Review and Critical thinking Essay

Review QuestionsSyncopation is placing emphasis or accents on crush that are unexpected, or, alternatively.Is music that combined the music of marches with the rhythms of African music. The instruments apply for ragtime are used in go to sleep.Cornetist who helped to create jazz music . His music had a loud piercing sound that be heard in the distance.Bebop had faster rhythms and more complex harmonies.A form of jazz that emphasized extemporisation. In hot jazz bigeminal musicians did improvisation, In classic it was one. Critical Thinking QuestionsBoth use improvisation at some point. A difference is that classical music seek not to improvise but jazz music use it entirely(a) the time.A characteristic of jazz is that it uses a of improvisation. Another characteristic is that it has becharm from its african roots.What they mean by that is that jazz is Americas music, it was created in america and was given a lot guardianship. Even the government gave attention to it.Buddy bo lden was one of the people to create jazz, not much is enjoy about his music, but some people that heard his music earn said it was a loud piercing sound that can be heard from a distance.Improvisation is creating music in the moment by responding to the other players around you. Jazz music uses improvisation almost all the time, most jazz pieces use improvisation.

Otherness

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Literary Analysis of Shakespeare’s Hamlet Essay

In the English reincarnation, identity was an important engross, occurrencely the verbalism of identity. As Stephen Greenblatt argues, there is in the early modern period a change in the intellectual, social, psychological, and aesthetic structures that govern the generation of identities that is non save complex except resolutely dialectical (1). The identity of the independent was of particular importance how monarchs shaped their own identities, and how these identities affected their subjects.Ta baron Greenblatts argument, this physical composition examines the construction and manipulation of identity in Shakespeares hamlet in particular, the ways in which Elizabeth Is self-representations inform the add. In supplement, the penning will show how the characterization of critical point is shaped by the radiation pattern of Elizabeth I, who controlled her reality moving picture through elaborately constructed self-representations. Reflecting her use of these represe ntations, crossroads, who possesses stereotypically maidenly attri neverthelesses, fights to reanimate himself as a masculine character to recover his familys and demesnes honor.The late Elizabethan period was filled with anxiety and get down over the aging of Queen Elizabeth I. Concern about her impending termination was solo made worse by her refusal to name a surrogate. When Shakespeare quiet settlement in 1600, the playwright was subject to an aging, infirm pansy, who at cardinal had left no heirs to the English thr hotshot. In settlement, Shakespeare thus addresses two semi policy-making problems that England typefaced at the beginning of the s heretoforeteenth-century royal season and womanly sovereignty. As Tennenhouse argues, History plays could non be written afterward hamlet, because the whole payoff of dislodgering power from single monarch to another had to be rethought in enamour of the aging clay of the queen (85). The preoccupation of the Engli sh public with who would mystify their new ruler, along with eager laughipation of male kingship, is expressed passim settlement. Although the play is not written as a political allegory, un signalion qualified resemblingities do exist between aspects of Queen Elizabeth Is public persona and the character of critical point. Before further explaining this comparison, however, it is necessary to describe how Elizabeth I shaped her public persona.Elizabeth Is Image As head of the Angli stomach Church, Elizabeth I was wary to align herself in marriage with a Catholic. Accordingly, carole Levin argues that Elizabeth I promoted the image of herself as a pristine maiden head into the middle and advanced years of her life Elizabeth presented herself to her state as a symbol of virginity, a Virgin Queen (64). Whether political or personal, her refusal to hook up with was in many ways advantageous, for she avoided the disaster of Mary Is match with Phillip II. Yet it likewise cau sed a great deal of concern among the populace.As Levin observes, by not binding, Elizabeth also refused the most obvious plump of being a queen, that of bearing a child. Nor would she name a successor as Parliament begged her to do, since Elizabeth was convinced this would increase, sooner than ease, both the political tautness and her personal danger (66). Elizabeth Is strategy to retain political power may create pr make upted the usurpation of her authority by a husband, plainly it did cause disfavor among the English citizens, peculiarly as she grew fourth-year without announcing an heir.Anxiety over the ecological succession led to disrespect for Elizabeth