibald MacLeish (eg. J.B., 1958; Herakles, 1967). Modern verse-drama has extended the formal possibilities of the genre far beyond the traditions of  blank-verse tragedy. A wide range of verse forms, of free-verse, and of experiments derived from the techniques of revue and music-hall have played their part in the evolution of new and striking theatrical forms. Why have so many writers continued to be attracted to verse drama when, as Peter Dale observes, his chances of seeing his work performed are generally very slight? If, like Ibsen after Peter Gynt, the dramatist’s aim is to write  «the genuine, plain language spoken in real life » (letter of 25 May 1883 quoted above) he will not, presumably, be attracted to verse as a likely medium. If, on the other hand, he feels with Yeats that the post-Ibsen prose of Shaw’s plays was devoid of  «all emotional implication », or if he shares the sentiments expressed by T.S.Eliot in his 1950 lecture on  «Poetry and Drama », it is more than probable that he will feel it necessary to turn to verse: It seems to me that beyond the nameable, classifiable emotions and motives of our conscious life when directed towards action – the part of like which prose drama is wholly adequate to express – there is a fringe of indefinite extent, of feeling which we can only detect, so to speak, out of the corner of the eye and can never completely focus †¦ This peculiar range of sensibility can be expressed by dramatic poetry, at its moments of greatest intensity. At such moments we  touch the border of those feelings which only music can express. We can never emulate music, because to arrive at the condition of music would be the annihilation of poetry, and especially of dramatic poetry. Never the less, I have before my eyes a kind of mirage of the perfection of verse drama, which would be a design of human action and words, such as to present at once the two aspects of dramatic and musical order †¦ To go as far in this direction as possible to go, without losing tha t contact with the ordinary everyday world with which drama must come to terms, seems to me the proper aim of dramatic poetry. Such thoughts enable us to see modern verse drama as much more than that reaction against naturalism as which it has often been depicted. At its best  verse drama is too positive an aspiration for it to be adequately understood merely as a reaction to the dominant idiom of the time. Much of what is best and most attractive in European theatre of the last 40 years might be described as post-naturalist, rather than merely anti-naturalist; verse-drama has made, and should continue to make, important and distinctive contributions to post-naturalism. According to Francis Fergussan, a poetic drama is a drama in which you â€Å"feel† the characters are poetry and were poetry before they began to speak. Thus poetry and drama are inseparable. The playwright has to create a pattern to justify the poetic quality of the play and his poetry performs a double function. First, it is an action itself, so it must do what it says. Secondly, it makes explicit what is really happening. Eliot in his plays has solved the problem regarding language, content  and  versification. In the twentieth century, the inter-war period was an age suited to the poetic drama. There was a revival and some of the poets like W. B. Yeats and T. S. Eliot tried their hands in writing of poetic plays. This was a reaction against prose plays of G. B. Shaw, Galsworthy and others because these plays showed a certain lack of emotional touch with the moral issue of the age. W. B. Yeats did not like this harsh criticism of the liberal idea of the nineteenth century at the hands of dramatists like G. B. Shaw. So he thought the drama of ideas was a failure to grasp the reality of the age. On the other hand, the drama of entertainment (artificial comedy) was becoming dry and uninteresting. It was under these circumstances that the modern playwrights like T. S. Eliot, J.M. Synge, W. B. Yeats, W. H. Auden, Stephen Spendor and so on have made the revival the poetic drama possible. The Choruses. A striking feature of â€Å"Murder in the Cathedral† is Eliot’s use of poetic choruses like the choruses in ancient Greek drama. The producer must decide the method which will project most effectively in the theatre these recurring choral passages, spoken by the Women of Canterbury. There are eight poetic rhapsodies or choruses, comprising approximately one fifth of  the text. The poetry in the choruses invites all the imaginative enrichment which light, music and dance can give it.  The chorus commenced in Greek drama, originally as a group of singers or chanters. Later, a Greek playwright called Thespis introduced an actor on the stage who held a dialogue with the leader of the chorus. Playwrights like Aeschylus and Sophocles added a second and a third actor to interact with the chorus. Finally, the chorus took on the role of participants in the action and interpreters of what is happening on stage. Eliot has based â€Å"Murder in the Cathedral† on the form of classic Greek tragedy. He uses the chorus to enhance the dramatic effect, to take part in the action of the play, and to perform the roles of observer and commentator. His chorus women represent the common people, who lead a life of hard work and struggles,  no matter who rules. It is only their faith in God that gives them the strength to endure. These women are uneducated, country folk, who live close to the earth. As a result, they are in tune with the changing seasons and the moods of nature. At present, they have an intuition of death and evil. They fear that the new year, instead of bringing new hope, will bring greater suffering. The three priests have three different reactions to Becket’s arrival. The first reacts with the fear of a calamity.The second is a little bold and says that there can hardly be any peace between a king who is busy in intrigue and an archbishop who is an equally proud, self-righteous man. The third priest feels that the wheel of time always move ahead, for good or evil. He believes that a wise man, who cannot change the course of the wheel, lets it move at its own pace.

