Comparison and Analysis of Museum Architecture

Comparison and Analysis of Museum Architecture In the late 1790s, several influencial members of the Prussian government requested that a museum was to be built to house the royal collection that would constitute a valuable contribution to the states cultural mission. Due to struggle with Napoleon and Prussias defeat in 1806 with victory in 1813 at Leipzig, the project was delayed until 1822, when Architect Karl Friedrich Schinkel took on the project. The Altes Museum was built between 1823 and 1830. It is one of the most important works in the architecture of Classicism. It has a lucidly ordered exterior and an interior structure of great precision after the Ancient Greek style, Schinkel pursued Humboldts idea of the museum as an educational institution open to the public. The Altes museum was originally built to house all of Berlins art collections, it has accommodated the Collection of Classical Antiquities since 1904. Between 1943 and 1945 the building was severely damaged by fire. Reconstruction work continued up until 1966. Since 1998 the Collection of Classical Antiquities has displayed its Greek collection, including the treasury on the ground floor of the Altes Museum. The Egyptian Museum has, since August 2005, shown its collection on the upper floor where it will remain until it moves to the Neues Museum in 2009. Karl Friedrich Schinkel was associated with leading poets, philosophers, and statesmen of his day. Some of their discussions involved aesthetics and the purpose of art, which did more than influence him passively. He sought to apply such theories to his architectural work. The Altes Museum was intended to be simply an extension of the Royal Academy, but Schinkel insisted he wanted it to be an autonomous building sited at the northern end of the Lustgarten, opposite the palace. In order for this to occur, because of the buildings intended size, a canal had to be filled in and a number of smaller buildings were removed to make way for the museum.It has been sited to face the palace and inserting it between the River Spree and a number of smaller buildings allowed him to accommodate the projects not so generous budget. Since only the museums facade needed ornamentation worthy of such an eminent neighbor as the palace, the Konigliches Schloss. The museum was located on axis with the palace and was adjacent to the cathedral and arsenal, giving it a central place among these three pillars of the Prussian state. It was to become a magnificent icon of its time. The museums relations with the state only went so far, with the facade, significantly, bore an inscription acknowledging the kings leading cultural role, although the museum was in no sense an extension of the court or an expression of royal power. The facade may have bore the kings name, but the buildings interior was to belong to art and its public. The Alter Museum appears a monumental masterpiece on the exterior, but not much can be said for its interior. It is preserved by recognising the courts role in the cultural life of Prussian society, while simultaneously disallowing this acknowledgement of power from affecting the museums internal logic. The building presents us with one face to the outside, while presenting another on the inside, reminiscent to the Janus symbol of one head with two faces, a double-edged sword, or the opposite sides of a coin. Schinkels museum attempts to suggest how art is connected to the world socially, culturally, and morally,within the context of the three pillars of Prussian society, as symbolised by the palace, arsenal, and cathedral. In the Altes Museum, it is impossible to ignore the buildings use of architectural forms traditionally reserved for religious buildings.The ground floors center is called the rotunda, which is a direct reference to the Pantheon as well as the Museo Pio Clementino. Art history and Aesthetics developed simultaneously over the course of the 18th century. These formed the hierarchy for the Altes Museum. The ground floor housed art from the ancient world, and the second floor contained paintings by period and style.Classical art was not arranged in any particular order, but was presented as one entity, it was not considered as another period, although they were carefully arranged according to the contemporary precepts of art history. This distinction between classical and postclassical, assumes that classical art is timeless, ideal and foundational. The monumental order of the eighteen fluted ionic columns, the wide stretch of the atrium, and the rotunda is an explicit reference to the pantheon in Rome, and finally the grand staircase which are all architectural elements where up to this point, were reserved for stately buildings. The Solomon R. Guggenheim Museum, New York (1956-59) Frank Lloyd Wright has described the design of this building in a number of letters to its founder, Solomon R. Guggenheim, and in several statements made during the time of its design and construction. Both Wright and Guggenheim died before they could see the museum completed. This particular museum is in a class of its own. Featured in a number of famous Hollywood films for its famous levels of circulation in a spiral form. This particular distinctive building was Frank Lloyd Wrights last major work. From the street, the building looks approximately like a white ribbon curled into a cylindrical stack, it is slightly wider at the top than the bottom. Its appearance is in sharp contrast to the more typically boxy Manhattan buildings that surround it. Internally, the