How much Macbeths character changes during the course of the play Essay Example for Free

How much Macbeths character changes during the course of the play Essay By reference to three key scenes, shoe how much Macbeths character changes during the course of the play: Act I scene VII, Act III scene IV, Act V scene III The first we hear of Macbeth is when a bloodied soldier looking valiant after battle with great gaping wounds, describes a Great War hero: For brave Macbeth well he deserves that name. Shakespeare uses this speech to show Macbeths loyalty by saying he fought off a whole army and all for king and country. He also said their enemy ran away, then launched another attack and that Macbeth and Banquo fought it off even with their severe wounds: They meant to bath in reeking wounds And they still repelled the second attack, as though with renewed strength: So they doubly redoubled strokes upon the foe. We can see from this that Macbeth is a noble, loyal and trusted man, let alone a war hero. After Macbeth meets the witches, his personality begins to change. He becomes consumed with ambitions. In my understanding it was always there, like a petrol station with petrol running everywhere and leaky gas mains (always a fire hazard), the witches just threw in a Zippo. They had given him two predictions: 1) They greeted him as thane of Cawdor Hail thane of Cawdor (which he wasnt) 2) Then as king hail Macbeth, that shalt be king hear after. After meeting the witches, the Kings messenger came to him and named him thane of Cawdor. He is very surprised at this and writes a letter home to his wife telling her about the things the witches had said, how out of the blue he had become thane of Cawdor and even mentioned about becoming king. This is where Shakespeare introduses Macbeths more sinister side: Why do I yield to that suggestion whose horrid image doth unfix my hair and make my seated heart knock upon my ribs As we can see Macbeth is starting to think of murder. We get another insight into his character from Lady Macbeth. She says that she thinks that he will be too kind to actually commit murder, and that she will have to do most of it then persuade him: Yet I do fear thy nature it is too full o th milk of human kindness We can see from this quote that Macbeth has a conscience and that his wife believes that he would grieve afterwards. When Duncan arrives at Macbeths castle, a banquet is held. We can se in Macbeths opening soliloquy (a dramatic technique show the audience what he is thinking) that he doesnt want to carry on with the murder as he says Could trammel up consequences By Shakespeares use of the word trammel we can se he is thinking of death and if he could just be done with it and that was it, it would be fine but he knows there will be consequences for killing the king: Hear upon this bank and shoal of time, Wed jump thr life to come This shows that the Elizabethans believed in the after life. He also refers to the Elizabethan belief of the king being chosen by god: His virtues will plead like angels trumpet-tongued against the deep damnation of his taking off Later on in the scene we see that Macbeth doesnt want to go through with the murder and wants to call it off: We will proceed no further in this business And he gives three reasons he is his host as his host He is his kin I am his kinsman and his subject Duncan has been extremely kind to him Duncan hath borne his faculties so meek So to make Macbeth commit the murder Lady Macbeth taunts him and calls him a coward: When you durst do it then you were a man And at this Macbeth wants to do it to prove he is not a coward and we can see this from his next line: If we should fail showing he is thinking about the murder. Although Macbeth can wash Duncans blood from his hands he cannot wash it from his conscience: Will all great Neptunes oceans wash this blood clear from my hand? No Macbeth is duly crowned king Banquo reveals his suspicions about Macbeth in a soliloquy: Thou hast it now king, Cawdor, Glamis, all the wired women promised and I fear thou playdst most foully fort Macbeth holds a banquet and invites every one. After this Macbeth hires an assassin to kill Banquo and Fleance his son. Macbeth seems to be losing his moral standing the further he gets into the play. Banquo sacrifices his life to save his son and Fleance gets away. The assassin shows up at the banquet and stands at the door to give Macbeth the news there is blood upon thy face The murderer then seeks praise for the murder of Banquo: Macbeth then asks about Fleance and is agitated to hear that he is still alive: The worm thats fled hath nature in time will venom breed, no teeth for the time present Shakespeare uses a metaphor to show how Macbeth is afraid of Banquo and Fleance Macbeth then goes to sit down at the table but he thinks his place is taken and when the figure stands up it is the ghost of Banquo. No one else can see the ghost. It is only by Macbeths speeches that we can tell he can see a ghost. Macbeth is very scared and starts shouting but Lady Macbeth calms everything down. In a stage whisper, She calls him a coward and says that it is just like the dagger he saw pointing to Duncans room the ghost vanishes and he calms down and they send every one home saying he will be fine in the morning. Shakespeare usage of a ghost reflects king James fascination with the supernatural and the Elizabethans general belief in spirits and ghosts. He also uses stage whispers sililoquy and the idea of no one seeing the ghost except Macbeth, which could just be him hallucinating. So we are not entirely sure whether there really is a ghost there or the pressure of all the killing has got to him and he has flipped and had hallucinations. After this he is still paranoid and so to stop this he goes to see the witches again and this time the show him three visions. 