The Benefits of Guide Dogs Essay -- essays research papers fc

  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Benefits of Guide Dogs and the Process of Obtaining Them If you are 16 or older, legally blind, and have the ability to love and take care of a dog, you may be a candidate for a guiding eyes dog. Guide dogs help blind or visually impaired people get around the world. In most countries, they are allowed anywhere that the public is allowed, so they can help their handlers be any place they might want to go. To do this, a guide dog must know how to: keep on a direct route, ignoring distractions such as smells, other animals and people, maintain a steady pace to the left and just ahead of the handler, stop at all curbs until told to proceed, turn left and right, move forward and stop on command, recognize and avoid obstacles that the handler won’t be able to fit through (narrow passages and overheads), stop at the bottom and top of stairs until told to proceed, bring the handler to elevator buttons, lie quietly when the handler is sitting down, help the handler to board and move around buses, subways, and other forms of public transport ation, and finally, to obey a number of verbal commands (Fueoco, 2001).   Ã‚  Ã‚  Ã‚  Ã‚  Additionally, a guide dog must know to disobey any command that would put the handler in danger. This ability, called selective disobedience, is perhaps the most amazing think about guide dogs – that they can balance obedience with their own assessment of the situation. This capacity is extremely important at crosswalks, where the handler and dog must work very closely together to navigate the situation safely. When the team reaches the curb, the dog stops, signaling to the handler that they have reached a crosswalk. Dogs cannot distinguish the color of traffic lights, so the handler must make the decision of when it is safe to proceed across the road. The handler listens to the flow of traffic to figure out when the light has changed and then gives the command, â€Å"forward.† If there is no danger, the dog proceeds across the road in a straight line. If there are cars approaching, the dog waits until the danger is gone and then follows the forward command.   Ã‚  Ã‚  Ã‚  Ã‚  In a handler – guide dog team, the guide dog doesn’t lead the handler and the handler doesn’t completely control the guide dog; the two work together t... ...to the puppy - raisers if they are thinking of one day owning a dog but are unaware of the responsibility that comes along with it. Puppy – raisers are also just doing it out of the goodness of their hearts, which is a great thing, in my eyes. I believe that the process in which these dogs go through is necessary, and extremely important if there is expected success. Success, of course, is the ability of a blind person and dog to work together and live happily. The dog serves as eyes for the owner, and the owner is a companion to a dog that is required to have much socialization during training. It is not difficult to see how wonderful this practice of guide dog training can be, and the substantial benefits that develop once the training is completed. Works Cited: Fueoco, Linda. â€Å"Guide Dog Educates Students, Gives Owner Mobility.† Pet Tales. 1.2 (October 2001). Oct. 2001. http://www.post - gazette.com/pets/20001025spet.asp http://penny.myriad.net/chosen.html http://www.guidedogs.com.au/faq/faq_dog.html http://www.guiding-eyes.org/info/getdog.html http://thepuppyplace.org/page19.html http://www.guidedogsofamerica.org/pupraise/about.html

Incest in Jane Smileys A Thousand Acres :: Smiley Thousand Acres Essays

Incest in A Thousand Acres Incest in A Thousand Acres invades all the other items: it is there, and is crucial for everything that happens, but it is hidden beneath the surface of appearances. Tim Keppel has pointed out not only that "Smiley's major departure [...] is her decision to tell the story from the viewpoint of Ginny and explore the inner lives of the so-called 'evil' sisters" (Keppel, p.105), but that "Smiley makes her most dramatic re-vision of Shakespeare" (Keppel, p.109) in the storm scene. This has traditionally been the scene when the audience form a bond of sympathy with King Lear because of his pathetic insanity, while in A Thousand Acres, the focus of the narrative stays with the sisters and gives us a strong reason to form a bond of sympathy with them instead: Rose tells Ginny about the incest they both underwent, but that Ginny has suppressed from memory. Rose inhaled, held her breath. Then she said, "He was having sex with you. [...] After he stopped going in to you, he started coming in to me, and those are the things he said to me, an that's what we did. We had sex in my bed." (189-190) That Larry has complete control of the lives of Rose and Ginny is already evident, and now we understand more of why. It is not only a matter of sexual abuse, but of asserting a perverted form of power. This is one of the links formed within the framework of the novel between women and nature: They are objects of property. "You were as much his as I was", Rose says. "There was no reason for him to assert his possession of me more than his possession of you. We were just his, to do with as he pleased, like the pond or the houses or the hogs or the crops." (191). All of this is subject to the power inscribed in Larry and the system he embodies. This connection is given a more general relevance in the overall political project of the novel, transcending the workings of one malfunctional family. First, because Larry follows a long line of patriarchal power structures: "You see this grand history, but I see blows.[...] Do I think Daddy came up with beating and fucking us on his own?[...] No. I think he had lessons, and those were part of the package, along with the land and the lust to run things exactly the way he wanted to.