viewing gallery forms a gentle helical spiral from the main level up to the top of the building. Paintings are displayed along the walls of the spiral and also in exhibition space found at annex levels along the way.This museum can be described as clean beautiful surfaces throughout the building, all beautifully proportioned to human scale. These surfaces are all lighted from above with natural daylight beaming down into the main foyer. A feature that many historic museums lacked in previous times and failed to accomplish so well. This Museum seems to have an atmosphere of harmonious simplicity where human proportions are maintained in relation to the picture or painting on show. There is a fluid quiet created by the buildings interior where the new painting will be seen for itself under its favourable conditions, not conflicting with the buildings interior making it the centre piece of attention. The paintings are all situated in perfectly air conditioned chambers, essential to the preservation of these great pieces of art and sculptures. The walls of the Solomon R Guggenheim Museum and spaces, inside and outside, are one in substance and effect. The walls slant gently outward forming a giant spiral for a well defined purpose. One can view this as a new unity between beholder, painting and architecture. The pictures are inclined, faced slightly upward to the viewer and to the light in accord with the upward sweep of the spiral, the paintings themselves are emphasised as features in themselves and are not hung square but gracefully yield to movement as set up by these slightly curving massive walls. In a great upward sweep of movement the picture is seen framed as a feature of architecture. The flat plane of the picture detached by the curve of the wall is presented to view much as a jewel set as a signet ring. Precious as itself, unique in its identity. Slightly tilted curving away of the walls against which the pictures are placed not only presents no difficulty but facilitates viewing, the wide curvature of the main walls is a positive asset to the painting. The gentle upward, or downward, sweep of the main spiral-ramp itself serves to make visitors more comfortable by their very descent along the spiral, viewing the various exhibits. The elevator is doing the lifting, the visitor the drifting from alcove to alcove. The diameter of the spiral increases as it ascends so that the depth of the chambers is as a result greater at the upper levels. The partitions between the chambers act as bearing walls. Criticism of the building has focused on the idea or presumption that it overshadows the artworks displayed within, and the apparent difficulty to properly hang paintings in the shallow windowless exhibition niches that surround the central spiral. Despite the rotunda generously being lit by the large skylight, the niches are heavily shadowed by the walkway itself, leaving the art to be lit largely by artificial lighting. The walls of these niches are neither vertical nor flat with most being gently concave, meaning that canvasses are being mounted proud of the walls surface. Limited space within the niches mean that sculptures are generally relegated to plinths amid the main spiral walkway itself. Prior to the Museums Grand Opening, twenty-one artists, including Willem de Kooning and Robert Motherwell, signed a letter protesting the display of their work in such a space. Although there was criticism towards Frank Lloyd Wrights design of the Museum, it was deemed controversial. There were also fans of his design who admired and cherised the museum for what it was. Wrights great swansong, the Solomon R. Guggenheim Museum of New York, is a gift of pure architecture or rather of sculpture. It is a continuous spatial helix, a circular ramp that expands as it coils vertiginously around an unobstructed well of space capped by a flat-ribbed glass dome. A seamless construct, the building evoked for Wright, the quiet unbroken wave. Spiro Kostof. A History of Architecture, Settings and Rituals. New York: Oxford University Press, 1985. p740. Entering into the spirit of this interior, you will discover the best possible atmosphere in which to show fine paintings or listen to music. It is this atmosphere that seems to me most lacking in our art galleries, museums, music halls and theaters. Frank Lloyd Wright. Frank Lloyd Wright, The Architectural Forum, January, 1948, Vol 88 Number 1. p89. The Solomon R. Guggenheim Museum has become a cultural icon and can be seen widely throughout popular culture. It is featured in Matthew Barneys The Cremaster Cycle, Bye Bye Birdie, Men in Black, When in Rome, Downtown 81, and prominently in The International, where a major shootout occurs in the museum. In fact a life size replica of the museum was built for this scene. The New Yorker magazine has included the museum multiple times on its cover and in various cartoons. Berlins Judisches Museum (Jewish Museum) September 2001 In one of the worlds biggest genocides ever before seen in history, WWII was a dark unstable era. From the German Nazi camps to the gas chambers of a very grim world, human beings were being cattled like animals from camp to camp, starved enough to die from hunger due to lack of food and water or forced into the chambers of death, only to be suffocated by the belief of a Nazi dictator, Adolf Hitler. This was the Jewish Genocide. Berlins Judisches Museum (Jewish Museum is housed in a remarkable modern building designed by Daniel Libeskind. The museum was opened in September 2001. Some say it was shaped a bit like the Star of