Rhetorical Analysis Writing Challenge Flyer - 1667 Words

Rhetorical Analysis: Writing Challenge Flyer Flyers are perhaps the most commonly used form of media to let a community know about upcoming events. Even in this day and age of technology and online globalization, it’s nearly impossible to walk around the block without stumbling upon a flyer advertising guitar lessons, someone look for a lost cat, or a bright neon poster with â€Å"YARD SALE† written with poor penmanship. Flyers are popular because they can convey an adequate amount of information in a brief amount of time. The purpose of a flyer is to pique the audiences’ interest as well as encourage participation. With this in mind, how well does the flyer promoting a two-week writing challenge for Advance at UNM work in promoting its event?†¦show more content†¦This implies that anyone attending the university is free to take up the challenge themselves. Ethos plays an important role with this flyer. The director of Advance at UNM herself is organizin g the event with partnership with Assistant Professor Lindsay Smith. Both event organizers include their faculty photos at the top of the flyer, with Director Julia Fulghum on the left and Assistant Professor Lindsay Smith on the right. The inclusion of their photos personalizes the flyer and allows the audience to see the faces behind the event. The flyer changes from being the potential rectangle of text that most flyers become, and instead mimics a face-to-face conversation as one can imagine either woman relaying the information presented in person. The origins of the event are also implied by having two organizers instead of just one; it is likely that the writing challenge is Assistant Professor Lindsay Smith’s idea. However, A. Professor Smith does not have ethos as strong as Director Fulghum’s. It is not hard to imagine that A. Professor Smith approached Director Fulghum with her idea for the event and asked Director Fulghum to throw her influence behind the ch allenge. This maneuver increases the ethos for both organizers; Director Fulghum is shown to support the mission statement for Advance at UNM, and A. Professor SmithShow MoreRelatedDeveloping Management Skills404131 Words   |  1617 PagesLine 58 Understanding and Appreciating Individual Differences Important Areas of Self-Awareness 61 Emotional Intelligence 62 Values 65 Ethical Decision Making and Values 72 Cognitive Style 74 Attitudes Toward Change 76 Core Self-Evaluation 79 SKILL ANALYSIS 84 Cases Involving Self-Awareness 84 Communist Prison Camp 84 Computerized Exam 85 Decision Dilemmas 86 SKILL PRACTICE 89 Exercises for Improving Self-Awareness Through Self-Disclosure 89 Through the Looking Glass 89 Diagnosing Managerial CharacteristicsRead MoreLogical Reasoning189930 Words   |  760 Pagesdecided no longer to print the book, they returned their publishing rights to the original author, Bradley Dowden. The current version has been significantly revised. If you would like to suggest changes to the text, the author would appreciate your writing to him at dowden@csus.edu. iv Praise Comments on the earlier 1993 edition, published by Wadsworth Publishing Company, which is owned by Cengage Learning: There is a great deal of coherence. The chapters build on one another. The organization

Impact Of Globalization On The World - 1870 Words

Globalization can be defined as the process by which businesses or other organizations develop international influence or start operating on an international scale. (Oxford Dictionaries, 2016) Globalization is the buzzword of today as someone think it could develop the international. People can contact different things in their own place which are from other countries. Moreover, internet is more important things in globalization whatever for personal or society as it can let us to contact the things in the outside such as the international news. Globalization let the world being ‘smaller’. Nevertheless, most of the interests are brought in by the developed countries. They cannot take care developing countries. As a result of these companies only want to bring in the profits, thus that arises a lot of issues because of globalization. The positive things just on the surface of globalization. The globalization can promote different cultures all over the world. That most the people can contact different cultures in their own place. For example, some companies would like to open shops in every country as has McDonald’s. ‘McDonald s is the worldâ€℠¢s leading Foodservice retailer, with more than 33,000 local restaurants serving over 64 million people in 119 countries every day. More than 75% of McDonald s restaurants worldwide are owned and operated by independent local entrepreneurs.’ (McDonald’s, 2016) That all the people can know how is the American food culture like theyShow MoreRelatedImpact Of Globalization On The World1158 Words   |  5 PagesIntroduction: Globalization is a movement that evolves over time. It heavily involves trade and business that builds relationships with border countries and overseas. Technology is a critical part of globalization as it involves connecting people in many ways. â€Å"The number of minutes spent on cross-border telephone calls, on a per-capita basis increased from 7.3 in 1991 to 28.8 in 2006† (IMF Staff, p. 271). The growth of technology has made it possible for people to connect almost instantaneouslyRead MoreGlobalization And Its Impact On The World1003 Words   |  5 PagesGLOBALIZATION We live in a time of worldwide change. What happens in one part of the world impacts people on the other side of the world. People around the world are influenced by common developments. The term â€Å"globalization† is used to describe this phenomenon. According to Harris, the term is being used in a variety of contexts. In a very broad context, media use it almost daily to refer to a wide variety of political, sociological, environmental, and economic trends. The business worldRead MoreGlobalization And Its Impact On The World1744 Words   |  7 PagesThe Past Globalization, it could be argued, began when tribes first realized there were other tribes in the surrounding areas. With different specialties and skills, these groups began to trade. While these groups may not have been very geographically separated, the available world was expanding as more and more people groups began to connect and interact. Landmarks in the development of globalization can be traced through history: from the exchange of both goods and knowledge on the silk roads andRead MoreImpact Of Globalization On The World1244 Words   |  5 PagesIt is without a doubt that the world today has become a â€Å"Global village†. Nobody wants to do or wear or even eat something that’s old news, all are out to get the â€Å"new† thing in the market. People in every corner of the world have access to similar services and products. Let it be fashion, entertainment of even food. Everybody is adopting similar habits. That’s the power of globalization. Gl obalization is the process by which the world is interconnected through technology and powerful infrastructureRead MoreImpact Of Globalization On The World1262 Words   |  6 PagesThe impact that globalization provided to the world was a positive effect that expanded the influences from one country to another. Globalization is the process of international integration arising from the interchange of world views, products, ideas, and other aspects of culture. Similarities on how national markets established themselves in other countries which increases not only international trade but also cultural exchange. This increases cultural trade because it gives countries the abilityRead MoreImpact Of Globalization On The World1787 Words   |  8 PagesThis report will discuss the multiple roles of globalization in providing and transferring new and advanced technologies which, despite their significance, can severely damage the environment. This report will also be covering multiple aspec ts such as what we mean by globalization as a anomaly of changes. What technologies mean. What are the factors of globalization that supported it and what are the variables of it. First the term â€Å"globalization† must be defined. There are various definitions ofRead MoreImpact Of Globalization On The World Essay952 Words   |  4 PagesThe flattening of the world due to free trade and globalization has had both negative and positive effects on states. Because the world market has begun to level out, more states are becoming technologically advanced thus increasing the global economy. However, while some states are beginning to catch up, others are remaining at the same level and are at risk for being surpassed, both technologically and economically. So, the flattening of the world is creating both winners and losers; it is importantRead MoreImpact Of Globalization On The World1179 Words   |  5 PagesThe world we live in today has witnessed a variety of changes, improvements and important events overtime. Yet, the most significant incident for many and especially for business related people is Globalisation. It is a term that is used to describe the exchange of knowledge, services, trade, information, cultures and capital between people, governments and organisations of different societies. According to The Economist (2013), economic historians’ opinions tend to differ when it comes to theRead MoreGlobalization And Its Impact On The World1435 Words   |  6 Pagesinfluence and shape the world? Globalisation is described by the financial times to be the ‘process by which national and regional economies, societies, and cultures have become integrated through the global network of trade, communication, immigration and transportation.’ Integration across the planet brings every individual together with a shared sense of purpose where as interdependency goes beyond this. It implies that we rely on and need each other. Across the world there is an interdependencyRead MoreImpact Of Globalization On The World1229 Words   |  5 Pagesâ€Å"Globalization is the process by which everyday life, marked by the diffusion of commodities and ideas, is becoming standardized around the world.† Presently, the world is considered more globalized than it has ever been. The world today has embarked on strong world relations through trade, exchanging both knowledge and goods. According to the World Trade Organization there are ten benefits of trading systems; the first entails the idea that â€Å"people are usually reluctant to fight their customers

Marxist Shirley Jackson s The Lottery - 1113 Words