I, with many people gossiping that she did not marry because she was an un born(p) muliebrity. Levin writes, there were rumors that Elizabeth had an impediment that would eradicate regular sexual relations (86). Levin provides an example for these rumors in an excerpt of a letter from her cousin Mary Stuart indubi tably you are not like other women, and it is folly to advance the notion of your marriage with the Duke of Alencon, seeing that much(prenominal) a conjugal union would never be consummated (86).Others claimed that Elizabeth I had illegitimate children who were kept secret (Levin 85). These accusations indicate that English citizens, as spunky as family relations, perceived Elizabeth Fs prolonged maidenhood as unnatural and even monstrous. Although Elizabeth I was willing to admit to Parliament that she had spent much of her strength, she was awake to cultivate the image of herself as a schoolboyish woman to the public. unitary important example of this method is the famous Rainbow Portrait, which Elizabeth I commissioned in approximately 1600, the same period critical point was written.Even though Elizabeth I was sixty-seven years old when the painting was commissioned, she appears in the painting to be a young woman (Levin). Elizabeth I created an intricate and diverse im age of herself. As an unmarried monarch, she became Englands Virgin Queen. Possessing two bodies, Elizabeth I schematic masculine authority as Prince and as mother to her subjects. As Elizabeth I grew previous(a), she relied on iconography to deceive the English populace into faceing her as young and vital. These diverse representations of Elizabeth I are complexly reflected in Hamlet.The similarities between Elizabeth I and Gertrude are obvious both women are perceived as indulgent, aesthetic monarchs and are criticized for attempting to act like women younger than their aline ages. To Gertrude, Hamlet even states, O shame, where is thy blush? (3. 4. 91). Despite these correspondences, a to a greater extent(prenominal) interesting analogy exists between Elizabeth I and the character of Hamlet. The paper will compare Elizabeth I, who claimed to fuddle the heart and stomach of a king (Levin 1) with Hamlet, a prince often castigated for playacting in a stereotypically femini ne manner. Reflections of Elizabeth Is Constructed Identities in HamletOne attempt by Elizabeth I to maintain her image as the Virgin Queen was a use of heavy cosmetics in an drift to make herself look younger and therefore stronger. Mullaney quotes Jesuit priest Anthony Rivers as describing Elizabeth Is makeup at some celebrations in 1600, when Hamlet was written, to be in some places near half an inch slurred (147). Unfortunately for Elizabeth I, this attempt to hide the helplessness of her age seems only to suck in exacerbated her subjects contempt for the assumed impuissance of her sex. M. P. Tilley observes that during the late Elizabethan period, there was a strong feeling a get tost a woman using cosmetics (312).Women who used cosmetics, accord to popular feeling, altered their bodies, the understructures of God, and were therefore not only immodest but blasphemous. According to Mullaney, women who used cosmetics considered to be false women because they created a decep tive face to replace the one given to them by God altering their natural female appearance made them not genuinely women. Not only were cosmetics blasphemous and dishonest, they were physically destructive. A woman who piebald her face in the Renaissance thus arguably destroyed her person in both way possible spiritually and bodily.Hamlet displays notable disgust toward pied women, yet critics have overlooked that many of the contemporary Renaissance objections to womens use of cosmetics apply to Hamlets actions. Similar to the way that painted women used cosmetics to disguise the faces that God had given them, Hamlet puts on his wondrous disposition to disguise the faculties of reason which God has given him (1. 5. 192), faculties which in the Renaissance were an essential aspect of the virtuous man. Whether or not Hamlet is truly mad, he constructs a persona to dissimulate his purpose of revenge.Painted women were disparaged for insobriety their corpse with dangerous chemic als Hamlet engages in a dangerous quest to avenge his father, and because of his quest for revenge, he is fatally poisoned. By assuming an antic disposition, a false face, Hamlet is physically poisoned by the bated mark of Laertes. Laertes poison destroys Hamlets frame natural and symbolically disrupts the body politic, since Hamlet will be unable to rule Denmark. In addition to putting on an antic disposition, a type of face painting, Hamlet possesses other womanly attributes that would arguably have caused some anxiety.Mullaney asserts that popular idea in the Renaissance, specially in the final years of Elizabeth Is reign, was against the rule of a female monarch. The English people had always been hesitating to accept a female queen as Elizabeth I grew older and more infirm, their tolerance for being ruled by a woman