David and containing bizarre angles to symbolise the Holocaust, the Judisches Museum is the largest and most unique Jewish museum in Europe. It takes you back in time sending a chill down your spine giving you a sense of what really happened back then in the holocaust. The circumstances of the museums foundation and the collections it is based on, the people who have directed its development can be found here as well as personalities of public life who are dedicated to the intercultural understanding of the Jewish Museums and pHYPERLINK http://www.jmberlin.de/main/EN/04-About-The-Museum/05-Prize-UT/00-award_ceremony.phprize for understanding and tolerance. Like in any other new structure built whether it being a church, museum, hospital or home, numerous views and opinions where expressed in relation to the Jewish Museum in Berlin. Visitors had seen Libeskinds new building as either a spectacularornormal museum. It was recognised as a deconstructivist masterpiece, a groundbreaking creation, with its intellectuality in the form of a house, or even an exhibit in its own right. Daniel Libeskind placed great emphasis on peoples perceptions of the building and these are formed day after day. The museums modern architectural elements of the Libeskind building comprise of the zincfacade, the Garden of Exile, the three Axes of the German-Jewish experience, and the Voids. Together these pieces form a visual and spatial language rich with history and symbolism. Not only do they house the museum with its exhibits, but they also provide visitors with their own unique experience as they walk through the spaces, taking them back in time almost like a time capsule, being able to understand what the museum is trying to portray and what story it is trying to tell. The new building of the museum is best described as Zig-zag. The design is based on two linear structures which when combined, form the body of the building. The first line is a winding one with several kinks while the second line cuts through the whole building. At the intersections of these lines, there are empty spaces otherwise known as Voids. These voids rise vertically from the ground floor of the building up to the roof. Daniel Libeskind imagines the continuation of both lines throughout the city of Berlin and beyond. Almost like a destructive train line travelling through europe not knowing where its going to end up. An irrational and invisible matrix (Daniel Libeskind, 1995) The facade of the Jewish museum barely enables a conclusion to be drawn in regards to the buildings interior. Neither levels nor rooms become apparent to the observer. The positioning of the windows are primarily narrow slits that follow a precise matrix. They are also based on a network of connections. During the design process, architect, Daniel Libeskind plotted the addresses of prominent Jewish and German citizens on a map of pre-war Berlin and joined the points to form an irrational and invisible matrix in which he based the language of form, geometry and the shape of the building. The New Building is coated in zinc, a material that has a long tradition in Berlins architectural history. It consists of untreated alloy and titanium with zinc that will oxidize and change color through exposure to light and weather over the years. A Void is not really a museum space. (Daniel Libeskind, 1999) Voids represent a central structural element in the New Building and form the connection to the Old Building. In the Old Building, there is a staircase that leads down to the basement through a Void of bare concrete which joins the two buildings together. Five voids run vertically through the New Building. They have walls of bare concrete, they are not heated or air-conditioned and also hardly any artificial light, they are quite separate from the rest of the building. The upper levels of the exhibition, the Voids are clearly visible with black exterior walls. The Museums Voids refer to that which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes. (Daniel Libeskind, 2000) In the museum there are also underground passageways that link the Old Building with the Libeskind Building. These passageways have no official entrance. There is a path system as you pass by the great void made of three axes symbolising three realities in the history of German Jews. The first and longest of these axes is the Axis of Continuity. This axes connects the Old Building with the main staircase otherwise known as the Sackler Staircase which leads up to the exhibition levels. Daniel Libeskind describes the Axis of Continuity as a continuation of Berlins history, it is the connecting path from which the other two axes branch off. The Garden of Exile attempts to completely disorient the visitor. It represents a shipwreck of history. (Daniel Libeskind, 1999) The second of the axis is the Axis of Emigration which leads outside to daylight and to the Garden of Exile. On the journey to this great garden, the museum walls are slightly slanted and close into eachother, almost symbolising a path of destruction that plagued the past of german history. The floor is uneven and ascends gradually. A heavy door must be opened before the crucial step into the garden can be taken. Almost a portrayal in fighting your way through hell to get to heaven, making the jouney that worth while. Or is it ? The Garden of Exile is reached after leaving the axes. The whole garden is on a 12ÂÂ ° gradient and disorients visitors, giving them a sense of the total instability and lack of orientation which was experienced by those who were driven out of Germany. Russian