Project Management Process [in Construction]

ADVANCE PROJECT MANAGEMENT Project Management Process [In Construction Project] Ibtisam, Badar Reg. No— CIIT/SP13-RPM-292/CVC CIIT/SP13-RPMEmail: [email  protected] edu. pk Project Management Process | 2 Project Management Processes A PROJECT MANAGEMENT Process is the management process of planning and controlling the performance or execution of a project. Project management is one of the critical processes of any project. This is due to the fact that project management is the core process that connects all other project activities and processes together.Project management is a responsible process. The project management process connects all other project activities together and creates the harmony in the project. Therefore, the project management team should have a detailed understanding on the all project management processes and the tools that they can make use for each project management process. When it comes to the activities of project management, there are plenty. Ho wever, these plenty of project management activities can be categorized into five main processes. THE FIVE PROJECT PROCESS GROUPS . Initiation 2. Planning 3. Implementation / Execution 4. Monitoring, Evaluation & Control 5. Closure Project Management Process | 3 Project Management Process [In Construction Project] In my all working career, I only deal with two types of projects, i. e. IT and Construction Project. So if someone asks to me where you have to invest, I will prefer these two areas. In this report, I’m discussing about construction project management process. As I believe, construction is a field which boosts jobs and help in unemployment.In this report, I want to talk about project management process according to new project of Housing society or Villas construction project. I will consider this project according to each phase and step of project management process. Project Initiating The Initiating phase of the Construction project management process is where the project gets defined and authorized by management. The inputs to this phase are usually a statement of work or a contract given to you by the project sponsor. Other inputs are the environmental factors of your organization such as policies, procedures, and cultures to name a few.The output of the Initiating process is a Project Charter, focus on project scope and costs issue, set major milestones, and a Preliminary Project Scope Statement. We value leading the Project with a commitment that allows for nothing but success. By embracing new ideas, working well with our partners, meeting challenges with enthusiasm, and serving as positive advocates for the project, we will provide the leadership required for exceptional delivery. We value managing the Project well by clarifying our priorities, defining expectations and directing all efforts toward addressing the most critical issues first.Working hard to determine what must be done to guide potential toward opportunity will provide th e focus we need to succeed. We value the resources entrusted to us. By developing and recognizing our staff, practicing fiscal responsibility, measuring and reporting on performance, delivering what we promise, keeping to a schedule, and communicating with honesty and transparency, we will demonstrate our integrity. Measures of Success †¢ †¢ †¢ †¢ †¢ †¢ Safety: No Recordable or lost time injuries and reportable injuries lower than the industry average Schedule: Meet or eat established project milestones Budget: Manage risks to contain costs within budget Quality: Conform to project requirements without adverse effects on milestones or budget Environmental Compliance: Complete project without permit violations. Public Perception: Strong Community Support Through Effective Communication Project Management Process | 4 Project Planning Once a contract has been awarded: It is the responsibility of the project staff to review the item material lists and arran ge for deletion of material codes that will not be required.They shall also request addition of item material codes that they determine are necessary. Site Manager staff reviews the uploaded data in Site Manager for accuracy prior to making a project active. If the contract contains more than one category, the site manager staff will discuss with the project engineer and supervising engineer (SE) the need to keep the multiple categories. The SE will determine if the Site Manager staff should process an administrative construction order to combine Categories with like federal funding. A preconstruction meeting with the Contractor must be held for all Contracts awarded.The purposes of the meeting are: †¢ To review the Contract, especially job-specific special provisions. †¢ To discuss Project features, particularly those that may present problems. †¢ To discuss Environmental Permits and concerns. †¢ To discuss the potential problems of water pollution and soil eros ion. †¢ To review the Contractor's proposed progress schedule. †¢ To review the methods of handling