diminished. Mullaney further argues that this intolerance was a part of the English subjects realization that Elizabeth I was feeble and politically weakening f or the Renaissance misogyny may in fact be an integral part of the mourning process when the lost object or ideal being processed is a woman, especially but not exclusively when that woman is a queen of England, likewise (140). As the English publics sorrow for the decline of their queens strength increased, so too did their contempt for her bodily weakness and inability to govern effectively. Reflecting anxiety about Elizabeths I old age and infirmity, Hamlet displays a stereotypically feminine quality that makes him problematic as heir to the danish throne.Early in the play, Claudius chides Hamlet for his unmanly grief concerning the passing of his father (1. 2. 98). Elaine Showalter claims that Hamlets emotional vulnerability can readily be conceptualized as feminine (223). Discussing Hamlets creation of a mad persona, Carol Thomas Neely also lists passivity and harm of control among Hamlets feminine attributes during his period of madness (326). Hamlets emotional vulnerabi lity and passivity, when considered in the politically-charged atmosphere of the late Elizabethan period, can even be seen as his downfall.Mullaney, quoting Tennenhouse, argues that Hamlet is a play keenly aware of its late Elizabethan status, in which the impending transfer of power from one monarch to another had to be rethought in view of the aging body of the queen (149). He goes on to view Hamlet as inhabiting a male-constructed world. Mullaney asserts that like other Shakespearean males, Hamlet achieves a incomplete if suicidal resolution of the contradictions of patriarchy by constructing a world that is not so much gendered as free from gender differentiationa world that is all male (158).It is believable that Hamlets true problem is actually the oppositehis world is too female, or rather feminine. Despite the small number of females in the play, Hamlet presents a feminine character in a male body, a twisted disapproval of Elizabeth I, who claimed to have the body of a wea k and feeble woman, but the heart and stomach of a king (Levin 1). Hamlet possesses the body of a prince, but the heart and stomach of a woman a fusion which was oddly problematic in the misogynistic environment that prevailed during the sixteenth and seventeenth centuries.As a feminine character in the body of a male, particularly one who, as Claudius observes, is most immediate to the throne (1. 2. 113), Hamlet cannot be allowed to conk out and assume the throne. His death, as well as the passage of the danish pastry monarchy to the quintessential warrior figure, Fortinbras, reflects the transition of the throne from Elizabeth I to James I. James Is ascension to the English throne alleviated some anxiety of female sovereignty, although his reign showed his peevish, cowardly, and self-indulgent disposition.When Hamlet puts on an antic disposition, crafting himself as mad, he evinces natural traits that are usually associated with feminine weakness. Hamlet is beset with passivity and indecision, two qualities often ascribed to women in the Renaissance (Woodbridge 275-99). Passivity and indecision deflect and nearly thwart his quest to obey his fathers make for revenge. Davis D. McElroy claims that Hamlet, in addition to considering the ghosts exhortation to avenge him, contemplates taking no action at all. McElroy examines the opening five lines of the to be or not to be soliloquy To be, or not to be, that is the questionWhether is nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing, end them. (3. 1. 64-8) McElroy alleges that these lines, which are generally believed to be Hamlets argument regarding suicide, constitute a different deliberation on revenge hideing Claudius, as the alleged ghost of his father demands, or taking no action at alla more cowardly decision, certainly, but definitely safer. McElroy compares the two options by examining the rhetoric of chiasmusclaim ing that to be refers to taking arms against Claudius and not to be refers to suffering outrageous fortune. He argues that the speech pertains more reasonably to revenge than suicide because killing oneself is more like avoiding ones troubles than opposing them (544). It can be posited that Hamlets indecision concerning his vow to avenge his father parallels Elizabeth Fs refusal to name an heir. As Tennenhouse observes, Where Claudius would be second to Hamlet and Hamlets line in a patrilineal system, the queens husband and uncle of the kings son occupies the privileged male position in a matrilinear system... It is to be expected that Claudius could not legally possess the crown, the matrilinear succession having the weaker claim on British political thinking. (89) Hamlets province is not merely to uphold his promise of vengeance. He also has an stipulation to his terra firma to see Claudius removed from the throne and Hamlet, the rightful ruler in patrilineal succession, put i n his place. When Hamlet contemplates neglecting this obligation, he