willow oak that grew on top of pillars in the garden symbolised hope. The third of axiss is the Axis of the Holocaust which is basically a dead end. This axis becomes narrower and darker and ends at the Holocaust Tower. Glass cases on the way display documents and personal possessions devulging to the private and public life of their owners who were killed. These three underground axes symbolise the connection between the three realities of Jewish life in Germany. The new Glass Courtyard at the Jewish Museum in Berlin was built from a design titled Sukkah which is Hebrew for thatched booth, by Daniel Libeskind. This glass courtyard is the second extension to the museum. The structure itself consists features of the New Building with its shiny silver facade and the Old Building, it is a successful synthesis of old and new. This combination is strengthened by the further addition of the Glass Courtyard to the ensemble. The light flooded Glass Courtyard has its own distinctive feel. While the Libeskind Buildings zig-zag form is a metaphorical reference to destruction of German-Jewish history, theSukkah theme is one of social gathering appropriate for a courtyard. There is also the new glass roof that covers the U-shaped courtyard at about 670mÂÂ ² in size. It is supported by four freestanding bundles of steel pillars. It portrayed the structure of a tree which was the main inspiration for creating the supporting pillars, which extend into the roof forming a steel network. The integration of the Glass Courtyard with the existing Old Building posed an architectonic challenge. This glass construction does not outplay the Old Building, the landmarked Collegienhaus which was erected in 1735, in scale and appearance stands proud an independent to the new building. The Glass Hall was a complex building project, interelating the old museum with the new Jewish museum. It was deemed unconventional for both construction and materials used. Due to the expressive and asymmetrical geometry in Libeskinds design, it presented enornmous challenges to those involved in the construction process, such as the structural engineers and facade planners involved. Steel being used for such a project was also very unusual to them as well. They were used to steel that normally supported construction with right-angled or curved geometry. In the Glass Courtyard it formed branches and treetops. Almost like painting picture out of steel. Metal alloy steel, out of all materials used, demonstrated one of the most unconventional uses of steel in contemporary architecture. Four branching steel bundles each consisted of three steel pillars with the rough estimated diameter of a tree. Their function is primarily static, also in the case of fire, they contain media cables within, offering some protection to the cables. The roof girders were assembled and bolted together onsite at the building site at roof height. The weight of the pillars weighed up to six tons each and the roof girder sections weighed up to eight tons each, a crane had to be formed that withstood a bearing capacity of 200 tons necessary. The Glass Courtyard now provides the museum with space for a variety of events, such as educational workshops, concerts, theatrical performances, and receptions for up to five hundred people. It also serves to extend the museums entrance area and thereby improves the regulation of visitor flow and circulation.The new room is located a few steps way from the main entrance and its existing infrastructure. It includes cloakrooms, ticket counters, and the museum restaurant. To date over four million people have visited the Jewish Museum. It is well know for its diverse cultural and educational programs. The Glass Courtyard provides a suitable and architecturally appealing solution, which will enable this vibrant development of the museum to continue in the future. In conclusion the Altes Museum is a typical example of classical architecture which date back from Ancient Greece and the Rome Empire. It signifies a sense of formality and power amongst the people of its time. Royalty and size of structures were more common in those times rather then smartly designed structures that could achieve the same purpose. Such structures such as the Guggenheim Museum in New York, although very large in scale, it was a building designed after the turn of the century, that sparked controversy and disbelief that something of that scale and facade could be built in a congested city environment. It was considered fantasy rather then a reality. It was built and it achieved the same purpose as the Altes Museum in Berlin, but it was designed better and more cleverly incorporating the use of natural light throughout the whole structure and the use of continuity in circulation, which made the design one of the worlds most prominent buildings. Following on from such a magnificent structure in New York, we come back to Berlin, where Berlin followed a similar approach in redesigning and extending New Jewish Museum. No one ever thought that something of so significant in history could be reinvented in a way where it takes people back in time to the hurt and pain of Nazi Germany. This museum was created in such a way that it completely blew away the traditional approach of a museum. The buildings special features that include spiraling walls, sloping floors, a windowless Holocaust Tower, and symbolic lines of windows that resemble wounds. When it comes to the Holocaust, a design approach such as this one, executed perfectly, cannot come up, close and personal as this remarkable museum.