traffic. †¢ To review sampling and testing requirements for materials to be used throughout the construction process. Project Management Process | 5 To address any of the Contractors’ questions concerning the plans and the Contract. Any problems that cannot be resolved at this meeting will be reviewed with the District office, and the final determination will be transmitted to all concerned, and if feasible, incorporated in the written report of the meeting. Start and completion dates for utilities must also be sent to: †¢ the Manager of Fiscal and Special Projects, and †¢ The Transportation Utilities Engineer. Notification should be sent to both of the above within seven days of effective completion date so final audits can be performed.The original of all memorandums regarding project status must be addressed and sent to the Construction Division Chie f. The functional requirements for construction planning such as technology choice, work breakdown, and budgeting. Construction planning is not an activity which is restricted to the period after the award of a contract for construction. It should be an essential activity during the facility design. Also, if problems arise during construction, re-planning is required. Project Implementation/ExecutionIn this stage we deal with contract management, Construction Management , and cost management. The integration of the different design aspects almost always requires that changes in approach be made in each aspect to accommodate the others. Such changes should be made as early in the design of the building as possible, since the time and work required in making changes increases rapidly as the design becomes more detailed. It is helpful therefore to have a systematic approach to the coordination of these approaches, and the Design Brief is a good opportunity for providing this.It is sugg ested that some initial indications are included in the Design Brief at the project inception stage, and that the consultants amend these as the design develops. The building envelope consists of all the different elements that make up the fabric of the building, such as the floor, walls, windows and roof. Most of the design decisions relating to the building envelope are the responsibility of the architect and structural engineer. They have a large impact on the thermal performance of the building, and it is therefore essential that the performance of the envelope is coordinated with the design of the HVAC system.This is the area that offers most opportunities for improved building performance through an integrated design approach. Project Management Process | 6 Monitoring, Evaluation & Control In this portion we deal with risk management, quality management and also do many kind of testing. Quality control starts with matching expectations about quality levels with budget and scop e during planning and design reviews and continues through construction delivery with a program of inspections, tests, and certifications.It requires a coordinated performance among the entire project team in order for a completed building program to fully satisfy a client's and the building users' expectations. Having a process implemented at the beginning of the project will help define the goals as well as provide a continuous measurement system over time to make sure the objectives are being met. The responsibility rests withe project team and the project owner. Also the manager who has †general management† or †project owner† jurisdiction also shares in the residual responsibility.This process is done at many levels such as: – The individual professional's level – The work package level – The functional manager's level – The project team level – The general manager's level – The project owner's level Project audit s provide the opportunity to have an independent appraisal of where the project stands and the efficiency and effectiveness with which the project is being managed. Audits can be planned periodicly, but also requested when there is a sense that the project is in trouble, or when a new manager takes over in order to become accustomed with the project.Project audits should: – Determine what is going right or wrong, and why – Identify forces and factors that have prevented achievements of cost, schedule, and technical performance goals and Evaluate the efficacy of existing project management strategy – Provide for an exchange of ideas, information, problems, solutions, and strategies with the project team members The task is to manage the project as it progresses, using the project control systems to maximum advantage. Project control is best analyzed by applying the factors of a unique operation, following its output and measuring its results.All factors are to be considered; labor, materials and equipment. One might also have to consider the role of the subcontractors, as they affect the sequencing of a task. In measuring the factors, the project manager must key in on the productivity of his labor force, measuring output over a given period of time. From these