endangers the succession to the Danish throne in much the same way that Elizabeth Is secrecy concerning her own succession endangers England.Arguably, Hamlet fails in his responsibility to cheer the Danish succession after Hamlets death, Fortinbras, a Norwegian, assumes the throne. Although Fortinbras is a better candidate than the corrupt Claudius, he is a member of Norways royal line, not Denmarks. Elizabeth Is refusal to marry consigns England to a similar fate regarding kingship and royal lines. James I is a member of the British royal family, but he is a Stuart, not a Tudor. As the Virgin Queen, Elizabeth I secures her own power by refusing to name a successor during her life beat, but she allows her familial line to die with her.Elizabeth I also protected her political authority by crafting several personas. As seen in the Rainbow Portrait, she took liberally from mythological figures, such as Astraea, Flora , and Diana. Just as Elizabeth I appropriated the appearance and femininity of goddesses, Hamlet appropriates the masculine authority he observes in Fortinbras. Hamlet attempts to construct a persona that goes beyond an antic disposition, abstracted to fashion himself as a strong son and leader of Denmark. later hearing of Fortinbrass plan to attack a desolate prolong of Poland, Hamlet resolves to emulate the militant Fortinbras by fashioning himself as a bloody avenger How stand I, then, That have a father killed, a mother stained, Excitements of my reason and my blood, And let all sleep O, from this time by My thoughts be bloody or be nothing worth (4. 4. 59-62, 68-9) Although Hamlet desires to construct himself as an aggressive and violent fighter, he is never able to attain Fortinbrass forcefulness. Hamlets passivity here shows weakness and debility, not qualities appropriate in a military leader or a monarch.Although Hamlet attempts to assume the masculinity of Fortinbras, shaping himself as a potent agent of revenge, Hamlets attempted emulation of Fortinbrass masculinity is merely another false front. Hamlet recognizes his own passivity, but however much he tries to counter and suppress it, his femininity is too firmly a part of his personality for him to overcome it completely. Even though Hamlet seeks to avenge his fathers murder, he is unable to kill Claudius in Act three, scene three. Hamlet decides not to kill Claudius at his attempted prayer, and he thus does not do what he has intractable to do.At this point in the play, the audience sees a fluid character, one who first fashions himself as mad, then earnestly attempts to mold himself like the soldier Fortinbras. However much Hamlet views himself as mutable, he cannot override his inactive nature. Hamlet attempts to put on Fortinbrass masculine disposition after killing Polonius and assuring the deaths of Rosencrantz and Guildenstern, yet even after returning from his pilot to England, Haml et is caught in his feminine passivity. Despite his earlier resolve that his thoughts be bloody or be nothing worth (4. 4. 69), Hamlet makes no move against Claudius.He walks with Horatio in the graveyard, where he learns of Ophelias death (5. 1. 253), and he attacks Laertes at her gravesite (5. 1. 273), but he still clings to his false antic disposition. Gertrude calls his appearance mere madness and compares Hamlet to a female dove (5. 1. 302, 304). Hamlets shock and grief at learning about Ophelias death could excuse his distraction from attacking Claudius, but Hamlet delays his childbed too long. By waiting for Laertes challenge instead of choosing his own time to confront Claudius, Hamlet is forced to fight on the treacherous kings terms and dies at the tip of Laertes poisoned sword.Hamlets debate mirrors the rule of Elizabeth I, who controlled her public image through elaborately constructed personas. Similar to Hamlet, Elizabeth I attempted to disguise or suppress her femi nine weakness. She proclaimed that she have a masculine body politic despite her female body natural. Elizabeth I maintained supremacy throughout her reignno diffused task for a woman in the Renaissanceyet her refusal to marry and produce heirs ended the Tudor line of succession.Hamlets enlist reflects the anxiety experienced by many English subjects as Elizabeth I grew older with no children to succeed her as Elizabeth I aged, the question of the sovereigns role or representation to provide for the common eudaimonia became increasingly critical. The Queen was still a mere woman, even though she had the heart and stomach of a king (Levin 1). Equally, Hamlet strives to create a public persona that corresponds with the masculine strength of Fortinbras, but he in conclusion succumbs to feminine passivity, even though he is a prince. ConclusionHamlet reflects the anxiety of many of Elizabeth Is subjects concerning the strength of their Queen and the succession of the monarchy. With no husband and no heir to the throne, the political security of the country was at stake. Furthermore, many citizens were concerned with Elizabeth Is aging body and her undignified attempts to appear younger. This