1) Beware Macduff 2) None of woman bore shall harm Macbeth 3) Macbeth shall never vanquished be Until great Birnam wood comes to Dunsunane hill He is woken up by Lenox and decides to kill Macduff to be safe but he has fled to England to help Malcolm at this Macbeth is so angry he orders the assassins to kill his wife and kids and this shows a complete depletion of his morals. He as ordered assassins to go kill innocent children and women without a second thought. There has been a character reversal and now Macbeth has no morals and lady Macbeth as been driven mad with guilt. At the start, Macbeth would not kill Duncan and Lady Macbeth drove him to it. In the next scene Macbeth is getting hundreds of reports of the English force amassing on the horizon, but of-coarse he had the predications from the witches and feels confident. He doesnt worry about them Bring me no more reports, let them fly all. Till Birnam wood remove to Dunsinane This shows an air of self-confidence and pride. He even accuses Thanes that ran away of being false which was very ironic as he killed the king then fly false thanes. From his opening speech we can see he thinks he is invincible: The mind I sway by and the heart I bear shall never sag with doubt nor shake with fear. When his servant comes he is white and pale so Macbeth calls him lily liveried, because the Elizabethans believed that courage came from the liver. When the doctor said that there was no cure for lady Macbeth that she had to cure herself Macbeth insulted him, which is a valid point, as King James 1st didnt believe in doctors. Macduff and Malcolms army burst into the castle and the first wave come to find Macbeth and die until Macduff finds him and they fight. Macduff tells Macbeth he was born by caesarean section and so was not born of woman and he kills Macbeth. In conclusion I would say that Macbeths character changes drastically throughout the play. At the start he is a good and noble soldier who would never betray the king but gets persuaded easily by his wife. Then as the story progresses we see him start to lose morals as he orders the killing of Banquo on his own but is still upset about it, we can see that because of his hallucinations (seeing the ghost). Then he orders the killing of lady Macduff and her children showing he has gone of the scale and is totally evil. Whilst fighting Macduff he is arrogant and spares his life at one point in the fight. So when Macbeth is told that Macduff is not born of women he is shocked and dies a wicked fool. So we see the down fall of such a brave character we saw at the start because of a few predictions and the ambition. For if he saw what being king would do to him I doubt he would have wanted to be king and would have been contented but was tricked by the evil of the witches.

Art Museums: Issues in Profits, Acquisition and Ethics

Art Museums: Issues in Profits, Acquisition and Ethics Acquisition, Ethics, and Profit in the Art World What happens in the art world affects all parts of it, from the most well endowed museum to the myriad lesser-known and unknown galleries that try to eke out a living. This paper will examine the ways in which museums have weathered the vagaries of the market over the past few decades, including not-for-profit institutions as well as the for-profit sector, including the gray area in which the two—rarely—meet. The unifying factor, as this paper will show, is the reputation of the institution. The reputation of any building that houses works of art is a priceless commodity, whether it is a huge institution of international reputation, or a small but well-respected gallery with equally high standards of decorum and ethics. To maintain that reputation at all costs is of vital importance if an institution is to survive and remain a respected part of the art community. Ethics, Profit and Culture in Museums The role of museums in contemporary society has changed in the last several decades; still considered essential to society as both reflection and mirror, museums have found themselves floundering for financial support as never before. To continue to thrive—often just to survive—they have had to adapt to meet the new demands of a multicultural world, while at the same time maintaining their respected status. Traditionally seen as temples for the muses, todays museums are being challenged to be ethical for society and to build their reputation (Wood Rentschler, 2003). Traditionally, museums throughout the Western world have supported themselves in a variety of ways, most of which are dependent on cultural travel and funding sources. Admission receipts and gift-shop sales form part of their income. Donations from the government and from private and other funding sources supplement that. In recent years, however, cultural tourism rates have dropped, and additional funding from government and private sources has dwindled, leaving budgetary needs unmet. To stay afloat, museums have had to adapt and change with the times. They have done, and continue to do this, in a number of ways. Among these ways, unfortunately, have been activities that have raised eyebrows in the art world, and questions about acquisition, ethics, and profit have come to the fore. Importance of Reputation As institutions which house the priceless treasures and artifacts of our cultural pasts, museums are generally held in high regard. Among smaller galleries, there is also a hierarchy, primarily based on integrity and fair dealings with artists and with each other. For the larger institutions, though, in order to maintain this regard, they are expected to adhere to a higher standard. This expectation is so deeply ingrained that it seems at times a given: museums are considered bastions of artistic culture and historical identity. They are institutions which foster intellectual growth and which exercise discriminating taste and ethical behavior in building and maintaining their collections. Regardless of the exhibition or programme concepts, notes Edson, there are qualities and initiatives that are fundamental to museums, such as intellectual honesty, promotion of critical thinking, enhancement of open-mindedness and the sensitizing of visitors to the commonwealth of humankind (2001: p. 43). This is a tall order to uphold—and one which is under constant scrutiny. What happens when these hallowed institutions fall upon financial hardship? They adapt. The ways in which they adapt may change our preconceived notions of what a museum should be. For example, the concept of blockbuster exhibits in the eighties was considered unacceptable to some. This blatant advertising to sell art—in essence, sell culture, seemed a betrayal of the highest standards, a mockery of itself. It forced many to reconfigure commonly held notions about the institutions themselves. In his memoirs, art critic Richard Feigen echoes what many