As a high-handed government is allowed to rule freely over the citizens, yearly tradition becomes engraved into the minds of the working class. Many that people follow simply because that is what has always been done. These can range from harmless traditions such as easter egg hunts and Christmas trees to far more harmful traditions such as killings. Marxist Shirley Jackson’s â€Å"The Lottery† is a frightening example of what happens when society can only distinguish two classes, specifically the oppressed working class and the wealthy class. This is made clear through the characterization of the higher class, as well as the lower class, and the effects within the norms of a social construct that has led them to carry out the lottery†¦show more content†¦Over all, the upper class establishes control through fear. The lower class, on the other hand, is composed of workers who are not allowed to doubt the authority. It is clear that some in this working class wish to rebel and overthrow their oppressors. Mrs. Hutchinson is the first example of this, â€Å"Just as Mr. Summers finally left off talking and turned to the assembled villagers, Mrs. Hutchinson came hurriedly along the path to the square, her sweater thrown over her shoulders, and slid into place in the back of the crowd† (2). In being late to the lottery, Mrs. Hutchinson communicates her distaste for the community leadership and the lottery. She â€Å"slides into place† just as he has finished speaking, showing her disrespect for his words and ideas. Those who do not rebel against the lottery share a silent fear of it, â€Å"A sudden hush fell through the crowd as Mr. Summers cleared his throat and looked at the list† (3). Kept tired and ignorant by their leaders, they do not realize the true source of their probl ems, and do not push for rebellion. Because of this large difference between the classes, social change is made extremely difficult. This is expressed mainly through symbolism. First, Mr. Summers’s insistence that the box be changed: â€Å"Every year after the lottery, Mr. Summers began talking again about a newShow MoreRelatedThe Lottery By Shirley Jackson1267 Words   |  6 PagesMaham Mirza Period 1 11/22/16 â€Å"The Lottery† Through Multiple Lenses For centuries, the socioeconomic status of a person determines their role in society. People who tend to have more money are subjected to a higher position with more power thus, having more influence on people around them. More often than not, people in high position of power take part in cruel acts that force many other to turn a blind eye. A prime example, would be World War II and the power of the Nazi army. Of courseRead MoreThe Lottery By Shirley Jackson1438 Words   |  6 PagesWriter Shirley Jackson was born in 1916 in San Francisco, California. Among her early works was The Lottery.Do not be fooled by this name.The Lottery was the highly controversial and famous tale about a village that partakes in an annual death ritual. On June 26, 1948, subscribers to The New Yorker received a new issue of the magazine in the mail. There was nothing to outwardly indicate that it would be any different, or any more special, than any other issue. But inside was a story that editorsRead MorePsychoanalysis And Marxism And 19842034 Words   |  9 Pagesthese lenses, then, to the life of Orwell’s Winston Smith, readers can assess his place in society and understand how his role in the re-writing of history affected his life. Marxist theory is based upon the writings of Karl Marx and examines social hierarchies, as well as governmental structures and capitalist ideas. â€Å"Marxist literary criticism has traditionally been concerned with studying the embeddedness of a work within its historical, social, and economic contexts† (Rivkin 711). In other words

Sensorial Materials an Essential Part of the Prepared Environment Essay Example For Students

Sensorial Materials an Essential Part of the Prepared Environment Essay Why are sensory stuffs an indispensable portion of the prepared environment and how does the sensory stuffs assist the kid in his geographic expeditions of the universe? Undeniably sensory stuffs play a prominent. positive and profound influence to assist the kid in his geographic expedition of the universe about. In the early 19th century. the British romantic poets besides could visualise the significance and importance of sensuous esthesia of five senses. Dr. Montessori contributed in seting her thoughts in pattern. In the modern academic environment. sensory stuffs and the geographic expedition of same five senses has profound and important relevancy. In world. we adults add to the confusion of a kid. David Gettman contributes on this position as â€Å" In such an environment. amid the commotion of household activity. wild and fugitive images. colorss. noises. beat and motions endlessly bombarded the child’s senses. The available field for experience is intensely ocular or auditory ; touch is either out or confined to smooth unbreakable plastic. temperatures are changeless. odors are masked. and the gustatory sensation is of necessity gua rded against. . In a prepared environment a kid is provided with all the chances which we unwittingly deny him. Furthermore. Dr. Maria Montessori discovered six sensitive periods in a child’s life. She described the sensitive periods as the