results, the project manager can then make a comparison against the project estimate, and against the objectives to meet the expected goals. To be affected in managing the project, the project manager must exercise three modes of operation.These three modes are planning, communicating and monitoring of the project. The project must be well-planned, each factor of the plan properly communicated, carefully monitored and controlled. Proper planning involves one of the initiatives of the goal setting process, the preparation of the schedules, a solid logistics plan and time-based general conditions established to monitor all phases of construction. The limits of construction should be cl ear and they must comply with the language of Project Management Process | 7 the contract documents. Collectively, these are the tools needed to compile this information.It must then be the commitment of the project superintendent and labor forces to carry out the tasks within these limits. To properly implement the plan, the plan must be communicated in such a fashion that there is full understanding of its purpose. One successful mode is the construction schedule. This guide to the project must clearly show each activity starting and finishing dates, duration, resources, long lead item purchasing schedule, submittal dates, purchasing dates, materials delivery to site dates all tied together by meaningful relationships, the networking between tasks. Closer & conclusionAs part of the Project Closure Plan, Suring success of a project the Project Manager needs to remain mindful of the close-out activities that bring a job to its responsible end. The process involves several very impor tant accomplishments that are clearly defined in the construction documents usually in the general conditions section of the specification book. To be successful it is always prudent to be informed and prepared. At the startup of the project a review of each trade section would further help identify needed final submittal information, that each of your subcontractors would be obligated to produce to complete their contract.It is now time to make a close out checklist. This checklist is an excellent tool to include in each subcontract, locking each subcontractor into ownership of their respective final submittal material, whether it is warranties, record drawings, or operation and maintenance manuals a clear reminder at the set time of contract signing is a good way to identify that you are in control. Referencing this information at the halfway point of a longer project would allow you to focus on closing out subcontracts of early finish work completed early, reducing your challenge s at the end of the project.The close-out materials are generally comparable to the submission materials required for approval by the architect at the start-up of the work by any trade. At the end of the project a manual including all of these pieces of literature are assembled and you publish this collection to the client via the architect. Additional information may include as-built drawings; replications of the architect plans with markups that identify the changes made and approved throughout the construction period and most certainly, letters of warrantee from each participating subcontractor. process will be developed that will address the things most important to employees as they explore options for their future. During this process, the management team promises to: †¢ Be open and honest about decisions that affect an employee’s position on the team †¢ Work directly with employees to allow opportunities inside and outside the project to develop new skills an d refine existing ones †¢ Promptly communicate to employee’s project changes that might affect them.We want to keep employees engaged in the current project and ensure that they are ready for new challenges. Employees can share immediate and long-term plans by completing the Employee Interest Survey described above. The employee’s manager will schedule an informal meeting to discuss the employee’s responses in the Interest Survey. The outcome of this meeting will be to turn those short and long-term goals into an action plan.

Stefan’s Diaries: The Craving Chapter 4

November 5, 1864 It feels like so long ago, but in reality little time has passed since my transformation, since my father killed me. It was barely a month past that Damon and I tried to save Katherine's life, and her blood saved ours. Barely a month since I was a living, warm-blooded human, who sustained himself on meals of meat and vegetables, cheese and wine – and who slept in a feather bed, with clean linen sheets. Yet it feels like a lifetime, and by some definitions, I suppose it is. But just as quickly as my fortunes turned after New Orleans, leaving me to live as a vagrant in a rocky hollow in the park, here I am at a proper desk under a leaded window, a thick rug at my feet. How quickly I am slipping back into human ways! The Sutherlands seem like a kind family. I picture tempestuous Bridget and her long-suffering