felt at the time: As museums began to commercialize, to adapt to 1970s inflation, exhibitions also veered away from an emphasis on scholarship toward a preoccupation with box office (2000: 137). The very words box office, in such close proximity to scholarship and museums, would have seemed quite jarring at the time. Yet, since then, we have grown more accustomed—albeit gradually—to the concept of art-for-profit. After all, someone has got to pay for the acquisitions and maintenance of cultural artifacts. If the funding is not forthcoming, museums have had to choose whether to close up their doors and die out like an obsolete breed, or to reinvent themselves in ways they deem acceptable. Having for the most part chosen the latter, museums have had to become more aggressive in pursuit of the funds necessary to at least survive, and hopefully to flourish. This has necessarily caused their patrons to reassess and re-evaluate as well. Just as museum definitions have changed, so too has our understanding of museum ethics explain Wood and Rentschler (2003). It has also forced us to understand the roles of the individuals who run these institutions, as Feigen concedes: In this new era of museology, he writes, a directors success has come to be measured by the crowds he attracts, the funds he raises, the buildings he builds, and how effectively he can dodge political cross fire (2000: 109). A major issue which has sprung from this process of adaptation is the need to maintain an impeccable reputation in the process. The last few decades have been a period of just that, as the concept of the museum—and the actual institutions themselves—have evolved to meet the needs of the people they serve: the patrons. Todays museums are called upon to offer an enhanced experience in an appropriately comfortable environment, one that instills a sense of cultural pride as well as challenge. In so doing, Edson writes: The museum by facilitating that experience serves the individual and the host community to the fullest extent of the concept of public service (Edson, 2001: p. 44). In order to do this, however, the reputation of the museum must remain intact; this means that decisions about affiliations with those outside the museum itself must be absolutely circumspect. And this, in recent years, is where museums have been coming under fire. The Staff The staff of a museum—from curators to custodians—forms the backbone of day-to-day operations. Considered in that light, the actions of staff members may be seen as a reflection on the museum itself. This is something that pertains to all levels of staffing. The security personnel who are responsible for safeguarding national treasures may not be accorded the highest prestige in society, but the importance of their roles should never be played down. A disturbance that distracts even a single security staff member from absolute vigilance can potentially set off a series of events that may lead to loss through damage or theft. And there are several known instances in which the roles of security personnel have been key in allowing unauthorised access to works of art: that they would willingly allow this is untenable, but not inexplicable. Monetary pressures mount, and outside influences can be very persuasive. Arts organisations cannot think that their people will be immune to these pressures assert Wood and Rentschler (2003). They advise that clearly stated ethical practices be a part of every organisation to avoid this very thing. They must be part of the training program, and they must be reviewed and reinforced on a regular basis to maintain both morale and loyalty. Failure to do so can have irrevocably damaging results: If temptation is not resisted, it can compromise the values for which the organisation stands and irrevocabl y damage the reputation that it may have worked for years to create (Wood Rentschler, 2003). These practices must apply to all levels of museum staff, not just those who can provide immediate access. What about those in positions further up in the hierarchy, who have just as much access as well as additional access and power? Their actions must at all times be in accordance with museum policy; in addition, they must adhere to the law—local, national, and international. This is particularly important when it comes to acquisition of properties whose histories may be questionable. To knowingly—or unknowingly—acquire stolen property is anathema, however authentic a piece may be. Any irregularities regarding provenance are a red flag, since a single lapse in judgment can cost a museum its cultural standing as well as its profitability. Alan Shestock, Director of the Museum of Fine Arts Boston, explains that museum curators are acquirers. . . . Most of us go into the profession because the desire to accumulate and bring together objects of quality is in our blood. We are personally and professionally devoted to adding to and improving our holdings . . . (Shestock, 1989: 97–98). This kind of passion, paired with the need to keep ones collection top-rate, can cause considerable angst. To know that a particular, highly coveted item is authentic is an exciting enough discovery for a museum professional. To know, furthermore, or to merely suspect, that its origins may be less-than-circumspect, means that this object cannot become a part of the museums holdings. This is not an easy thing to do. Explains Shestock: To consciously or intentionally turn down a highly desirable object we can afford to buy on the basis that we suspect that it might have been removed illegally from its country of origin—and also k nowing that it will end up in the collection of a rival institution or an unscrupulous private collector is a very hard thing to do (1989: 97–98). Edson and Dean point out several situations in which the circumstances may lead to ethically questionable behaviors. First, there are curators whose job responsibilities include researching and writing about the objects in their collections. Curators hired to research and interpret the collection in their care sometimes regard the notes and associated materials that result from this work as their personal property, regardless of the museums ownership of the actual collections objects (Edson Dean, 1994: p. 235). If the funding for this research is solely supplied by the institution, all rights would seem to