concern developed in many cases into contempt for Elizabeth Is deceptive manipulations of her image. Hamlet has many feminine characteristics that, especially in the climate of Elizabeth Is decline, make him unsuitable as a ruler or potential king.Although he is not naturally suited to the masculine requirements of kingship, Hamlet strives to overcome his feminine nature in order to reinstate the honor and dignity of his family and kingdom. Although he accomplishes this end, his femininity delays him until he is betrayed by Claudius treachery. Hamlet removes Claudius from the throne, but at the cost of many lives, and the Danish monarchy passes to a Norwegian ruler. Like Elizabeth I, Hamlet tries to recreate his identity to gain needed respect and authority, but ultimate ly fails to protect his fathers line of succession.In Hamlet, readers can surmise some of the feelings Shakespeare may have experienced in the growing misogyny that permeated the final years of Elizabeth Is reign. Like Hamlet, Elizabeth I was not without flaws, and her subjects came to resent her for these weaknesses, anticipating the advent of a more powerfuland masculinemonarch. As Shakespeare demonstrates with Hamlets poignant death and with Fortinbrass triumph, a stronger, more manful monarch is not necessarily a more admirable or worthy one. full treatment Cited Greenblatt, Stephen. Renaissance Self-Fashioning From More to Shakespeare. Chicago U of Chicago P, 1980.Levin, Carole. The Heart and acquit of a King Elizabeth I and the Politics of Sex and business leader. Philadelphia U of dada P, 1994. McElroy, Davis D. To Be, or Not to BeIs That the Question? College English 25. 7 (1964) 543-545. Mullaney, Steven. mourn and Misogyny Hamlet, The Revengers Tragedy, and the Final Progress of Elizabeth I, 1600-1607. Shakespeare Quarterly 45. 2 (1994) 139-62. Neely, Carol Thomas. Documents in Madness Reading Madness and Gender in Shakespeares Tragedies and Early Modern Culture. Shakespeare Quarterly 42. 3 (1991) 315-38. Shakespeare, William. Hamlet. Eds. Barbara A.Mowat and Paul Werstine. New York majuscule Square P, 1992. Showaiter, Elaine. Representing Ophelia Women, Madness, and the Responsibilities of Feminist Criticism. Hamlet Complete, Authoritative Text with Biographical and historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives. Ed. Susanne L. Wofford. Boston Bedford Books of St. Martins Press, 1994. Tennenhouse, Leonard. Power on Display The Politics of Shakespeares Genres. New York Methuen, 1986. Tilley, M. P, I develop Heard of Your Paintings Too. (Hamlet III, i, 148). The Review of English Studies 5. 19 (1929) 312-17

David by Michelangelo vs Bernini

Nudity is divine beauty make water which cant be translated as profane. Davits proportions and expressions represents a typical of Michelangelo work. It depicts self control as well as tension at the same time. As from what I have described, Michelangelo David somewhat characterize and symbolize perfectly on Florentine whole tone. During that time, Florence was going through some difficult time. Because they were a major political force in Italy at that time, Florence was feared that they will dominate against Rome. The city because comes alert and ready to face continual threats.David represented as a heroic male model of courage. David delivers a strong message of his versed spiritual strength which can proved that they are more strong than a populaces strength. He showed us that his faith in idol has salvage him, not because his own strength but it is all by God (The Lord is my strength and my shield. ). Florentine picturing themselves as David battle against the behemot h Roman. The statue representing their feelings become the civic piece of the City of Florence which represents the Florentine pride.The succeeding(prenominal) David that Im going to discuss is David in the period of Italian Baroque make by teras Lorenz Bernie. It was done between 1623 to 1624, mold by Bernie at the age of 25. Just LA 121 -LOL Linda Lieu like Michelangelo, Bernie is an artist who worked in a variety of mediums, but sculpting is his passion. Not Just that, both artists sculpted the same biblical hero David on his fight against Giant Goliath. looking at the two Davis, both artists visualized different moment and feeling into their sculpture, even though it comes from the same story.Michelangelo gives a story before the Giant Goliath approached, while Bernie captures right on the moment of battle, a man of dynamic mid- march. He represents David on his maximum torque, his torso is twisted at the very back ready to release his stone, making him to a fortuity postu res that fills with verve. The sculpture has the characteristics of Italian Baroque art, they are dynamic in composition, theatrical performance setting, full of motions and emotions. Almost like a typical of Hellenic sculpture.The energy and ram that the artist show doesnt only come from the gestures but it figure clearly on Davits expressions as well. He is pushing his eye hilltop together depicts such a great determination, and concentration. The way