blocks of clip in a child’s life when he is absorbed with one feature of his environment to the exclusion of all others. The sensitive periods are: sensitiveness to order. larning through five senses. and sensitiveness to little objects. sensitiveness to co ordination of motion. sensitiveness to linguistic communication. and sensitiveness to societal facet of life. Out of these six sensitive periods Dr. Montessori explains that the kid learns through his five senses and he has his sensitive periods. If his sensitive periods are discovered at the right clip and he is exposed to sensory instruction by giving him sensory feelings. his five senses will be more sensitive. agile and developed and he will be able to know apart and appreciate and possibly visualise his milieus. That is when she created her thoughtful creative activity – ‘sensorial education’ where the kids were given a hands-on on different stuffs which enable to screen and sort feelings. therefore developing their mind. She made sensory instruction an of import portion of her ‘prepared environment’ . For her environment was of premier importance. She explained the importance of environment in her beautiful words like this â€Å" It can modify in that it can assist or impede. but it can neer make †¦ . The beginnings of the development both in species and in the person. prevarication within. † The kid so does non turn because he happens to be placed in a alimentary environment. He grows because the potency of life within him develops. doing itself seeable. Further. it can be added that the sensory stuffs act as a base to develop the sense organs in a kid through the sensory feelings. They enable a kid to associate to his milieus. For illustration he works with long rods. he holds the rods from terminals and understands that they are turning in length ; he traces and reinforces once more the alteration in length. Finally visually he is able to comprehend the alteration in length when he sees them arranged in an order. He relates to himself so. He feels I have grown the same manner and so has the works which I planted few yearss back. Now he is able to link with environment that alteration in tallness or length happens and is positive. He works with his brown stairss and moves his manus over the stairss and instantly relates to the stairss he walks across. Again he perceives the alteration in dimension when he works with the pink regular hexahedron. He builds a tower and appreciates the .u3c26f92e2f23c79960ed512b5e79d52d , .u3c26f92e2f23c79960ed512b5e79d52d .postImageUrl , .u3c26f92e2f23c79960ed512b5e79d52d .centered-text-area { min-height: 80px; position: relative; } .u3c26f92e2f23c79960ed512b5e79d52d , .u3c26f92e2f23c79960ed512b5e79d52d:hover , .u3c26f92e2f23c79960ed512b5e79d52d:visited , .u3c26f92e2f23c79960ed512b5e79d52d:active { border:0!important; } .u3c26f92e2f23c79960ed512b5e79d52d .clearfix:after { content: ""; display: table; clear: both; } .u3c26f92e2f23c79960ed512b5e79d52d { 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; } .u3c26f92e2f23c79960ed512b5e79d52d:active , .u3c26f92e2f23c79960ed512b5e79d52d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u3c26f92e2f23c79960ed512b5e79d52d .centered-text-area { width: 100%; position: relative ; } .u3c26f92e2f23c79960ed512b5e79d52d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u3c26f92e2f23c79960ed512b5e79d52d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u3c26f92e2f23c79960ed512b5e79d52d .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; } .u3c26f92e2f23c79960ed512b5e79d52d:hover .ctaButton { background-color: #34495E!important; } .u3c26f92e2f23c79960ed512b5e79d52d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u3c26f92e2f23c79960ed512b5e79d52d .u3c26f92e2f23c79960ed512b5e79d52d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u3c26f92e2f23c79960ed512b5e79d52d:after { content: ""; display: block; clear: both; } READ: The English Reformation Essay Thesisbeauty of the tower by traveling around the tower and holding an aerial position of the tower. The twenty-four hours he goes out with his parents and sees a large tower he can associate to it. At the same clip he appreciates the beauty of the tall edifice as by now he understand that it is an art piece which has different dimensions and it must be looking all the more beautiful from a different angle. A kid can see different colorss around him and finally one twenty-four hours he will larn that there are many colorss in environment. But in sensory instruction his sensitive period is discovered and he is given exposure to different colors s through chromatic sense exercisings. Here the kid perceives different colorss and learns how to categorise them and how they grow from shades to sunglassess and what is light and dark colors. This manner we develop his chromatic sense on the right phase. He has a crook towards art now. he can appreciate colorss more. He can appreciate that Sun is xanthous and sky is bluish and mountains are brown. He appreciates his environment with a different mentality. Subsequently when he grows he is a more polished individual with an aesthetic sense. Its imperative to understand that sensory cognition varies from kid to child. Its non a esthesis or a feeling which can be every bit and equitably divided in each personality. As