Verona Essay -- Geography Italy Essays

Verona In Northern Italy, along the Adige River and at the foot of the Lessini Mountains, lies the ancient city of Verona. It is a city filled with ecclesiastical monuments, as well as numerous ancient and historical sites, many dating to the period of the Roman Empire.[i] According to one source, people have inhabited Verona for the past 300,000 years, and archeologists have found numerous stone artifacts of an earlier time.[ii] An ancient tribe founded the city, probably the Euganei or Raeti tribe, but the city was later occupied by the Gallic Cenomani. In 89 B.C., Verona became a Roman colony. Due to its geographical location, Verona flourished as it emerged as an industrial, political, and commercial center. The port in Verona provided access for trade to Northern Europe, and as a result, it became a developed urban city.[iii] The Roman Arena amphitheater is probably the most significant site in Verona. Dating back to the 1st century B.C., it is now a vital theater for the opera. At the time, the Arena was built outside of the city walls. More than 30,000 spectators would travel to Verona to watch the ludii, or shows and games, in the Arena. The most popular of the ludii were the gladiator fights, often times against lions. Originally, the faà »ze was white and pink limestone from Valpolicella. During the Middles Ages, the theater lost its functionality, and people began to use it as a quarry for other buildings. It was not until the Renaissance that people began to intervene in order to return the Arena to its original purpose. There are other Roman monuments of the 1st century B.C. in Verona, such as the Roman Theater and the Arco dei Gavi, or the Gavi Arch. The Roman Theater, originally built during the Augustan age,... ....encyclopedia.com/html/S/Scala-C1a.aspScala.> ?Excursions.? Lago di garda magazine. (12 December 2003). ?History: della Scala Epoch.? Castelvecchio Museum, city museum. 24 November 2003. ?History of Verona.? The World Factbook. 25 November 2003.? Kren, Emil and Daniel Marx. ?Verona. Web Gallery of Art. 25 November 2003. ?Michele Sanmicheli, Architecture, Biographies.? Columbia Electronic Press, 2003.? Tierney, John. ?Verona is for Lovers.? Forbes. 13 March 1995: 6. ?Verona, Italy.? Wikipedia, The Free Encyclopedia. 17 November 2003.? ?

An analysis of sigmund freuds level of consciousness Essay

Sigmund Freud, born in 1856, was an Austrian neurologist and physiologist. Today, Freud is known as â€Å"one of the most influential and authoritative thinkers of the twentieth century†(Berger). Throughout his lifetime, which had ended in September of 1939, Freud had many theories, however, his most well known as the â€Å"psychoanalytic theory of personality development,† which argued that the human psyche is divided into three parts: the id, the ego, and the superego. In the novel Lord of the Flies, many readers believed that the author, William Goldberg, applied Freud’s theory to the characters in the book. Based off of Sigmund Freud’s â€Å"psychoanalytic theory of personality development,† Jack Merridew was the id in the story, while Piggy was the superego, and Ralph was the ego. According to Freud’s theory, the id relies directly on instinct as they go through life, ignoring the logistics of reality and the possible consequences. Freud gives an example of an id by comparing it to an infant, who often demands immediate satisfaction, and will react poorly if their needs are not immediately fulfilled. In Lord of the Flies, Jack Merridew is a representation of how a newborn child with power and motor skills could act. When Jack and his hunters leave to hunt for pig and neglected his fireside duties, there is a connection with Freud’s theory. Jack did what would give him direct pleasure, which was, at the time, to hunt. However, because of Jack’s needs, the fire had been allowed to go out and the boys missed one of their only opportunities of rescue, as a ship traveled by the island, but there was no signal smoke. This event highlights Jack’s connections to the id because he had no consideration or thought of what the outcome would be if he was constantly caught up in his own needs. Another time when Jack’s actions relate to Freud’s theory is when the boys are having an assembly to discuss the best sightings. During the assembly, Jack attempts to take Ralph’s power away by causing a disturbance and questioning Ralph’s leadership in front of the whole group. Once again breaking the rules of the conch, Jack shouts, â€Å"And you shut up! Who are you, anyway? Sitting there telling people what to do. You can’t hunt, you can’t sing—†(Golding 91). Clearly, Jack is challenging Ralph’s authority in an attempt to shift it to himself, ignoring the fact that Ralph is a better leader. Jack’s overwhelming need for power convinces him that the position of the leader should be his. Before Ralph, Roger, and Jack start their climb up the mountain to see the beast, Ralph says something that highlights Jack’s connections to the id throughout the whole book. While Ralph was challenging Jack, the text reads, â€Å"For the first time since he had first known Jack, Ralph could feel him hesitate†(Goldberg 122). This quote backs up the fact that for the most part, Jack had gone through his days on the island acting on instinct without a single hesitation. It was only in this moment of time that Ralph could sense any sort of hesitation from Jack, and it would be the only time.