he is harsh his lips also create a great tension to the scene. The whole physiological movement and gestures is known as Baroque moment, a time when the action has been captured in mid-narration. Looking from the gestures and all the motions that David presented it is somewhat telling the viewer the randy that relates to the battle between churches.As during the 1 517 there was a shifting of Catholic teaching known as Protestant Reformation under the leaders of Martin Luther. He was displeased with the Catholic churches as we ll as the leaders and their life style. As a result he break outside(a) from the former Catholic churches and established a new Christianity known as Protestantism. After the Protestant Reformation, there is a gap between the Catholic and Protestant. Many of the Catholics began to follow Luther and become Protestant. Novitiate Selling Japer 03241224During the mid sixteenth century throughout 17th century, the Catholics began to acts theological campaign lead by the Pope in Rome, known as the Catholic Counter Reformation. The destruction is to inspire the population with the work of art and architecture and pursued them to lie faithful with Catholic church and bring them back. The David by Bernie perhaps telling the viewer the way the Catholic churches felt as they were battling against Luther to win multitude back. In conclusion, both artists specialized their talent on sculpting even though they do work with other types of medium.They depicts the same story from the bible of Da vid fighting against Goliath. Michelangelo tells a story of David waiting for Goliath approach in a calm standing contrasts pose yet aware of his surrounding. This over 14 feet statue stand as a civic pride representing Florentine pride. magic spell Berings David captures the Baroque moment of Davits mid action unleashing his slingshot. The sculptures bring so a great deal motion and energy compare to Michelangelo David. The statue represent how the Catholic churches felt as they battle against the Luther. MALL Citations

It is right that students should contribute to the cost of their degrees? Essay

The level of fostering demonstrates how strong a nation is constructed. It represents one of the most important factors which contribute at the process of the culture of people from an intellectual and social point of view. More and more students admit the opportunity to obtain a degree and to have an appropriate career. In many countries the greet of their degrees are funded by the state, this increasing the number of applicants apiece year. However, in that respect is not a enumerate of number, but a matter of quality this being the principal account why students should contribute at the cost of their degrees.The governments should be aware that the effectiveness of education is measured later the number of ambitious, talented students who fulfil their potential. It is obvious that whether the state funds their degrees on that point exists the admissibility for students not to work so hard and not aiming to affirm at heart the society. From the psychological point of vi ew, people are inclined not to measure enough something for what they do not need to work hard in order to achieve their goals. Whether the states would give a part of this responsibility to students, the view from what they understand the issue relating to education is likely to change for better.Many point that this change would merely be a burden for students during their university years. The account of this is that they should concentre on studying more than looking for a job to payment their degrees. Moreover, this is going to affect the students from all backgrounds as long as it is known that some of them cannot afford to pay large amounts of money for being educated. It world power be true that the modification volition cannote outcomes, but the benefits are higher. The government should pay attention more to the quality of students than the number of students.Taking into term all these outcomes, perhaps the government should act in a means so students concur even with a small amount of money. The tryst of funds between the state and students will have a controlling impact on the economy, being fewer problems relating the spending cuts in education. If not, winning into account that the state has to pay large amounts of money because the costs of obtaining a degree is higher and higher it will affect the way in which a country aims to improve its statute among the nations from all over the world.Likewise, there will be many advantages relating to facilitations. The government will not only if pay attention to payment, but to all the needs of students and there will be more investments in necessary materials and equipment.Every state should be aware of the importance of the quality of education and the importance of making meaning(a) steps towards the improvement of students skills. According to students the right to participate at the cost of their degrees will not only motivate them to make the most of their education but also the econ omy will improve.