revert to the museum. However, it is seldom this straightforward, as personal research may be involved as well. The situation becomes further complicated when international objects are involved, as there are several sets of law which much be adhered to in order to maintain high ethical standards. There are other, even more controversial situations, however, many of which result in unavoidable conflicts of interest. With whom should ones loyalty lie? According to Edson and Dean, in the case of curators, loyalty must be first to the institution; to avoid having to resolve the issue, they suggest judicious discrimination in selection of any extracurricular pastimes: activities that conflict with this loyalty or cause curators to favor outside or personal interests over those of their institutions must be avoided (1994: 232). What of gifts that are made directly to a museum professional? This can be confusing, since gifts can cover a range of services. A professional who would never under any circumstance accept a costly creation of artistic work may think nothing at all of accepting other favors, such as discounts. But these, too, must be avoided, and ultimately rejected. Finally, since it is commonly accepted that most individuals do not go into the arts for its lucrative remuneration, there may come times when it is necessary for museum personnel to supplement their incomes with additional paying work. This is particularly complex in cases in which higher-level museum professionals, such as curators, moonlight, or do additional evening or weekend work for pay. Such specialized types of work may bring them into contact with numerous opportunities for temptation, all of which are to be turned down to maintain propriety. Even a distant association with parties who are entangled with any kind of illegal trade can taint that professionals reputation, and therefore the museum itself. And cases like this are more common than most would like to admit—not to mention far-reaching: the illicit traffic in cultural property is, like narcotics, an international problem (Herscher, 1989: p. 118). Art for Profit In their article, Show Me the Monet, Steve Friess and Peter Plagens broach a subject which continues to be a point of contention in the art world. They discuss an agreement between the Museum of Fine Arts in Boston and the new Bellagio in Las Vegas, Nevada. According to the agreement, the Boston museum would lend a number of Monets to the Bellagio—for a fee. The tradition of extending loans to one another is long-standing among museums, large and small. The agreement to do so for cash, is less common. Among the loftier institutions, it is practically unheard of. Lending art works for set sums of money puts a new twist on the issue. In return for the loan of Monets, the Bellagio agreed to pay the Museum of Fine Arts a hefty some—at least one million dollars. The traditional cashless quid pro quo for lending art to other museums—OK, well lend you our Picasso if we can borrow your Matisse—had been augmented by lending fees (Friess and Plagens, 2004). This calls into question a number of issues, the most pressing of which seems to be, where does one draw the line? If items which are part of a museums permanent collection are accorded dollar values and made available for that price, can anyone with appropriate funds borrow them? What will this do to the reputations, not only of the museums that engage in this, but to the works of art themselves, and to the notion of cultural heritage in general? Ethics, Profit, and Culture in Dealership In a similar vein, private art dealers have had problems of a slightly different nature over the past few decades. Contemporary notions of an art dealer tend to be unkind. Less-than-savory deals, sly cash transactions, cagy tax evasion: these are what come to mind before the subject of art comes into focus. Art critic Peter Schjeldahl puts it succinctly in his article on art dealership in New York, in which he asserts that popular opinion sees the gallery owner as a stock figure of slinky charlatanry, or worse (2004). Because of this, it is with no small amount of glee that people welcome gossipy tidbits about high-society art dealers being brought down in shady, six-figure stings. People savor the cynical rush of discovering garden-variety greed behind a pose of lofty, intimidating sophistication notes Schjeldahl (2004). But, Schjeldahl points out, no matter what one thinks of an art dealers character, one thing remains constant: good taste. Without it, all the pretension means nothing. In addition, there is a hierarchy among the smaller circle of individual galleries that are also part of the art world. Judging by her record of accomplishment and her reputation in the art world, Marian Goodman seems to embody the highest of standards. First of all, when it comes to discrimination and taste, Goodman seems to have an abundance of both. The reputation of a dealer is of great importance in the art world, despite popular conceptions. Goodman, too, has had to weather the storms of changing times, just as larger, loftier museums have had to do, and she, too, has survived. Among her contemporaries, however, Goodman commands a high level of respect for refusing to follow trends and continuing to maintain her own exemplary standards. She employs what some see as old-fashioned standards in both her selection of gallery site and her selection of artists. For example, her gallery is still located in Manhattan, New York City, despite the mass exodus of galleries to outer boroughs of the metropolis. Furthermore, she has steadfastly remained in the pricier part of Manhattan, in the heart of the theatre district, in the mid-fifties. In his New Yorker article, art critic Peter Schjeldahl explains that Goodman could very easily save money and gain vastly more visibility by relocating to Chelsea . . . (2004, p. 36). However, Goodman refuses to budge, preferring instead the uniqueness of her own more expensive showplace to the identical hives of lower Manhattan. Of course, as a private dealer, she is free of the pressures of a committee of trustees and similar directives. Conclusion The art world is at once a seemingly small and insular community on the one hand, and a global community of vast proportions on the other. What happens in this world affects all parts of it, from the most well