Banner depicts earthly life Essay

Artifacts which are found in burial shrines and in tombs are often rich with cultural and religious imagery. Not only are the types of artifacts which are selected to be enshrined within a given tomb of significance for inferring historical and cultural information, but the aesthetics evident in the individual items themselves can be studied in order to discover important cultural, religious, and historical information. Such is certainly the case regarding the silk funeral banner known as the â€Å"name banner† which was uncovered as part of the Mawangdui â€Å"tomb of the Marquisite. † This banner, which is shaped like a â€Å"T† depicts a Chinese astrological configuration of the cosmos (including the afterlife) which can be understood as being â€Å"current† in the Han Dynasty. The top of the â€Å"T† section of the banner shows ‘heaven† while the middle section of the banner depicts earthly life. One interesting aspect of the sectional representation is that certain figures travel through the sections. There are â€Å"angels† of heavenly entities who descend to carry Lady Dai to heaven. The images of the banner suggest a cosmos in constant motion, a dynamic â€Å"interdimensional† universe which is both physical and spiritual in nature. Also depicted on the silk banner are images if Lady Dai’s earthly family, who perform rituals for her safe-passage in the afterlife. The funeral banner indicates a culture which believed in both life-after-death adn in the efficacy of ritual and prayer. There is a graceful harmony present in the banner which suggests that Chinese culture at the time of the Han Dynasty had a vision of life and death which was â€Å"seamless† and that death was viewed as a continuation of life — and life as a â€Å"prelude† to death. Viewed this way, the banner is an uplifting and spiritually exalting work of art, one which offers a dramatically different view of life and death than is prevalent in the Western world.