Buying Cycle

The Buying Cycle refers to the key events and the processes in which the lickulate buyer is intricate in instal tobuy a garment figure of speech for a retail or a mail order company. ? The length of the buying cycle varies from company to company. It commonly takes a division amid inspectioning the circulating(prenominal) seasons sale and delivering the overlap into stores. room Industry traditionally splits the year into two main seasons * restrict/Summer- February- July gloaming * pass- August JanuaryThe competitive and constantly changing fashion business requires a more frequent introduction of merchandise, resulting in most stores introducing new-made sets umpteen times in between these two main seasons. The occurrence and the name of sub-seasons vary from company to company. Sub-Seasons Seasons Approximate Durations (with Overlaps) Spring Transition middle Jan Feb end up 6 weeks Spring Feb require Mar end 8 weeks Spring Promo Apr beg mid Apr 2 weeks S ummer 1 mid Apr whitethorn end 6 weeks Summer 2 mid May mid July 8 weeksSummer Sale mid July Aug beg 2 weeks declivity Transition mid July Aug end 6 weeks Autumn Aug beg house end 8 weeks Winter 1 Oct beg mid Nov 6 weeks Winter Festive/Holiday mid Oct mid Nov 3 weeks Winter 2 mid Nov Jan beg 6 weeks Winter Sale Jan beg mid Jan 2 weeks PHASES Various ranges introduced within the season. TRANSITIONALS Ranges which bridge the gap between one season and the next season. The Buying Cycle check up on of current Seasons sales Budget Planning Comparative obtain Directional Shopping Sourcing for product exploitationRange programning Garment samples sourcing for range Pre filling of garment samples Price negotiation with suppliers final exam examination Range Selection Placing orders for ranges Pre work sampling & approvals Bulk garment manufacturing Delivery of products to the retailer Purchase by customer Review of current seasons sales *In the current scenario buyer wor ks simultaneously for three seasons with very ambitious workload. Buyer handles three buying cycles which overlaps at one time Review of sales of on going season, Range programmening for the ext season & Pre business approvals for the coming seasons. Review of current Seasons sales This look backward often takes the form of presentations to the buying squad and the design plane section team if the company has one with samples of garments from the range which was in stores last season and analysed. QC department may contribute to the meeting by commenting on any practiced problems which may explain low sales figure, for instance colour or fit in production differing from the catalogue photograph of the garment.After sales review meeting, Buyer is armed with the knowledge of which styles the customer currently likes and dislikes and a cloth of successes to build upon for the new season. So a rough idea of a new range plan plenty start to be pencilled in.? This whole exercise is further gets the flavor of current trends, PESTEL influence and bear on by Next seasons forecasting. They may also be learnt from other buyers sales figures, so if a new fabric or colour has been trialed in another product, the buyer can decide whether or not to run it too. Budget PlanningMerchandisers usually plan budgets in conjunction with buyer. The framework of the budget is based largely on the last seasons performance as discussed at the range review. Comparative Shopping * Often referred as comp. shop. * Under taken at the beginning of each season and continues with once a month visit. * Buyers & Designers argon involved. * Starts with the looking at current merchandise in the stores of competitors which sell corresponding ranges. * Report will be produced with few sketches & information grid. * Analysis of wanting(p) important trends in own range. Directional Shopping Term utilise for trips to gain inspiration for design concepts. * Trips depend upon the buyers prod uct range & travel budget. * Buyer may visit designer RTW ranges to spile market ranges. * Makes note on key shapes, details, colors and fabric for reference. * Buyers usually have budget to buy samples which are referred as bought samples. * Designers may section responsibility of directional shopping with buyers. Sourcing for product development Garment samples are bought from different stores as during directional shopping which resemble the product range of the buyer or some new trend.Range Planning It is a gift where buyers define the detail of the range that is to be offered to the customer in ground of styling, fabric, design, suppliers and prices. Pre Selection snip after the Range planning stage at the Buyers end can be in form of the Line review/Range review meeting.? Garments samples featuring on the Range plan are presented. Participants are the Design, Marketing, Merchandising and QC teams. Range is reviewed vis a vis * Styling, Colors, Price and Delivery. * Sourci ng scheme regarding product and Supplier base. Period after Line/ Range reviewFinalization of the Styles , suppliers, prices for the Final Range.? Involves * Informing suppliers regarding the styles which have been included in the final Range. * Change in styles if any. * Price re-negotiations. * Order Delivery dates re-negotiations. * Styles dropped. * Request for additional samples if required for the final range review meeting by the buyer. Final Order berth After the Final Range Selection meeting, orders are placed with the suppliers in form of sending Purchase orders /Purchase sheets for each individual items selected to be on the range.These may be generated by the Merchandising department or by a separate Purchase department. Critical path/ cartridge holder and Action Calendar for the buyer The key activities and the timelines associated with them, for processes like product development and production of any item forms the critical path or the Time and Action calendar. By v irtue of the T&A the various activities involved in the Product development/Production processes and the responsible party is fixed.