endowed museum to the lesser-known private galleries. This paper has attempted to examine how both the not-for-profit and for-profit sectors have managed to survive in the last several decades, adapting to best meet the needs of their patrons while maintaining the integrity and values they hold dear. One thing that is undeniable is reputation: To maintain that reputation at all costs is of vital importance if an institution is to survive and remain a respected part of the art community. Edson and Dean have noted that Objects communicate far beyond the walls of the museum in which they are housed. They influence the appreciation and appearance of objects of everyday use, and the level of respect and understanding for the personal and collective natural and cultural heritage of a people or nation (Edson, 1996, p. 7). The reputation of any building that houses works of art is a priceless commodity, whether it is a huge institution of international reputation, or a small but well-respected gallery with equally high standards of decorum and ethics. The slightest hint of a breach in ethical standards is enough to shake the very foundation of an institution; if the breach itself is, in fact, made known to be fact, it is highly unlikely that it will every regain its former stature, nor command the same level of respect. References Edson, Gary. 2001. Socioexhibitry as Popular Communication. Museum International: July 2001, Vol. 53, Iss. 3, pp. 40–44. Edson, Gary and Dean, David. 1994. The Handbook for Museums. London: Routledge. Feigen, Richard. 2000. Tales from the Art Crypt: The Painters, the Museums, the Curators, the Collectors, the Auctions, the Art. New York: Knopf. Friess, Steve, and Plagens, Peter. 2004. Show Me the Monet. Newsweek. New York, Vol. 143, Iss. 4, p. 60. Herscher, Ellen. 1989. International Control Efforts: Are There Any Good Solutions? In Messenger, P., ed. The Ethics of Collecting Cultural Property. Albuquerque, New Mexico: University of New Mexico Press, pp. 117–128. Messenger, Phyllis, ed. 1989. The Ethics of Collecting Cultural Property. Albuquerque, New Mexico: University of New Mexico Press. Schjeldahl, Peter. 2004. Dealership: Onward and Upward With the Arts. The New Yorker. New York: Feb. 2, 2004, p. 36. Shestock, Alan. 1989. The Museum and Cultural Property: The Transformation of Institutional Ethics. In Messenger, P., ed. The Ethics of Collecting Cultural Property. Albuquerque, New Mexico: University of New Mexico Press, pp. 93– 102. Wood,Greg, and Rentschler, Ruth. 2003. Ethical behaviour: The Means for Creating and Maintaining Better Reputations in Arts Organisations. Management Decision. London: 2003.Vol. 41, Iss. 5/6, p.528-537.

History of Japanese Art Essay -- Art History, Japan

Throughout many centuries, art has portrayed an exceedingly dominant role in Japanese culture. These forms of artwork varied from everything from pottery to clay figurines. Overall, the majority of Japanese art was and still is considered to be of high importance in Japanese history. However, the most intriguing and unique form of art was the Isho-ningyo and Iki-ningyo dolls, otherwise known as the "fashion doll" and the â€Å"living doll†. Both the Isho-ningyo and the Iki-ningyo were merely two of the plentiful assortment of dolls created by the famous Japanese artisan, Goyo Hirata, as items of â€Å"luxurious indulgence.† The Kintaro doll of Isho-ningyo type or Iko-ningyo type illustrates the significant advancements in Japanese doll art throughout history with the newfound technologies and composition attributed in each period. Japanese art has been practiced since 4,000 BC, otherwise known as the Jomon period. The Jomon is particularly known for creating the first forms of Japanese pottery. Although the Jomon period was thought to produce relatively simple artwork, the people of the Jomon were also the first to show the evolution of Japanese dolls. Essentially, this gradual step towards this treasure form of art was the Dogu, humanoid figures. Jomon period art gradually advanced throughout time with from the first creation of simple pottery, to storage vessels, and lastly to Dogu. Mainly, the technologies used during this time period consisted of clay, while the composition also consisted of simplistic designs such as coiling. This Japanese time period demonstrates the true beginning of the tr... ...ecause of the overall historical background and basic artistic characteristics. Although, the Isho-ningyo and the Iki-ningyo are not a part of the modern day era, they still show significant advancements that will eventually point the way towards modern day Japanese art. These particular dolls show aspects of modern day art characteristics because of their complexity in structure and overall appearance. Each Japanese period contributes the steps towards the qualities that make up modern Japanese art, but the particular artwork of the Isho-ningyo and the Iki ¬ningyo are the greatest contributors. Works Cited "Japanese Art." Columbia Electronic Encyclopedia, 6th Edition, (2011): 1-2. BALFOUR, R, and S BALFOUR. "Japanese Dolls." Arts of Asia, 6.4 (1976): 67-74. Rimer, J. Thomas. "High Culture in the Showa Period." Daedalus, 119.3 (1990): 265- 278.

Social Hysteria in Shirley Jacksons The Lottery Essay example -- Shir

Social Hysteria in The Lottery Tradition is a central theme in Shirley Jackon's short story The Lottery. Images such as the black box and characters such as Old Man Warner, Mrs. Adams, and Mrs. Hutchinson display to the reader not only the tenacity with which the townspeople cling to the tradition of the lottery, but also the wavering support of it by others. In just a few pages, Jackson manages to examine the sometimes long forgotten purpose of rituals, as well as the inevitable questioning of the necessity for such customs. The black box represents virtually the only part of the original ritual that has been preserved since the lottery began. It is there not only to hold the papers that will be drawn, but also to represent to the townsfolk the tradition. The black box is constructed of pieces of the original box, a link to the time when the purpose of the lottery was clear. Most of the old custom has been forgotten: wood chips have been replaced with paper slips, and on one can remember the recital and ritual salute that had previously been part of the lottery; but the o...