Modern Elements in Pinero’s “The Second Mrs. Tanqueray” Essay

The Modern Elements in Arthur Pinero’s â€Å"The Second Mrs. Tanqueray† As a modern writer, Arthur Pinero has presented a great amount of modern elements in his work. For instance, his tragedy â€Å"The Second Mrs. Tanqueray† has a marvelous collection of these elements. Stage direction, Defamiliarization, mystery, metatheatrical technique, Surrealism, impressionistic monologue, psycho patient concept, violating the unity of time, and cubism can all be found in this play, but one never knows the exact depth of words and the different worlds they hide. In fact, at the beginning of each act, a stage direction is found to guide the actors about where to stand and how to react. It, also, presents a description of their facial expressions and gestures , along with their tones of voice. Moreover, a stage direction gives some details about the characters’ social class. For instance, the stage direction at the beginning of Act I introduces Aubrey Tanqueray as a member of the upper-class, for his chambers have, â€Å"A richly and tastefully decorat ed room, elegantly and luxuriously furnished.† Furthermore, Pinero manipulates another modern element called Defamiliarization. In the 19th century, the Russian Formalist Critic Victor Shklovsky says that the modern writers should come up with something new as means of experimentation. In â€Å"The Second Mrs. Tanqueray,† Pinero inserts few French words in his English text for the sake of defamiliarization. For example, he says â€Å"Mesalliance† instead of â€Å"Unmatchable marriage,† â€Å"Vin ordinare† instead of â€Å"Ordinary wine† and â€Å"L’age critique† instead of â€Å"The critical age† in Act I. The modern audience is supposed to be cultured, so he/she is expected to understand the text. Since ambiguity and mystery are praised in modern drama, Pinero has employed these elements in his play as well. This matter is clearly seen in the first act, in which Aubrey tells his friends Jayne and Misquith that their friendship must come into an end, now, because he will rem arry. He insists that they will not remain friends when they know the second Mrs. Tanqueray. Aubrey, here, is ambiguous. He hides the identity of his new wife keeping his friends in suspense. Most importantly, at the end of Act III, Paula insists on telling Aubrey the truth about her previous relation with Hugh Ardale, who has come to marry  Ellean. This mystery has different interpretations, one of which is that, Hugh was the first man in her life who broke her virginity, betrayed her, and refused to marry her. Hence, this matter has led her to the path of prostitution. Another interpretation for the matter is that, Paula is trying to show herself as a good mother to Ellean. She does not want her daughter, as she thinks of Ellean, to marry such an indecent man like Hugh. Furthermore, according to Christianity, Ellean cannot marry a man who has slept with her stepmother; for if Hugh marries Ellean, it will be an incest. Lastly, this mysterious insist on telling Aubrey can be seen as Paula’s jealousy. She is jealous of Ellean, and how her relation with Hugh is better than her previous relation with him. Although she has lived with him, Hugh does not see Paula as his wife, for he, like everyone, is attracted to her physically not spiritually. Hence, he chooses Ellean as his wife describing her, † as good as my own mother.† In addition to the previous elements, Pinero, also, manipulates the Metatheatrical technique, which is found in Act I. Close to the end of that act, Aubrey converses with his friend Cayley Drummle after Jayne and Misquith has left, and reveals the identity of his new wife. Knowing that it is Paula, the prostitute, Drummle understands and admires Aubrey for being tolerant. He, then, tells him that, â€Å"I’m merely a spectator in life; nothing more than a man in a play†¦, I love to see certain characters happy and comfortable at the finish.† Drummle, here, is trying to remind the audience that he is actually an actor in a play, so what they watch is not reality. Using this method, Pinero has violated Aristotle’s Dramatic Illusion, which states that the audience must believe what they see as reality. Furthermore, Pinero employs another modern element called Surrealistic technique in the play. Surrealism is, in fact, an anti-realistic technique that was coined at the beginning of the 20th century. It is used in drama to make an oppressed character fight for her freedom against a totalitarian force. The fight is like a nightmare in the play. Andre Breton says that violence should be confined to the language only, and this is true as far as Paula’s quarrels are concerned. However, the other Surrealistic leader Antonin Artaud believes that violence should be shown in both language and action. It is worth mentioning, that the Surrealistic fight, though painful, is humorous, and includes grotesquery. A sample of this technique is seen in Act II, in which Paula quarrels with  Aubrey about Ellean’s trip with Mrs. Cortelyon. She becomes extremely angry at Aubrey, for she understands that he aims at isolating Ellean from her bad influence. She knows that Aubrey still sees her as a fallen woman like everyone, as she states, † I can’t be so useful to your daughter as such people as this; and so I’m to be given the go-by for any town friend of yours.