Ultra Endurance Exercise vs. Endurance Exercise Essay -- Health

Since the dawn of humankind, exercise has been a part of our existence, either consciously or unconsciously. Primal beings would run, climb trees, and sling weapons in order to survive and provide food, clothing, and other lifeline necessities for themselves and their families. As they continue to hunt on a daily basis, they unconsciously would build and maintain their cardiovascular system as they travel further to survive. Approximately 400 BC, the Hippocrates mention about exercise in great detail. If we could give every individual the right amount of nourishment and exercise, not too little and not too much, we would have found the most effective way to sustain good health. Today, we are living in a time of great ideas and new thoughts as people seriously start to study the importance and relevance of physical exercise. Dr. Kenneth Cooper from the Cooper Wellness Institute coined the word â€Å"aerobic† which means living with air. Dr. Cooper added an â€Å"s† at th e end of verb, and a phenomenon has been born. There are 41 types of aerobic exercises as we know it today ranging from walking to stair climbing, swimming to cycling [1]. Society today continues to live longer. In 2009 the average human lifespan of both sexes from birth in the United States is 78.5 years, an increase from 78.1 years in 2008 [2]. This is due to society as a whole making better nutritional choices, cutting out the toxins introduced into their bodies, and establishing and maintaining an exercise program. In result, society today is living longer and healthier. The quote by Scintilla Fly saying, â€Å"more is better and too much is never enough† may work in terms of business and education, but how much is too much in regards from an endurance exercise discipline to u... .... Works Cited 1. Cooper Wellness Institute 2. US Surgeon General, Centers for Disease Control and Prevention. 3. Heather Fink, Lisa A. Burgoon, Alan E. Mikesky , Practical Applications in Sports Nutrition, Ch 12 4. FIT & WELL 8TH Edition By: Thomas D. Fahey, Paul M. Insel, Walton T. Roth 5. Knez WL, Coombes JS, and Jenkins DG. Ultra-endurance exercise and oxidative damage: implications for cardiovascular health. Sports Med. 36:429-441, 2006 6. Gleeson M, Nieman DC, and Pedersen BK. Exercise, nutrition and immune function. J Sport Sci. 22:115-125, 2004 7. Symptomatic hyponatremia during prolonged exercise in heat. Armstrong LE. Curtis WC. Hubbard RW. Francesconi RP.Moore R. Askew EW.Source: Medicine & Science in Sports & Exercise. 25(5):543-9, 1993 May 8. Rehrer NJ. Fluid and electrolyte balance in ultra-endurance sport. Sports Med. 31:701-715, 2001 Ultra Endurance Exercise vs. Endurance Exercise Essay -- Health Since the dawn of humankind, exercise has been a part of our existence, either consciously or unconsciously. Primal beings would run, climb trees, and sling weapons in order to survive and provide food, clothing, and other lifeline necessities for themselves and their families. As they continue to hunt on a daily basis, they unconsciously would build and maintain their cardiovascular system as they travel further to survive. Approximately 400 BC, the Hippocrates mention about exercise in great detail. If we could give every individual the right amount of nourishment and exercise, not too little and not too much, we would have found the most effective way to sustain good health. Today, we are living in a time of great ideas and new thoughts as people seriously start to study the importance and relevance of physical exercise. Dr. Kenneth Cooper from the Cooper Wellness Institute coined the word â€Å"aerobic† which means living with air. Dr. Cooper added an â€Å"s† at th e end of verb, and a phenomenon has been born. There are 41 types of aerobic exercises as we know it today ranging from walking to stair climbing, swimming to cycling [1]. Society today continues to live longer. In 2009 the average human lifespan of both sexes from birth in the United States is 78.5 years, an increase from 78.1 years in 2008 [2]. This is due to society as a whole making better nutritional choices, cutting out the toxins introduced into their bodies, and establishing and maintaining an exercise program. In result, society today is living longer and healthier. The quote by Scintilla Fly saying, â€Å"more is better and too much is never enough† may work in terms of business and education, but how much is too much in regards from an endurance exercise discipline to u... .... Works Cited 1. Cooper Wellness Institute 2. US Surgeon General, Centers for Disease Control and Prevention. 3. Heather Fink, Lisa A. Burgoon, Alan E. Mikesky , Practical Applications in Sports Nutrition, Ch 12 4. FIT & WELL 8TH Edition By: Thomas D. Fahey, Paul M. Insel, Walton T. Roth 5. Knez WL, Coombes JS, and Jenkins DG. Ultra-endurance exercise and oxidative damage: implications for cardiovascular health. Sports Med. 36:429-441, 2006 6. Gleeson M, Nieman DC, and Pedersen BK. Exercise, nutrition and immune function. J Sport Sci. 22:115-125, 2004 7. Symptomatic hyponatremia during prolonged exercise in heat. Armstrong LE. Curtis WC. Hubbard RW. Francesconi RP.Moore R. Askew EW.Source: Medicine & Science in Sports & Exercise. 25(5):543-9, 1993 May 8. Rehrer NJ. Fluid and electrolyte balance in ultra-endurance sport. Sports Med. 31:701-715, 2001

Puritan society Essay