older sister as mirror versions of Damon and myself. I never appreciated how harmless Damon's and my father's fights were back when they were just about horses and girls. I was always terrified one of them would say or do something that would end forever what semblance of a family we had left. Now that my father is dead and my brother and I are . . . what we are, I realize how much more serious things can get, and how simple and easy life was before. I shouldn't even stay here, even tonight. I should sneak out the window and flee to my place of exile. Being enfolded in the warm, living embrace of the Sutherland family for any amount of time, no matter how short, is dangerous and deceptive. It makes me feel like I could almost belong to the world of humans again. They don't realize they have welcomed a predator into their midst. All that would need to happen is for me to lose control once, to slip from my room right now and take my fill of one of them, and their lives would be filled with tragedy – just as mine became when Katherine arrived on our doorstep. Family has always been the most important thing to me, and I would be lying if I didn't admit how comforting it is to be among people who love one another, if only for one borrowed night. . . . For the first time since I'd left New Orleans, I rose with the sun, intent to slip out of the mansion and disappear into the morning mists before anyone came to wake me. But it was hard to resist the pull of crisp linen sheets, the soft mattress, the shelves of books, and the painted ceiling of my room. After admiring the fresco of winged cherubs above me, I pushed off the soft covers and forced myself out of bed. Every muscle in my body rippled under my pale skin, full of strength and Power, but every bone in my rib cage showed. The Sutherlands had taken my clothes to be washed but hadn't given me a nightshirt. I enjoyed the feeling of morning sunlight on my flesh, the glowing warmth fighting with the chill in the room. Though I'd never forgive Katherine for turning me into a monster, I was grateful at least for her lapis lazuli ring that protected me from the sun's otherwise fatal rays. The window was open the slightest bit, ushering a cool breeze into the room and setting the diaphanous curtains aflutter. Though temperature no longer affected me, I closed the window, locking the latch with some puzzlement. I could have sworn all the windows had been shut tight last night. Before I had time to further consider the matter, the tell-tale thump of a heartbeat sounded close by, and after a light knock, the door cracked open. Lydia stuck her head in, then immediately blushed and looked away from my nearly naked form. â€Å"Father was afraid you might try to leave without saying good-bye. I was sent to make sure you didn't charm a maid into helping you.† â€Å"I'm hardly in a state to sneak away,† I said, covering my chest with my arms. â€Å"I will need my pants to do that.† â€Å"Henry will be up shortly with your trousers, freshly pressed,† she said, keeping her eyes on the ground. â€Å"In the meantime, there is a bathing room just down the hall to the right. Please feel free to refresh yourself, and then come down to breakfast.† I nodded, feeling trapped. â€Å"And, Stefan.† Lydia looked up briefly and met my eye. â€Å"I do hope you'll be able to locate a shirt as well.† Then she smiled and slipped away. When I finally came downstairs for breakfast, the entire Sutherland clan was waiting for me – even Bridget, who was alive and stuffing toast into her face like she hadn't eaten in a fortnight. Except for a slight paleness to her complexion, it was impossible to tell that she'd nearly died the night before. Everyone turned and gasped as I approached. Apparently, I cut a different figure from the hero in shirtsleeves the night before. With freshly polished fine Italian shoes, neat pants, a new clean shirt, and a borrowed jacket Winfield had sent up for me, I was every inch the gentleman. I'd even washed my face and combed my hair back. â€Å"Cook made you some grits, if you like,† Mrs. Sutherland said, indicating a bowl of gloppy white stuff. â€Å"We don't usually indulge, but thought our Southern guest might.† â€Å"Thank you, ma'am,† I said, taking the empty seat next to Bridget and eyeing the spread on the large wooden table. After my mother passed away, Damon, my father, and I made it a habit to dine casually with the men who we employed on the plantation. Breakfast was often the simple stuff of workers, hominy and biscuits, bread and syrup, rashers of bacon. What was laid out at the Winfield residence put to shame the finest restaurants in Virginia. English-style toast in delicate wire holders, five different types of jam, two kinds of bacon, johnnycakes, syrup, even freshly squeezed orange juice. The delicate plates had blue Dutch patterns, and there was more silverware than I was accustomed to seeing at a formal dinner. Wishing I still had a human appetite – and ignoring the fire in my veins that thirsted for blood – I pretended to dig in. â€Å"Much obliged,† I said. â€Å"So this is my little sister's savior,† said the one woman in the room I didn't know. â€Å"Allow me to introduce the eldest of my daughters,† Winfield said. â€Å"This is Margaret. First married. And first with grandchildren, we're hoping.