† In order to annoy him, Paula decides to invite her friend Mabel, a prostitute who has married George Orreyed, as a revenge for her dignity. In fact, Pinero’s aim of using the Surrealistic technique is to incarnate Paula’s verbal fight with Aubrey and Ellean. In fact, Paula’s fight with Ellean, in Act II, presents two modern elements, the psycho patient concept and the impressionistic monologue. In that act, Paula inquires about the reason that makes Ellean behave coldly with her. Elle an tells her that her mother has appeared in her dream, before, telling her to love her father, but she has not told her to love Paula yet. Paula, then, tells Ellean, † Dreams are only a hash-up of one’s day-thoughts, I suppose you know. Think intently of anything, and it’s bound to come back to you at night.† Then, she plays the role of a Psychoanalyst by telling Ellean that she has got a complex after her mother’s death, which is the reason for seeing her in her dreams. Because Paula is vulgar, Ellean does not accept that. Here, Paula is echoing the Austrian Psychoanalyst Sigmund Freud’s theory of Psychoanalysis. According to Freud, a psychoanalyst treats a psycho patient by listening to him and allowing him to verbalize his thoughts, past conflicts, fantasies and dreams. In his book â€Å"The Interpretation of Dream†, Freud says that dreams are symbolic of what a person is unconsciously think of, similar to what Paula has stated. Freud says, that an analyst interprets to his patient his thoughts, fantasies and dreams, the, relates them to his present life; creating an insight for resolution of the problems. The analyst honestly clarifies the patient’s life wishes and guilt, then, confronts him with his complexes to undo them; and that what Paula has applied on Ellean. Since Ellean gets angry, Paula tries to justify her aggression. She tries to draw Ellean’s sympathy and love by telling her that she has been through several tragedies in her life that turn her to be like this. She tells her, â€Å"I’ve talked to you as I’ve never talked to a woman in my life.† Paula wants Ellean to love her and asks her, † Kiss me!† Instead of sympathizing with Paula, Ellean turns her back coldly, a matter that pushes Paula to become  extremely angry and start yelling at Ellean. This part presents an impressionistic monologue. This kind of monologue is along speech said by a char acter to another one who listens to her/him. This character expresses her/his inner conflicts. The impressionistic monologue reflects psychological realism and depth in characterization. What Paula has said previously represents her psychological depth and introduces her as a psycho patient, as well. Pinero, also, violates the unity of time at the same act. When Mrs. Cortelyon offers to take Ellean with her to Paris then London, she states, † I’m going to Paris tomorrow for a week or two before settling down in Chester Square.† She , also, asks Aubrey to let Ellean stays with her in town â€Å"during the season.† Here, Mrs. Cortelyon tends to take Ellean for about 2 months, a matter that reflects the modern sense of violating time. Last but not least, Pinero has , also, experimented with Cubism in his play. In fact, Cubist writers at the early 20th century used to hide some parts from the text. They believe that matters overlap one another in reality because no one can see an item from all sides at the same time. This idea of missing parts or incomplete text is attributed later to the postmodern writers who dismantle the text then reassemble it to look incomplete and ambiguous. Ambiguity, in fact, is praised in modern drama since it stimulates the audience to contemplate and think of what is missed in the text. Similarly, Pinero, in â€Å"The Second Mrs. Tanqueray,† skips some details expecting the cultured audience to think and guess of what has happened in the missing part. For instance, It can be imagined that after Paula has left Highercoombe in a rage at the end of Act II, Aubrey makes it up with her when she returns. Actually, Act III opens with the Orreyeds enjoying themselves at Highercoombe, a matter which indicates that Aubrey accepts the Orreyeds’ visit and welcomes them to please Paula. To conclude, despite the fact that he is described as a traditional writer, Pinero has presented himself as a real modern writer. He has experimented with several modern techniques that have not been coined yet as his time. Briefly, his new techniques have aided â€Å"The Second Mrs. Tanqueray† to survive until the 21st century.