the kid grows he is garnering up perceptual experiences from his environment invariably. All that is to go an thought. and abstraction. first sprang from a touch. or a odor or some other physical contact. The stimulations are foremost perceived by the senses. which activate the nervousnesss which send the feeling to the encephalon. The mind. through the senses. creates abstract thoughts. For illustration the touch exercises. The kid is able to touch and experience the difference between unsmooth and smooth. He even feels the rougher and roughest. This manner he is able to understand the grade of difference between all. Subsequently he can associate to his environment every bit good. One twenty-four hours while playing he has a autumn and his articulatio genuss are brushed with route. He knows my female parent prohibit me to play on route as it is unsmooth and promote me to play on grass as it is smooth. His perceptual experiences to his environment are modified with his sensory instruction. Another illustration of haptic feeling and its relation to environment will be the haptic feeling of cloths. While making his exercising he closes his eyes and feels the cloths and lucifers them. Now he can understand that there are assorted sorts of stuffs available in his environment. Some are unsmooth and others are smooth. Today I wish to have on a smooth shirt to park. He can judge better. concentrate more and make up ones mind with logic now. The exercisings are graded so that the kid can comprehend foremost strong contrasts and are bit by bit refined to finer and more delicate differences. The kid is provided with an chance to reiterate these exercisings every bit frequently as he wishes for repeat is what physiques and exert the senses. For illustration the baric tablets exercise. The kid is familiarized with the construct of visible radiation and heavy in initial exercising. In subsequently exercising he can experience and do his judgements for the same construct. Now he can even do more delicate difference between visible radiation. medium and heavy. He carries the construct with him place. One twenty-four hours while assisting his female parent put the food market in order he portions with her that this bag with Citrullus vulgaris is heavy. the 1 with cookies is average and this one which has staff of life is light. The kid is acquiring adapted to his environment on the right age. Sensory instruction helps a kid to u nclutter his constructs at the right age and prepares him for his future instruction every bit good. .u194e48e3982402f84fe34bd901ab3432 , .u194e48e3982402f84fe34bd901ab3432 .postImageUrl , .u194e48e3982402f84fe34bd901ab3432 .centered-text-area { min-height: 80px; position: relative; } .u194e48e3982402f84fe34bd901ab3432 , .u194e48e3982402f84fe34bd901ab3432:hover , .u194e48e3982402f84fe34bd901ab3432:visited , .u194e48e3982402f84fe34bd901ab3432:active { border:0!important; } .u194e48e3982402f84fe34bd901ab3432 .clearfix:after { content: ""; display: table; clear: both; } .u194e48e3982402f84fe34bd901ab3432 { 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; } .u194e48e3982402f84fe34bd901ab3432:active , .u194e48e3982402f84fe34bd901ab3432:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u194e48e3982402f84fe34bd901ab3432 .centered-text-area { width: 100%; position: relative ; } .u194e48e3982402f84fe34bd901ab3432 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u194e48e3982402f84fe34bd901ab3432 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u194e48e3982402f84fe34bd901ab3432 .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; } .u194e48e3982402f84fe34bd901ab3432:hover .ctaButton { background-color: #34495E!important; } .u194e48e3982402f84fe34bd901ab3432 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u194e48e3982402f84fe34bd901ab3432 .u194e48e3982402f84fe34bd901ab3432-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u194e48e3982402f84fe34bd901ab3432:after { content: ""; display: block; clear: both; } READ: Essay On SuicideApart from this he can associate better to his milieus excessively. For illustration he can understand non merely the difference between hot and cold but besides assorted classs of temperature trough his thermic bottles and thermal tablets exercise. At the shopping promenade he finds the coke can really warm and he wish to hold cold. He is suggested to hold from the deep-freeze but he finds it really cold. He is offered one ice regular hexahedron to do the warm coke merely right. Merely with one touch a kid of four old ages is able to understand the difference. Once once more he is ready to confront his challenges subsequently as his base is strong now. Lapp goes with his gustatory preparation. He knows the difference between salty. spicy and Sweet and he makes his mother’s work easy by allowing her know that he wish to hold something Sweets and non salty. Again his auditory accomplishments are enhanced to a big extent with his sound boxes and bells exercisings. Through his sound boxes exercises he can understand the assorted degrees of sounds. While watching his favourite sketch show he can understand excessively loud will be noisy. excessively low will non be hearable and yes this is merely right. The kid is so cleverly given sensory feelings that they are sensory educated heightening their senses. To reason we say that in David Gettman’s words â€Å"Finally. the Sensory Activities can hold a moral and religious importance for the kid. A really immature kid. who has non yet organized sense experience. sees the universe as dwelling of lively. antiphonal ‘things’ which behave like fountains of feelings. spurting altering sensory stimulations in response to playful goads. †