Monty Python and the Holy Grail :: essays research papers

Monty Python and the Holy Grail In Monty Python and the Holy Grail, logic is used in an unfamiliar way. This logic does not deal with the nature of life, but deals with the more complex forms of logic that require the filling of blanks to make things work out. Although, for the most part certain things did not make sense, but yet they did express logic. They used environmental attributes to make sense of the complexities they had. The first application of logic found in the movie was in the first scene with the use of coconuts. They argued about how King Arthur had coconuts here in a moderate climate while coconuts only grow in tropical climates. King Arthur’s explanation for this was that a swallow brought it back when migrating. The peasant said that is impossible because a little bird cannot carry a coconut while it migrates. Hence with no other possibilities the peasant had concluded that it is impossible to have a coconut in England, which had been brought back, from a tropical area from a small migrating bird. This is a perfect example of how the movie breaks down logic and uses the settings environmental attributes and resources.   Ã‚  Ã‚  Ã‚  Ã‚  Another example of this uncouth logic is seen with the town’s people’s belief of the woman being a witch. The town’s people said that she shall be burned for being a witch, but the knight, in his use of logic says that if she is a witch, and must be burned then she is made of wood. The knight goes on to say that if she is made of wood then she must float, and that if she floats she must be the same weight as a duck. So they weigh her and from the magic of movies she weighs the same as the duck, concluding that she is a witch. This shows the irrational logic that is being used in the movie, as well as the use of environment to draw a basis for conclusion. From this they arrive at the same conclusion they had in the beginning, that being that the women was a witch.

Are We Too Dependence on Computers

With the improvement of technology, mobile phones have become an inevitable part of our lives. Because of their convenience and improvements, we now can make a phone call from any spot on our planet Earth. In today’s society our technology is more advanced than ever before. So far advanced is our society, that we can easily use cell phones to speak to anyone, anywhere and at any time. That’s why I am in favor of them. To begin with, they are very useful and parents can always call their children whenever they want and make sure they are fine. For example, we can use cell phones while driving, or speak to someone in another country. We can use them in the business world to conduct meetings or to rely vital information to co-workers or to conduct trade with other businesses. Many scientists consider the mobile phone transmitters to be the greatest danger to public health. I personally use them to call my friends whenever I feel miserable, euphoric, you name it. Making appointments with them is so easy. And not to miss the texting, which I have been using quite a lot recently. I have come to the conclusion that a text can make you much happier than a phone call, when you least expect it. Some may say that requiring children to wear uniforms does not allow the child their individuality. I think pupils at middle schools should wear school uniforms because school uniforms are homogeneous and show no difference concerning the families economic. Another reason why I think middle schools should have school uniforms is that school uniforms help pupils to represent their school and also help to separate themselves from other schools and pupils. Finally I think the idea of wearing school uniforms at middle school is a good way to form a positive school spirit and let pupils feel united and not separated only because of a more or less affluent background. I think that personally, I have nothing against school uniforms. They can be handy – no need to dwell on what the kid would have to wear everyday in school. But to use the argument that it will make schools safer is, I think, not fair. There are other more effective things we can do to ensure school safety. Let us not use school safety as an excuse to do things that we want.

Leaves a lot to be desired

Charleston, South Carolina area. But excluding all of its faults, my paychecks have never been late and I have yet to be laid off, which lay-offs are not uncommon in the DoD world. V. T. Malcolm – Leaves a lot to be desired I work for V. T. Malcolm, we are a Department of Defense contractor out of Charleston, SC. Our main corporate office is in Chesapeake, VA, we also have offices in CA and FL. Our main specialty is communications. There is a Joke at Malcolm, â€Å"that for a technology driven Communication Company our inter-company communication is antiquated at best. † My so-called rise in the companyI have worked there for four years and all four years I have had â€Å"supply specialist 2† as my official title. Titles do not mean much at Malcolm. In those four years I have held the positions of; shipping and receiving clerk, warehouseman, forklift operator, forklift trainer, safety officer, tool room clerk, tool room supervisor, inventory specialist, building maintenance, warehouse supervisor, production supervisor, government tool specialist. My rate of pay has increased a dramatic seventy three cents from my starting date. There are no bonuses for non-managerial staff.If my valuation is up to snuff and the moon is in the right orbit I have been lucky enough to get a Cost Of Living Adjustment of twenty-five cents for my yearly raise. Other than that we receive no other improvements in pay or incentives for our work. It has been written multiple times in emails and said in meetings to â€Å"be done with your work and you will be rewarded with more work†. This has been explained that you need to do you work as soon and as good as possible and your â€Å"reward† for this hard work will be more work. Meaning if they feel that you are not up to speed or quality on your org there is a possibility you could be furloughed.At V. T. Malcolm they do not fire workers, but they do furlough. The idea being behind this is if you are fire d you can collect unemployment almost immediately, which Malcolm has to pay into, however if you are furloughed there is a six week waiting period (hoping that they call you back to work) enacted by the unemployment department before you can begin collecting unemployment. During this time Malcolm figures you cannot go that long without a paycheck, so they are hoping you will find another Job so they do not