† â€Å"Papa,† Margaret admonished, before turning her attention back to me. â€Å"Pleased to meet you.† Where Bridget was full of life and the plumpness of youth and Lydia was the elegant, cultivated one, Margaret had something of a practical and inquisitive good sense, an earthiness that showed in questioning blue eyes. Her hair was black and inclined to straightness. â€Å"We were just discussing what prompted my child's rash actions,† Winfield said, bringing the conversation back to the previous night. â€Å"I don't know why I ran off,† Bridget pouted, drawing deeply from a cup of orange juice. The older sisters gave each other looks, but their father leaned closer, worry lines marring his forehead. â€Å"I just felt that I absolutely had to leave. So I did.† â€Å"It was foolish and dangerous,† her mother reprimanded, shaking her napkin. â€Å"You could have died!† â€Å"I am glad to see you are doing so well today,† I said politely. Bridget grinned, displaying teeth that had little bits of orange pulp stuck in them. â€Å"Yes. About that.† Margaret spoke up, tapping her egg spoon on the side of her plate. â€Å"You say you found her covered in blood in the park?† â€Å"Yes, ma'am,† I answered warily, taking the smallest piece of bacon on my plate. This sister sounded more astute than the others and wasn't afraid to ask uncomfortable questions. â€Å"There was a lot of blood, and Bridget's dress was torn.† Margaret pressed, â€Å"Did you find it odd that there was no actual wound?† â€Å"Uh,† I stammered. My mind raced. What could I say? The blood was someone else's? â€Å"I thought there was a knife wound last night,† Mrs. Sutherland said, pursing her lips and thinking. â€Å"But it was just clotted blood, and wiping it down cleared it away.† Margaret pierced me with her eyes. â€Å"Maybe she was afflicted with a nosebleed . . . ?† I mumbled lamely. â€Å"So you're saying that you didn't see any attacker when you came upon my sister?† Margaret asked. â€Å"Oh, Meggie, you and your interrogations,† Winfield said. â€Å"It's a miracle that Bridge is all right. Thank goodness Stefan here found her when he did.† â€Å"Yes. Of course. Thank goodness,† Margaret said. â€Å"And what were you doing in the park last night by yourself?† she continued smoothly. â€Å"Walking,† I said, same as I had answered her father the night before. In the bright light of morning, it struck me as odd that Winfield had asked me nothing more than my name and why I'd been in the park. In times like these, and after his daughter had just suffered a great blow, it was hardly standard to accept a stranger into one's home. Then again, my father had offered refuge to Katherine when she'd arrived in Mystic Falls, playing the part of an orphan. A nagging piece of me wondered if our story could have ended differently, if the entire Salvatore brood would still be alive, if only we'd pressed Katherine for answers about her past, rather than tiptoeing around the tragedy she'd claimed had taken her parents' lives. Of course, Katherine had Damon and me so deeply in her thrall, perhaps it would have made no difference. Margaret leaned forward, not politely giving up the way Winfield had the night before. â€Å"You're not from around here, I take it?† â€Å"I'm from Virginia,† I answered as she opened her mouth to form the next, obvious question. In a strange way, it made me feel better to offer this family something real. Besides, soon enough I would be out of this house, out of their lives, and it wouldn't matter what they knew about me. â€Å"Whereabouts?† she pressed. â€Å"Mystic Falls.† â€Å"I've never heard of it.† â€Å"It's fairly small. Just one main street and some plantations.† There was some shuffling movement under the table, and I could only assume that either Bridget or Lydia was trying to give Margaret a good kick. If the blow was successful, Margaret gave no sign. â€Å"Are you an educated man?† she continued. â€Å"No, ma'am. I planned to study at the University of Virginia. The war put a stop to that.† â€Å"War is good for no one,† Winfield said as he stabbed a piece of bacon with his fork. â€Å"The war put a stop to much casual travel back and forth between the states,† Margaret added. â€Å"What's that to do with anything?† Bridget demanded. â€Å"Your sister is suggesting that it's an odd time for me to come north,† I explained. â€Å"But my father recently died. . . .† â€Å"From the war?† Bridget demanded breathlessly. Lydia and Mrs. Sutherland glared at her. â€Å"Indirectly,† I answered. A war had claimed my father's life, a war against vampires – against me. â€Å"My town . . . it burned, and there was nothing left for me anymore.† â€Å"So you came north,† Lydia said. â€Å"To try your hand at business, maybe?