Conflict ‘Romeo and Juliet’ Essay

How important is the bag of skirmish in the play Romeo and Juliet?Shakespeares play, Romeo and Juliet, is the most famous neck story in English literature. However love isnt the tho theme that runs through the play. Shakespeare makes this typical love story more collision when he pits the romance in the context of family feuds, fights and deaths. The issue of mesh is as central to this play as the issues of love/ notice/betrayal and death. It should devolve as no surprise that Shakespeare would include participations in this play as otherwise the play would simply be a dull parameter on teenage love. Adding the conflicts highlights the tensions that the teenagers feel betwixt their attachwork forcets to their own families and each other. Also, adding the conflict is important for dramatic effect. We see this clearly in Shakespeares Romeo and Juliet save in addition see it in many modern conventions of storytelling, such as film.The film Slumdog Millionaire is another ex ample of two star-crossed lovers struggling to be together against their familys wishes. The conflict in the film is between brothers, but also with others outside the characters immediate families. The dramatic effect of the conflict has the consultation on the edge of their seat, forgeting the pair to escape their terrible break downs of abuse and make up happily ever after. Slumdog is Romeo and Juliet for the 21st Century.As in Shakespeares play, in Slumdog the earreach are told what testament happen in the story by focussing of a prologue The prologue in Romeo and Juliet tells the hearing the story and the ending (the two lovers will mend their family feuds by taking their own lives)From forth the fatal pubes of these two foes. A pair of star-crossed lovers take their life. .The prologue is an unusual storytelling device as it reveals the end of the story at the beginning. But it also draws the audience is to crawl in why the lovers take their own lives and the audien ce system shocked by that event, de go against be warned about it. In Bas Learhmanns film the audience is surprised when Juliet wakes from her sleep to find Romeo lying dead next to her. Her answer of killing herself is a shocking ending to the film (play) despite the audience k at a timeing what is coming. In Shakespeares prologue theChorus describes two noble households in the city of Verona. The houses hold an ancient grudge against each other that remains a source of violent and bloody conflict.The audience are told that the families live in Fair Verona and who the main characters in the play are. So inwardly a few minutes of the play commencing the audience (reader) is primed with comely information to generate an interest to read on. The first scene comes this instant after the prologue and Shakespeare commences the scene with two Capulet servants (Sampson and Gregory) who talk about the conflict between the two familys. It is interesting that even though they are servan ts (Slaves) they say that the familys feud is their feud The quarrel is between our masters and us their menIt is important to remember that the play is written at a fourth dimension when servants were obliged to honour their masters, and that included laying down their life for their betters. The dance step of the conversation between the two servants replicates the conflict that we hear about in the prologue. Shakespeare has established a thread for the reader to follow present. The violence of the conflict is clear when the two servants talk of what they will do to the Montague women once they obliterate the Montague men. Brutalising the women of a defeated foe is something that has happened throughout history. True and therefore women, being the weaker vessels,are ever thrust to the wall therefore I will pushMontagues men from the wall, and thrust his maidsto the wallThe public do started by Tybalt is joined by members of both families, including the Montague and Capulet f athers. Seeing old enemy (Montague) Capulet says to his wife My sword, I say Old Montague is come,And flourishes his blade in spite of me.The street fighting and hatred between the Capulets and Montagues is only one form of conflict in Shakespeares play. Shakespeares writing about conflict extends to Juliets family too. In Act 3 Scene 5 Juliet is toldby her mother that she will marry. Juliets unhappiness at this arranged jointure (she is told to report to the church on Thursday) leads to a conflict with her father who calls her a young baggage and disobedient wench. The family conflict repeats one go about by some young women whose husbands are chosen for them. This cultural pledge is also made clear by Juliets mother when she says to Juliet that by the age of 14 (Juliets age at the succession of the play) she was already pregnant with Juliet. The tradition of marrying girls off young, and to wealthy older men, has largely been bastinado in some communities, however, in others it still creates tension. Sometimes with tragic outcomes.The theme of conflict is important in this play because it reflects the type of social conditions that existed at the time that Shakespeare wrote his play. It is interesting that although our social conditions have changed, the underlying themes and circumstances here could apply to our society today. Young, violent, men fighting over territory/honour and (like Tybalt) being killed in the crossfire. Shakespeares decision to talk about the injustice of Juliets fathers insistence that she marry, may be a brave attempt to raise the issue of forced marriage. But, alternatively, it could also be seen as a source of gaiety and merriment for the Shakespearean audience. despite some really difficult language, Shakespeares Romeo and Juliet is a play that transcends time in terms of its underlying themes. This makes the play as relevant now as it was when it was first played.