Management in Organisation Essay

A NEW DIRECTION FOR THE UPSTAGE THEATRE The board of the Upstage Theatre Company had assembled to hear the Artistic Director’s proposals for the following year’s season. Mark Buck, the Artistic Director, had built a reputation on his staging of popular comic seasons, and most members of the board expected a similar proposal this year. Buck entered the boardroom, and after a few general remarks, began to speak about his plans for the season. As he spoke, the board members began to look at each other with astonishment. Buck was proposing a radical departure with a Shakespearean tragedy and working up to a piece by Arthur Miller. At the end of this totally unexpected proposal he looked around at his audience. ‘Any questions’ he asked rather blandly, while privately enjoying the obvious bewilderment on the part of the board. He loved surprising people! Jean Carlisle, the chair of the board, was the only one not surprised by the proposal, as Buck had approached her several weeks ago and dropped some hints about his idea. Buck, she had a shrewd suspicion, was out primarily to promote his own career. Known as a ‘comedy man’ first and foremost, he was in danger of being typecast within the industry. Only by rounding out his production experience could he hope to progress. Carlisle, however, could see a lot of possibilities in the proposal for a ‘serious’ season, even though she knew it would be dismissed as foolhardy by a number of the established board members. Her involvement with the Upstage Theatre was based on a sincere commitment to the cultural development of the community. Lately, she had been coming under some fire from her family and friends for not urging that more ‘culturally significant’ work be performed by the Theatre. When she had first heard of Buck’s proposal, she had decided to support it and had accordingly begun to consider how best to get the board to support it as well. Now she turned to Robert Ramsay, a board member who had been brought in for his connections with the business community. ‘Well, Robert, it’s an interesting proposal we have in front of us,’ she said. ‘What do you think?’ Ramsay, she happened to know, had been considerably embarrassed in front of the board recently, as a result of his inability to raise money for the Theatre. She also knew that much of the resistance to the corporate support of the Theatre had come from the fact that its plays were not considered serious enough. Thus, Ramsay, she reasoned, would support the departure proposed by Buck. This was indeed the case. ‘I think it’s a marvellous idea. And I’m sure it’s the kind of season the financial community would support’ said Ramsay. Several others on the board protested strongly against the proposed season. The most vociferous of these was Olaf Vickers, a local playwright of some repute. Vickers had had several of his comedy works performed by the Upstage Theatre Company over the years. The argument presented by Buck, Carlisle, and Ramsay managed to quiet these objections, however, at least to the point where the board voted to examine the marketing and financial implications of the proposal and meet again in two weeks’ time. When the board met again, a month later, the battle lines were more clearly drawn. Olaf Vickers spoke first. ‘I move that we dismiss the proposal for a â€Å"tragedy’ season,† he said. ‘The Theatre has always had a reputation for comic works, and this reputation should not be thrown away lightly. I feel that our artistic director should go back and rethink his proposals.’ Jean Carlisle, however, was ready with an answer. ‘I know how you feel’, she said. ‘But I think we have to consider some other factors too. For a year now our theatre has been losing money, and how long the various arts councils will go on funding us is an open question. As I told you last year, some of the government people are very concerned that we develop more in the way of box office support and outside funding. Now, as I see it, this proposal may give us a chance to do just that. I’ve asked Mark Buck to do an unofficial survey among the town’s theatre community, and I think you’ll find the results interesting.’ The artistic director now stood up. ‘We’ve been able to put together a random sample of Theatre goers from the subscription lists of other theatres in town,’ he said. ‘I had a couple of people in the administrative office phone these people and do a straw poll survey of their preferences. The results indicate that a majority would patronise a new tragedy season. So I think we can expect some box office support for this proposal.’ He sat down and amid murmurs from the board members Carlisle then asked Ramsay to address the meeting. ‘I’ve canvassed the business community,’ he said. ‘A number of corporations have indicated their interest in supporting a â€Å"serious season† here. I think it’s safe to say that we could count on fairly generous corporate support should we decide to go ahead.’ A heated debate followed these announcements. While many of the previously uncommitted board members now leaned toward acceptance of the proposed season, a significant minority, lead by Olaf Vickers, opposed it. As the by-laws required a two- thirds majority to approve a policy change, the meeting adjourned without any decision being taken. It was decided to meet again the following week to resolve the crisis, if possible. During that week, Jean Carlisle paid a visit to Olaf Vickers. After some polite discussion of theatre matters, she came to the point. ‘You know Olaf,’ she said sadly, ‘it’s rather a pity you don’t support the proposal for a ‘serious’ season.’ ‘Why’s that?’ inquired the playwright suspiciously. ‘Well’, explained Carlisle, ‘it’s just that I was talking to Buck the other day, and he wanted to commission you to write a work to wrap up the season. He says he’s sure a serious piece by you would be just the thing to cap the year.’ ‘I’m glad that at least he remembers part of the Theatre’s original mandate,’ growled Vickers. ‘After all, the Upstage is supposed to be committed to the development of new local authors.’ ‘And it’s a commitment he takes very seriously,’ replied Carlisle. ‘And, so  do I, I can assure you. That’s why if we were to go ahead with the season he suggests, I would move that your new play be commissioned immediately. I hope we can come to some agreement when we next meet,’ she added, as she rose to go. ‘Maybe,’ Vickers replied thoughtfully. At the next meeting, Vickers announced that after some thought, he had changed his Mind, and would now support the new season. Several weeks later, it was announced that as local playwright, he had been asked to write a serious work to be performed as season finale. Questions 1. What do you perceive to be the primary problem in this case? 2. Do you believe that the board has made decisions according to the rational decision making model? Why? 3. Do you think that using a group such as this one was the most effective way to make the decision? 4. What might you have done differently, in order to facilitate more effective decision making