† Winfield suggested hopefully. Here was a man with three daughters, three beautiful daughters, but no sons. No one to share cigars and brandy with, no one to push and encourage and compete with in the world of business. I was both worried and amused by the gleam in his eye when he looked at me. Surely there were families with sons in Manhattan who would make for more auspicious marital alliances. â€Å"Whatever I can do, I aim to make my way in the world on my own,† I replied, taking a sip of coffee. I would have to, without Lexi or Katherine to guide me. And if I ever saw Damon again, the only thing he would guide me toward was a newly sharpened stake. â€Å"Where are you living?† Margaret continued. â€Å"Do you have family here?† I cleared my throat, but before I had to tell my first real lie, Bridget groaned. â€Å"Meggie, I'm bored of this interrogation!† A hint of a smile bloomed on Lydia's lips, and she quickly hid it behind her napkin. â€Å"What would you prefer to talk about?† â€Å"Yourself?† Margaret said with an arched brow. â€Å"Yes, actually!† Bridget said, looking around the table. Her eyes glowed as green as Callie's, but with her petulance on full display, she no longer reminded me of my lost love. â€Å"I still don't know why I ran out on the party.† Margaret rolled her eyes. Lydia shook her head. â€Å"I mean, you should have seen the looks I got!† she started up, waving her knife in the air for emphasis. â€Å"Flora's dress was the worst, especially considering she's a newly married woman. And my new sash – oh no, was it ruined last night? I would hate to have it ruined! Mama! Was it on me when Stefan brought me home? We have to go back to the park and look for it!† â€Å"How about we go back to the park and look for the person who tried to kill you,† Margaret suggested. â€Å"We've already had a discussion with Inspector Warren about it. He promises a thorough investigation,† Mrs. Sutherland said. â€Å"But, Bridget, you must promise not to run off from the Chesters' ball this evening or I will be forced to stand watch over you in your bedroom.† Bridget crossed her arms over her chest with a huff. â€Å"And neither shall you run off,† Mrs. Sutherland said more pointedly to Lydia. The middle sister blushed. â€Å"Lydia has fallen in love with an Italian count,† Bridget confided, her pout evaporating as she indulged in gossip. â€Å"We all hope he asks her hand in marriage – wouldn't that be splendid? Then we'd all be like royalty, sort of, and not just rich merchants. Imagine, Lydia a countess!† Winfield laughed nervously. â€Å"Bridget . . .† Bridget fluttered her thick eyelashes. â€Å"It's so wonderful that Lydia has a suitor, much less a count. After Meggie was wed, I was afraid Mother and Papa would become traditional and not let me marry until Lydia did and who knew how long that was going to take.† â€Å"Lydia is . . . particular,† Mrs. Sutherland said. â€Å"Oh really, Mama,† Bridget rolled her eyes. â€Å"As if anyone even had an interest before. And now she has a count. It's really . . . it's really not fair, you know, if you think about it . . . if I had a proper coming out . . .† I shifted in my seat, at once embarrassed for everyone, and yet glad to be involved in something as ordinary as a family squabble. This was the first time I'd been among company since leaving Lexi in New Orleans. â€Å"So many handsome, strange men in our lives these days,† Margaret said, somewhere between whimsy and warning. â€Å"What an odd coincidence, Mr. Salvatore. Perhaps I needn't make the grand tour, after all.† â€Å"Hush now, Margaret,† Winfield said. â€Å"And actually I have no one to go to the Chesters' with anyhow, Mama,† Bridget was continuing, actually growing red in the face as if she was trying quite hard to cry. She looked at me sidelong the entire time. â€Å"I am sure Milash won't escort me after last night. . . . I am in dire need of rescue. . . .† Bridget widened her green eyes at her father. Winfield frowned and stroked his muttonchops thoughtfully. In that moment, Bridget seemed as powerful as a vampire, able to compel her father to her every wish. Margaret put a hand to her head as if it ached. â€Å"Mr. Salvatore will take you,† Winfield said, gesturing at me with a fork full of biscuit. â€Å"He's rescued you once; I'm sure he's a gentleman who wouldn't leave you in distress again.† All eyes were turned on me. Bridget perked up, smiling at me like a kitten just offered a bowl of cream. I balked. â€Å"I'm afraid I haven't the proper attire . . .† I began. â€Å"Oh, that is solved easily enough,† Mrs. Sutherland said with a knowing smile. â€Å"Once again,† Lydia murmured, too low for anyone else to hear, â€Å"we are holding poor Mr. Salvatore at our mercy. With pants.†

Paramore †‘Now’ Video Analysis Essay