So far the audience is aware that Hale can be a pragmatic character because it is clear that he does not believe some of the accusations can be true, which is why he is on his rounds. The puritan theology that he relies on has brought him to be a stern character, believing that ‘theology†¦ is a fortress,’ that the audiences have to decide is congenial or disagreeable.  The arrival of Cheever causes a mass silence in the room. This is done to give the audience a chance to put events into perspective and allows the tension floating tirelessly around in the room to build up. Cheever approaches the household with bad news. The audience must be feeling sorry for him, as the men seem to be friends. Giles says to Cheever, † it’s a pity†¦ that such an honest tailor might have gone to Heaven must burn in Hell.† Cheever is sympathetic but he says that he is doing what he is told. This shows differences between some of Giles friends. Proctor is willing to ‘darken’ his name in order to revert the charges to Giles’s wife but Cheever is two faced, willing to throw away his friendship with Giles for money that he earns on his rounds. The suspense is built up even more as the audience is now eager to know what Cheever is doing in the house and what business of the court he is addressing. The audience is then stunned on the note that Cheever’s arrival is because he holds the warrant for the arrest of Elizabeth. Proctor, whom has had an overt hate for Hale since his entry, is enraged as he said that Elizabeth was not charged just, ‘somewhat mentioned.’ Hale, however, is just as shocked and proceeds by asking, â€Å"when were she charged.† The audience is really interested by this point; Miller has timed and written this section linking almost everything to a previous scene. We learn from Cheever that sixteen people had been charged that evening and all to be arrested. Cheever then begins to look around the room for any ‘poppets’. Miller has timed this to perfection as the audience is queued to remember the one that Mary Warren had given Elizabeth earlier that evening. Of course Elizabeth will not remember this after all the commotion. The audience are shown this when Elizabeth claims she ‘has kept poppets’ since she was a girl. Cheever persists in his search, as her word is not reliable in court. Cheever finds the one that Mary gave to Elizabeth earlier and refuses to believe that it is Mary’s. This adds to the tension and also is a ploy for an even more terrible consequence. Elizabeth then goes to get Mary Warren in an attempt to prove her innocence, whilst she is away a most unimaginable discovery is made. There is a needle stuck in the belly of the poppet. Miller makes Proctor struggle to find out the significance of the needle. Whereas the audience is well aware of the significance that the needle has as this will be misinterpreted for a link to Abigail Williams being stabbed and are eager as to what Proctor will say or do. Proctor claims that ‘she done it herself.’ But Cheever does not believe this statement because Abigail had accused Elizabeth’s ‘familiar spirit’ of doing the deed. In such a puritan, god-fearing biblically run society accusing somebody’s familiar spirit will mean they are telling the truth and the accused was a witch. The audience does not know this it what it means but they are able to catch on. At this point tension is at a titillating peak and the plot is steady. Hale is struck by the proof and is incapable of believing Proctor’s suggestion. Mary is brought down and is questioned consecutively. Her bewildered attitude as well as disagreeing opposition questioning her allows the questioners to manipulate her words and stutters to their own liking. After gathering the basic outline in all the conflicting opinions she clearly says, â€Å"†¦ I made it.†Ã‚  Her admittance to the ownership and the placing of the needle in the poppet but this does not dissuade Cheever. He is convinced †Tis hard proof!’ Miller has an excellent perception of the thoughts and moments that the audience are not anticipating, his pauses and hesitation in Mary’s dialogue give the audience an idea of how she is feeling and why she is stuttering so much. When Elizabeth finds out that Abigail is the one who has accused her, she loses her temper and says something that guaranteed her a one way ticket to jail. â€Å"She must be ripped out of the world.† Elizabeth, by saying this, has virtually condemned herself, and the chances of her leaving innocent get slimmer. Proctor then gets a chance to protect his wife; this appeals to the audience, as they know he is sincere and trying to forget Abigail. Proctor in a fit of rage tears Cheever’s warrant and attempts to get rid of the uninvited company. Miller has opted for Hale to stay quiet throughout this confrontation to show his cowardly characteristics to the audience, as he has not said anything that he had said to the Proctors to Cheever. Proctor also knows this and his hate for Hale is again shown when he himself calls him a ‘coward.’ This also shows how everyone who is a sceptic of the goings on in Salem does not want to publicise their queries in case the girls, for being too close to the truth, accuse them. Proctor keeps backing up his wife, whom knows there is no point because she will have to go whatever he does. Elizabeth is scared and the audience has now adopted a serious hate for Hale whose words are ineffective and does nothing to stop Giles, Francis’s and Proctor’s three wives from being arrested, he is frowned upon by everyone as a fake. Before she leaves Elizabeth tells Proctor to continue as normal. The audience may be sympathetic towards Hale because they know his religious status restricts his opinion. There are a few main points when hale enters that form the rest of the play; when Proctor claims that the goings on in Salem had naught to do with witchcraft and the arrest of Mrs. Proctor. This scene is flooded with instruments that create drama, suspense and emotion provoking feeling. The character description is appropriate and lets the audience differentiate good from evil. Miller employs splendid literary skills that keep the tempo and tension levels at unbearable highs. The language is elementary and a lot of it is biblically surrounded reflecting the puritan society. His repressed feelings about the freedom of thought and speech in 1956 are all expressed without regret in the story and gives the Crucible a tailor made, captivating essence for the reader and audience.