Elite Personal Training free essay sample

Elite Personal Training Case Study Key Issues The key issue presented in the case study regarding Elite Personal Training is whether or not it is a good idea to open a new training facility in downtown London. Another key issue is whether or not is a venture that will prove to be financially sustainable. These issues are explored more deeply in our case study. Based on the information provided and the proceeding discussions within our group, we will make recommendations on what course of action will be in the best interest of the partners. Situation Analysis In our situation analysis, we will be exploring several factors that will enable us to make a credible decision regarding the potential business success for Elite Personal Training. These factors include the company’s goals, environmental factors, a market assessment, a financial size up, a competition analysis, and the strengths and weaknesses of the potential plan. Further analysis of these factors will provide much needed insight to the viability of the proposed business venture. The goals of partners Martin Menard and Mirella Craciun are well defined in the presented case. In point form, the four main goals are: * Earn a profit of $10 000 in the first year to be reinvested into the business. * Register four to eight new clients every month (beginning in year 2). * Establish Elite Personal training as the premium training facility in London. * Provide high-quality customer service and long-lasting results. They have four well defined goals clearly outlined to go along with other goals that are implied in the text. These goals include providing the people of London with very personal, one-on-one training sessions where the client has private use of the facility (along with one other client). This can be considered sub-goals of the last two goals presented in their main four. Environmental factors are not as evident in the case as other factors are, however there are a few main points to take out. The city of London, Ontario is Canada’s 10th largest city with a population of 356 000. Since 1998, there have been 2000 more people moving into the downtown district due to a commitment by the city to revitalize its downtown core. Many of these new downtown residents are young professionals. The business sector in London has also grown substantially with 74 new stores opening and two major construction projects being completed. The average annual income of people living in London is $27 100. This gives an idea of the economic situation in the area. The market assessment gets a little more complicated. The partners are still unsure if they are comfortable with their proposed target market. The target market outlined by the partners consists of the following four groups: * Business professionals * Sports professionals * Women * University of Western Ontario students. These four groups are outside of preexisting clients from their former training facility. The business community in downtown London consists of 9700 employees with an average salary higher than the London average. One of the major institutions in London, London Life, already owns a fitness facility with a low cost to employees ($10 per month). Serious athletes involved with professional or semi-professional teams train quite often. Some train six times a week. However, there is a major question of the number of sports professionals in the area and if there is enough to fill Elite’s capacity. The London Knights hockey team and the London Silverbacks football teams are potential clients. Women offer a huge demographic. Many fitness facilities now offer â€Å"women only† training. The main criteria for women when working out are losing weight and enjoying the social aspects of training. However, many feel intimidated in co-ed establishments while training. The area instantly increases by 38 000 people in September, due to students arriving to attend Western University. Many students live on a fixed income, so the partners are already questioning whether or not they should be targeting this group. Competitor analysis is an important evaluation tool for this business. There are many similar services and facilities in the area. The competition is high and carefully studying the potential competitors is key in making an accurate assessment of the business potential. The main points covered in the size up are location, membership size, female training, and personal training fees. The following is a brief size up of the main competitors in the London area: Goodlife * 11 London locations (one location five minutes away) * Average of 2000 members per gym * 5 of these locations are women only * Personal training sessions range from $43 to $60, dependant on several factors * Not all trainers certified The Athletic Club * 2 London locations Women only sections included * Approximately 8000 at each gym (150 taking advantage of