have to pay any extra towards your unemployment check. These are Just a few ways in which they feel they motivate workers to work.A sliver of management style Now when I first started at Malcolm they would do an â€Å"all-hands† meeting approximately every six to eight week in which the general manager would basically give us a â€Å"state of the company' update and finish it with a grilled hamburger and hotdogs lunch with a couple of sides and a drink. About a year and a half ago we had a steak lunch with baked potatoes and all the dressings. Starting a week later we had a massive layoff of approximately half of our working force. Since that point we had one lunch meeting in which we were, for lack of a better term, told that we are doing k but things are looking up.That was over six months ago and things are not looking great. There is a large contract that is going to run dry by the end of the year if we do not get replacement contract there will be a layoff in that department. In the department that I am currently in we have approximately six contracts currently at work. However three of them are not large and do not last for more than a few months. One is in the beginning stage and is contingent on a lot of things happening t the beginning and from what I understand we are struggling to keep up to the deadlines.One is in full swing and it is also struggling to keep up. And the last one is the one I am on, it is scheduled to end September 30th of this year. As we sit right now it is well known that we will not be able to complete it successfully by the end of contract. There is currently sitting a possibility that the contract could be extended if we can show that we can do the work and meet the deadlines, but at this point with the amount of work left to do and the amount of employees currently assigned to the contract it will be very unlikely to happen.Individual Management Style I have given you all this information to give you an idea of what it is like where I work. Now management wise, I will begin with myself, and tell you how I work with my employees. I am the immediate supervisor for four employees currently. I recently had one move to a different project and the other left the company for a better Job. I have an employee who is degreed but is currently working at a low end laborer Job go for an interview on Friday for a position that is within her area of study.So there is a distinct possibility soon to have only three employees which will make it interesting n ending this contract successfully. I try to be a very people orientated manager. I have an open door policy with my employees and encourage dialogue flow both ways. I want to know when something is working and when something is not working. I ask them often if they need anything from me, if there is something I could do or get for them to make their Jobs easier. If the time is available for me and the workers are at a certain point where I can step in then I get in the warehouse and work with them.On Fridays I bring in donuts in the morning, knowing which specific ones employees prefer and try to have them available. I do what I can do to have a good working relationship with the employees. I have had personal one on one meetings with the employees to get to know them better and tell them a little about myself. I tried to find out what their fears at work are and what they feel about the work they are doing, what I can do to help them, and what motivates them.When I get emails regarding them or that concern them in any way I make it a point to either post the email or at least go to the ones involved and let them know exactly what was said so there is complete open dialogue. Now if there is something negative happening guarding one of my employees from higher up the hierarchy and I am made aware of it, depending on the situation I may make the employee at least partially aware of what is happening (I would want to know if the roles were reversed, and try to keep that in mind). Group Management Style Unfortunately this type of interaction between supervisors and employees stops with me.My immediate supervisor has yet to come to my warehouse and check on me and the production rate since I took over from Just being a warehouse manager to both the warehouse manager and production manager which has been a little over a onto. When I go to his office for help or guidance I receive short curse-filled answers, when he is there, or get told how busy he is and that he couldn't possibly do (whatever it is I ask of him) now but maybe later in the week he might have a chance, he will get back to me. Which doesn't happen I usually have to get the answer else wards or make it up myself.This is the response I receive from the project manager as well (for him it is usually by email for he is impossible to locate in person). I recently sent an email to the project manager breaking down all the tasks we have until the end of the contract (September 30th) as per time it will take to do them in man hours and material needed and compared that to the employees I have at my disposal, their amount of man hours left till the end of the contract and asked for a specific number of more employees to be able to complete this Job successfully by the end date.He then did not address the email I sent him but sent out a department wide email asking what resources we need to complete the tasks at hand and gave a sooner closing date. I then adjusted my numbers and sent him back an mail asking for the adjustment, Justifying th e reason why and attached the previous email to the one that was sent out for all to see with the hopes that some good will come of it.In a later email that I was cad on he briefly mentioned that he is requesting additional help in areas needed but we need to strive to complete this contract with what we have since that is the task that we were originally given and at this late stage the â€Å"Calvary' may not arrive in time. But at the end of each email he writes â€Å"motivate your people to be done with the work that they have and they will be rewarded with more work†. I liken that to telling someone in captivity to each your slop (even though the dogs refuse to eat it) and we will give you more.From my perspective on an upward trend this is where the management skills end and threats and intimidation begins. Then the department head always has a bad attitude and is in a hurry to be going somewhere. I have tried to have conversations with this man and it always ends with him telling me we are working on getting more contracts but right now he's not even sure if he will have a Job come tomorrow. That is the last