On the Waterfront essays

On the Waterfront essays Does the Truth Always Set You Free? On the Waterfront is a classic, award-winning and controversial film. It received eight academy-awards in 1954, including best-picture and director. The director, Eliza Kazan, in collaboration with Budd Schulberg wrote the films screenplay. Based on actual dockside events in Hoboken, New Jersey, On the Waterfront is a story of a dock worker who tried to overthrow a corrupt union. Marlon Brando superbly portrays the character of Terry Malloy. He is a young ex-prize fighter, now a dock worker given easy jobs because his brother is the right-hand man of the corrupt union boss Johnny Friendly. After Terry unwittingly allows himself to be used in setting up a mans death, he starts to question the basic assumptions if his life. This includes his loyalty to his brother and Johnny, who after all ordered him to take a dive in his big fight at Madison Square Garden. The films controversy exists in the fact that Terry decides to testify against Johnny Friendl y. His testimony attempts to show how it is fundamentally right to break group silence in a tough situation, even if a person appears to rat on his friends. To be at peace with oneself, Kazan seems to say, one must tell the truth, despite the fact that one will face ostracism, and, as in the film, probably be murdered. Kazan makes the hardships of testifying painfully clear. Thus, Brandos character is a hero. However, a dark agenda exists behind the films plot. On the Waterfront was made in 1954, two years after Kazan willingly testified before the House Un-American Activities Committee. In 1952, Kazan named the names of eight friends and colleges allegedly affiliated with the communist party. Kazan was an active member of the communist party in the 1930s, until he went through a violent break with the party prior to the hearings. He said that communism could override a persons intellect and beliefs. He also s...

News Review Example

News Review Example News Review – Article Example Obama calls preliminary deal with Iran Our Best Bet- from New York Times In the recent past there have been calls and movesby the global community to curb the upsurge of assemble of nuclear weapons by the Iran. The world or the United Nations has in the past threatened Iran and indeed effected bans and sanctions against Iran on the purported nuclear weapons and armory collection. However, the surge of other countries and neighboring nations such as Israel have increased their participation and interest in the issue of nuclear expansion in Iran. Obama has since called the renewed surge by the global partners, the best shot and chance of curbing or dealing with the menace of Iran. In principle, Israel has also warned that it would invoke or initiate military actions on top of monitoring measures to curb the threat or surge of nuclear weapons by Iran. Question: qualitative possibility of improvement on the success of monitoring Iran nuclear plans by USA and Israel:Obama has since termed the move to join the current move and aim by Israel as the best move in ensuring that the endeavor by Iran to assemble nuclear weapons is defeated. This is so because the U.S cannot afford another military incursion into Iran on such claims and secondly, the sanction by the United Nations Security Council do not yield fruits (Shultz et al 6). In principle, the United States would be better placed to rally behind Israel who are perennial rivals with Iran and instead offer their support to ensure the nuclear plants are monitored. Similarly, it is in the best interest of the United States and the global community to have eyes in the procurement process used by Iran in the nuclear plant. The graph below shows the qualitative likelihood of success of the joint supervision and mission in Iran nuclear supervisionReferencenytimes.com/2015/04/06/world/middleeast/obama-strongly-defends-iran-nuclear-deal.Shultz, George P., et al. "A world free of nuclear weapons." Wall Street Journal 4 (2007) : A15. News Review Example News Review – Article Example News Review Article Discussed: More unemployed youths? IBGS, WSJ, 15/04 this article discusses the effect of unemployment to the economic status of Brazil. This is important because Brazil is a middle income economy with several dynamism in economic growth and unemployment rate slightly higher that its counterparts. Unemployment is increasing steadily and economic conditions are worsening. The rate of unemployment has almost tripled in the recent year with a slight decrease in rate of unemployment. Since population is the main determinant of consumption, unemployment has led to slow rate of consumption thus slow rate of economic growth.Question: use the model of regression analyze to determine the relationship between economic development and rate of unemployment. Be sure to highlight all the relevant drivers of unemployment and economic development. Answer Key: the graph below indicate the relationship of unemployment and economic development. As the rate of unemployment increase, t he rate of slow economic development also increases. The key determinant of slow economic development is the level of GDP while the key determinant of unemployment is low consumption caused by low expenditure. As the rate of unemployment increases, the rate of expenditure will reduce thus lowering consumption rate. This in turn lower the rate of GDP and thus slow economic growth.The graph below represent the above case.Graph of rate of unemployment and economic development

How a satisfied customer help a company grow Research Paper