personal training) * Personal training sessions range from $43 to $60, dependant on several factors YMCA * 5 London locations * Several personal training packages available, $40 per session, then several packages TrueStar Health for Women * 2 London locations * Approximately 1000 members * One -on-one specialists, $38 to $67 per month, dependant on program Herbal Magic * 800 customers * Focus on supplements, and nutrition, not personal training Curves * 6 London locations * 500 women at each location * No personal training programs Personal trainers * 3 personal training facilities, and 20-25 personal trainers working out of their home * $50- $85 per session Competition is very high in the London area for fitness facilities and personal trainers. All options offer different services and price ranges. The financial projections for Elite Personal Training are focused around the fee for each personal training session. The hope is that each client will purchase 48 sessions, and that a certain retention rate would apply. They acknowledge that there would be a certain number not return after they complete so many sessions and accounted for this. The partners are willing to be flexible based on the needs of the client. The decision on pricing is based on competitions pricing, and the needed revenue to cover costs and create a profit. The financing for the business in the initial stages include $14 000 equity and $24 000 loan from the bank. The bank is hesitant to give more money until there is any cash generated from operations. This may not be enough as there are high start up and monthly costs of operating a fitness facility. Additional personal may be needed and this would increase costs even more, but may increase revenue. The marketing will also prove to be expensive, as promotion is so important in the success of a new business. Low cost strategies to bring in cliental will have to be explored. The business strength and weaknesses are clearly exhibited in the case. There seem to be more apparent weaknesses from a financial standpoint at this point then strengths. Strengths * Highly qualified trainers that are consistently updating certification * Loyal client base already established * Previous management experience * Downtown location * Diverse skill set between partners * Experience training a wide demographic of people (ages, sexes, etc. * Solid knowledge of the business Weaknesses * One partner has no prior funds * All financial liability on one partner’s shoulders * Unsure of the target market * Low cost and low quality equipment in the beginning * Service could prove to be unaffordable * No price set yet on personal training services * High start up costs Alternatives The decision criter ia will be based on profitability, the attractiveness to the target market, the demand for the service, the intensity of competition, and the overall chance of success. Upon reviewing these criteria, it has been decided that the following alternatives are the best options. Opening in a larger market, such as Toronto, would give access to a larger number of people and wealthy businessmen. The downside if this is the personal cost incurred and the inconvenience of moving. Further market research would also be necessary. Rethinking the entire business plan is a solid alternative. This would require looking at the target market again, and redefining the short and long term goals. Group rates and different promotional strategies may be in their best interest. Seeing where they can cut initial costs would help them not lose as much money as initially forecasted. This would be a time consuming project and would make it difficult to open on the projected date. Seeking further financing would help their chances of success as well. Not having enough start up money can really handcuff a business early and cause the business to cease operations before ever really starting. This would ensure a bigger pool of money to go towards properly equipping the gym and promoting the business the proper way. Obtaining additional finance would require further work and may raise monthly costs due to increases interest payments. Recommended Course of Action Our recommended course of action at is to establish a more detailed business plan in order to be profitable without losing sight of the business goals. It was felt that the partners were still unsure of their exact course of action. Their potential costs were outweighing their initial capital, so redefining the business plan may help them decide a better course of action. In doing this, they can become more confident in their financial projections and exactly who they want to target. In completing a better and more specific business plan, it may be possible to obtain more financial assistance. This will inspire confidence in potential investors. In gaining additional finances, a better promotional strategy can be implemented. New businesses fail often because the initial funds did not allow proper advertisement. In an industry that is so high in competition, gaining that edge is mandatory for success. If Elite Personal Training can find that proper differentiation strategy, they can expect long term success through attracting new customers and retaining them as well. A more specific business plan will help define that strategy.