Vietnam - Watergate Essay Example | Topics and Well Written Essays - 500 words

Vietnam - Watergate - Essay Example US attacks in Cambodia were one of the fundamental causes of escalation of the Vietnam War. Likewise, the Gulf of Tonkin was another event that paved the way for greater involvement of the US in the Vietnam War. The event caused distrust between the people and the American government because the consequences of the attacks were contrary to what the government had conveyed to the public. While President Lyndon B. Johnson said that the US did not want to expand the war (Hickman), the Gulf of Tonkin actually produced the opposite effects. The media played a very important role in revealing the truth and the real awfulness of the war to the public. This particularly created distrust between the people and the government because the media was showing the opposite picture than what was being shown by the government. Walter Cronkite had made a good reputation as a reporter among the people since the World War II. In his reports about the Vietnam War, Cronkite concluded that after all the ki llings and genocides, the US did not win the war and the war ended in stalemate. â€Å"Cronkites editorial would later be regarded as a critical indice of public opinion of the Vietnam War† (â€Å"The Reporters†). One of the events of the Watergate War that led to the cynicism were the audio recordings of the US President Richard Nixon’s communications along with the recordings of the White House staff and various officials. They were known as the Nixon White House tapes. The recorders were switched off after the public got to hear the recordings. During the 1970s, a political scandal known as the Watergate scandal attracted a lot of public attention and became the cause of resignation of the US President Nixon. On 1 March 1974, numerous former aides of Nixon were indicted by a grand jury because of the conspiracy of impeding the Watergate investigation. â€Å"In 1973, a Senate

Social Media Marking Business Plan Research Proposal

Social Media Marking Business Plan - Research Proposal Example The interaction of the users and the communities in social media leads to higher interaction between the groups. The daily updates provided by the businesses on its offerings and discounts could be viewed by the customers using the online platform. Apart from this, the customers could also put up queries on the products and offerings of the business. The customers could exchange their views and share their experiences with each other using the social media network (Barefoot and  Szabo, 2009). This leads to further spread of the brand image of the companies which gains further popularity among the communities. Thus social media helps the business to enhance the prospects of marketing the products and services as per the business plan. Proposed research question The research question proposed for this study is â€Å"What are the ways in which the companies could effectively implement the business marketing plans using the social media platform?† Objective of the research probl em The research question designed for this study has the objective of exploring the different ways that could be adopted by the companies using the social media platforms for marketing their business plans. The various tools and techniques that could be adopted by the companies for marketing the products and services of the company have been identified and analyzed in this research. The findings are to be disseminated to the companies that would find these tools to be effective in implementation of marketing of their respective business plans. Literature review â€Å"Lips To Go† is a restaurant and cafe located in Iowa in the United States. The restaurant offers delicious and mouthful dishes of baked chicken, pizza, salads, soups, various other variations of chicken, lip specials, etc. â€Å"Lips To Go† is exploring the prospects of social media marketing as one of its potential business plans. The various daily updates and offerings of the restaurants are to be market ed on a daily basis. In its plight of reaching out to the customers in order to achieve the set business targets of the restaurant, â€Å"Lips To Go† could choose the several social media platforms available for marketing its business of restaurant and cafe. In order to utilize the social media platform for marketing its products and services to the customers, the restaurant needs to form a community in the social media platforms like face-book, twitter, linked-in, you-tube, etc (Evans, 2010). The social media marketing plans to enhance the restaurant and cafe business are quite significant for the features of flexibility and accessibility to its customers. The social media platforms provide opportunity for the business to market its products and offerings on a daily basis. With the help of social media platforms, the business could increase the interaction with the customers. Due to high rates of voluntary engagement by the prospective customers, the customers express their desires and concerns about the restaurants and the dishes offered by the restaurants. The restaurants advertise and promote the delicious dishes of chicken and its variations, soups, salads, pizzas, etc. The customers are able to use the social media platform in viewing the campaigns of the business and take decisions after due exchange of information. The increase in interaction leads to the spread of the brand name of the restaurant and cafe. The interface between the communities in the social med