How a satisfied customer help a company grow - Research Paper Example The company also aims at helping these organizations develop effective communication strategies whose focus is customer based, employee related, investors, stakeholders, partners, and media relations focused. Harriet Weintraub Fashions has been tested and proved successful in its line of business. We encourage person to person or a group of people’s communications consulting. We not only deal with companies and corporations but with individuals as well. Broadways also has a plan of opening other branches in other states as part of its expansion plan. Description of Marketed services The services offered by Harriet Weintraub Fashions are among others, trainings on communications. Proper communication is the bottom-line of any relationship. In this competitive world of business, companies and firms are struggling for the same client base. It is the case of putting the best foot forward, which Harriet Weintraub Fashions clearly explains. We also conduct management training. We tr ain the top brass of any company on how to relate with each other and with other members of staff. Productivity comes about only when people work together for a common goal. Training of new employees is also done by us. Furthermore, we take our clients through sessions of image consultancy. Such sessions include how to make presentations, going for deals, meeting new clients etc. Identification of the target market We have a rather broad market as already highlighted. However, we majorly target companies who deal directly with the consumers. We all know from the chain of trade, that there are those organizations that interact directly with the client for instance, the fashion industry. We take it upon us to address key issues that pertain to such matters since such companies compete on customer experience. Description of service quality metrics There exists no single metric by which the service of an organization to its customers should be pegged (Morris, 2012). All metrics work tog ether for the achievement of the organization’s success. The following metrics as adopted by Harriet Weintraub Fashions look to span the benchmarks of operations, finances and quality respectively. They include; Timely service delivery. At Broadways Limited, we try to make sure that our services are delivered to the prospective customers within the same day. Our promptness makes them respect us and appreciate us more. Moreover, we try to clock a deal with a new client at the first impression. This is important to us especially given the industry we are in. We do this by identifying which issues need to be considered at whatever time and thus enable us establish the proper escalation rates. Moreover, as an operational metrics, we try to gauge the rate of customer response and resolution. We also monitor the rate at which our employees handle customer matters and determine whether more team training or individual coaching is required. We do this by evaluating the average time i t takes for a member of staff to effectively communicate to the client at hand. We also take caution to ensure that the abandonment rates are as minimal as possible. This is especially when there are a lot of clients. Financially, as an organization, we take into account all the revenues accumulated and expended being careful not to run into losses. We also calculate the importance of training versus productivity. This is because we know that it is directly proportional to customer

Proposing a Solution on Texting While Driving Essay

Proposing a Solution on Texting While Driving - Essay Example period. In other words, it amounts to something like a driver covering a length of football field at a speed of 55 mph without looking at the road. In another study carried out in 2008 it has been mentioned that over 800,000 Americans were texting or making calls, during the same year over 6,000 Americans were killed because of distracted driving and cell phone usage is one of the major reasons. Considering the extent of loss to the life that cell phone usage, specifically texting, there has been a Federal ban on texting while driving for commercial vehicle drivers. The defaulters may be subject to fines up to USD 2,750. But even after this ban the scene has not changed significantly. In order to propose a solution to address the issue of texting while driving it may be meaningful to understand the cause that leads the drivers to text. One of the national insurance agencies in America conducted a survey of over 1500 drives, nationwide. As per the findings of the survey, the key reaso n for people to use cell phones while driving is (Deleon) â€Å"social etiquette† demands that people be in constant contact with each other, so people feel pressured to responds immediately to text messages and phone calls.† This issue may be very difficult to be addressed comprehensively by adopting just one solution. Such issues can be addressed by two types of solutions, these are i) technology based solutions and ii) by bringing about a behavioral change in the actors concerned, in this particular case drivers are the key actors. In this paper, I would like to propose a solution that aims at kindling a behavioral change in the drivers. The justification for adopting such an approach is centered on the reason for which the people get urged for texting. The key audience in this proposal is the policy makers and society in general who are usually the drivers of social and behavioral change amongst people. If the audience, as I would propose in the next section, adopts the behavioral change strategies, I believe that there would be a considerable improvement in the statistics pertaining to texting while driving. It is also important to note that the proposal that I present is even though relevant for all drivers, but has specific benefits for commercial vehicle drivers. These are the ones exposed to high risks. The proposal is presented in the table below: Strategies of principle In order to induce a behavioral change amongst commercial drivers, I propose that the telecom companies should mandatorily send Statutory Warning about the dangers of texting while driving (TWD) before each text they send such as â€Å"TWD multiplies the risk of crash incidents by 23 times.† or â€Å"You might not be able to see the person whom you text if you text while driving.† Similar warnings may also be placed on strategic places inside the car. It is the job of the policy makers to ensure that each cellphone operators comply with this regulation. Con sequences of actions The consequences of this solution are anticipated to be: Subconscious learning by every cell user about the fallouts of TWD Advocate and Amplify the cause and risks of TWD Fall in the number of TWD accidents Analogies Advertisers, social marketers and policy makers have successfully applied Statutory Warnings in order to modify behaviors with respect to other unhealthy habits such as smoking, HIV/AIDS, toys using LASERS etc. Texting while driving is already being seen as a one of the unbending issue for all