thing you want to tell your employees!! Next as a general manager for the Charleston division's level this man is more concerned about the aesthetics of the place then how the place is actually running.We may not have working toilets (true story) but he was very upset that our lawn service was a day behind on cutting the grass. When the air conditioning was out in the building besides the one he works in there was a 10 day delay in getting it fixed due to cost? But when it went out in his building and the part was going to take two days to get delivered, he paid extra to overnight it and have it installed the following day. Which by the way while waiting for the part he went home because it was Just too hot to work.The place was 80 degrees. My warehouse hits 80 by eleven am and is usually hovering between 94 to 97 degrees by the time we go ho me. Of course we have no air conditioning and during the summer we have two small heaters. I had to â€Å"acquire† individual space heaters for the workers to get them close to being warm enough to do their work. Corporate Style Management Finally at the corporate level, well basically if you are not in the corporate office you are an annoying little ant that keeps getting in the way.Once a year we have awards sent out for â€Å"outstanding† workers. It always works out the same, one award for San Diego, one award for Pensacola, one award for Charleston, and the rest for Chesapeake. All of the events and recognition on our company web site goes to VA. We have even had pictures of work that was done by workers in Charleston, at Charleston locations mislabel as VA Jobs. And even though there were corrections sent into the main office about that fact a re-print, correction, or update was never publicized acknowledging the mistake.All of the current events are about VA, lo cally e have volunteered at charity events and those have been overlooked to write about how the CEO ran a marathon (not for a charity, Just for his own good). The one time the CEO came to Charleston for an â€Å"all hands meeting† it was to tell us that we were doing good and keep up the good work and that VA thanks Charleston for supporting them. Even though at that moment in time Charleston had the highest amount of revenue coming into the company including all North America entities. When you get that kind of support then you question why moral is as low as it has almost ever been?I think you have answered your own question. V. T. Malcolm used to not be like this from what I hear from the â€Å"old-timers† even as short of a time as seven years ago Malcolm valued their employees. Bosses used to take pride in what their workers did and in reflection workers took pride in what work they put out. After being sold four times and this final one to a holding company out of England I think workers are Just too shaky in their Jobs and bosses are too concerned with their Jobs and the bottom line to care what happens to the company.The consensus is that the company will be broken apart and sold piece by piece to the highest bidder. And that leaves everyone's Job in a state of limbo. Management is either too self-absorbed or too nervous as what's going to happen next that all management training (if any) has been thrown out the window and it is simply look out for one's own good. Meanwhile we are bidding and receiving Jobs we are not even remotely qualified for, but get them because we are the lowest bidder.Which means we have to cut costs (usually on the working man, not the overpaid administration) and thus we have multiple mistakes by workers who are making barely above minimum wage so they don't care what kind of product they put out. So we transfer everyone around hoping to make a change but we still have low skilled, low paid workers doing Jobs th at are scrutinized by government employees (usually paid a lot higher) and thus the product is rejected and our management cannot figure out why they are receiving such low quality work.So I have a couple of theories; first you get what you paid for, meaning low paid workers gets low quality work. Second, when the only time you check the work is when it has already gone through your customers Quality Assurance program and failed miserably, that leaves a bad taste in the SQ rep and they will be expecting poor laity work from your company so things will fail even if they are within passing range. Finally issues like this start from the top down and if you want good work you have to hire good workers and support them.Poor management breeds poor workers. I believe it is time for a shakeup at Malcolm from the top down. 1 . Set Goals, setting clear and concise goals lets you know exactly what you expect and where you expect to go. 2. Prioritize, what tasks to I need to do to achieve my go als, how does this task help me complete my goal, and what extent does this task help me achieve y goal. By choosing which one of those your tasks falls under it helps you achieve your goal quicker and easier. 3. Keep a task list and use the above guidelines to help prioritize those tasks. . Schedule tasks; this helps keep them in control and gives you a guideline to follow 5. Focus on one task at a time; trying to do too much at once gets confusing an leads to frustration, failure, and ultimately giving up. 6. Minimize distractions; we are used to multitasking today but if we can concentrate on one thing and do it to the best of our abilities we will succeed. 7. Overcome Procrastination: simply stop being lazy 8. Take breaks; Even superman took a break every now and again. 9. Say â€Å"No† – when you feel overwhelmed Just say no.There are times where you Just can't do it all. 10. And finally Delegate Tasks; you have people who work for you and you hired them to do mor e than make copies and get your coffee. Use their skill set and ease your load a bit. (William) These are all things that Malcolm supervisors need to learn. Add these in with people skills and V. T. Malcolm is set for success. We put out a good product usually. We need good people working for us. To get good people working for you, you need to have good management.Management that trust and uses their employees to the fullest. Management at its lowest form is managing people. You don't manage people by scare tactics and bullying them. That is something that most people learn in high school. Management is a bit like water once the flow starts downhill it usually trickles all the way to the bottom. References William, D. K. (n. D. ). Http://www. Lifelike. Org/articles/productivity/lo-proven-time- management-skills-you-should-learn-today. HTML. Retrieved from http:// www. Lifelike. Org.