1. Are there any generic conventions? (eg stage performance in a metal video, dance rotine for a boyband, cutting to the beat) Are there any conventions from other genres? This video is not very generic of the genre of rock music. In comparison to other Paramore videos there isn’t an element of stage performance in a studio or any instruments involved. In most of their old videos they have been in a concert style set-up studio or location miming along to a ballad with bright lights and colorful writing whilst minor storylines happen around them. Instead this video is set in a battlefield filled with dirty- clothed enemies, dust and rotten vegetation, making them the storyline. This has often been done in pop music videos such as ‘Battlefield by Jordin Sparks’ and ‘Jar Of Hearts by Christina Perri†. In a previous Paramore video for ‘crushcrushcrush’ they were in a similar dusty setting miming along to the song and allowing people to smash up their attire. I feel that as the band have a fresh start and begin to produce more mainstream music their videos will become less stereotypical of rock music and the band’s previous self. I feel that this video has some elements of pop music, using smoke bombs and colour powder One thing that is often seen in a rock video is the use of violence and gore/blood. In this video there is violence on the battle field but instead of using blood they replace it with coloured paint powder. I believe this is for many reasons, one to make it more light hearted but also to show the band’s old stereotype disappearing and new beginnings being released. 2. Describe the style of this music video. What effect does it have? A sense of arrogance has been created from the start of the video; he is looking into the lens of the camera as if he was looking into the viewer’s eyes with a blank facial expression and ignoring all the chaos and drama behind him. This goes with the lyrics â€Å"That’s no good to me, I don’t need nobody† which provokes the idea of him telling us he doesn’t need everything going on or anyone else around him, just his microphone and himself. The camera work mainly focuses on him allowing him to be the main area in the video and be the star. It’s fun and upbeat like the song and the style of the video seems new and something never seen before which refelects his music. The video uses stopmotion animation which is created by using thousands of individual images and playing them together slower than the normal video camera frame rate to add a cool effect. This allows objects in the video to have personalities and be able to move by themselves. It also looks really cool where his t shirt flicks through colours whilst his miming is still in time. I think they did this to show he is what he is no matter what he looks like he can still be a rapper. 3. Do the visuals illustrate, amplify or offer disjuncture with the lyrics? How does this work and what do the visuals add? Cut to beat It’s anarchy, with strange figures attacking each-other with batons. This indicates that the enemy are in fact riot police which the band have strong ties with, their second album was named ‘Riot!’ due to the way the creative energy during the album’s creation seemed to burst out of them uncontrollably. I think this is clever because six years later, where instead of helping to strengthen the band and their relationship with their fans, a riot is threatening to tear it all apart after original band members leaving. Powdered smoke The powdered smoke could represent a number of things: creativity, life, love, or more literally, the blood of the allies that has been spilt during this fierce battle. If you want it’s intended meaning, director Daniel Cloud Campos wrote this message on his instagram below a photo of silhouettes in the smoke: â€Å"Smoke of love. Toxic to those who have hate in their hearts.† Daniel Cloud Campos wanted it to represent love, but really, it could symbolise anything, as long as it’s positive. 4. How are the performers represented? From the very opening shot, we are presented with two opposing forces: Paramore represented by singer Hayley alone and the Captain. This shows that she is powerful and strong. A grenade is thrown causing an explosion knocking her unconscious; she lies there not making an effort to move allowing people to get hurt around her. This shows that she is reckless and feisty going along with the lyrics â€Å"don’t try to take this from me, don’t try to take this from me†. Her band mate runs over to help her up; she grabs his arm but dashes off before she gets to her feet as another band member tackles riot police to the ground. This shows unity, which is key to the song as it was written about to past members leaving and how Paramore will continue on to produce music. The enemy turns his attention on Hayley, who is still in a vulnerable state on the ground. She doesn’t want to fight him. She just looks up at him in despondency. He sees how vulnerable she is, and seems to appreciate the way that she chooses not to fight back, slowly lowering his baton, no longer wanting to threaten her. Her peer tackles the enemy, just in case he changes his mind. He also helps pick her up. She wouldn’t be standing right now if it weren’t for band mates, this also goes with the theme of the song. The idea of the three of them taking on the whole riot squad alone is an analogy of them taking on the music industry as a trio with no drummer, coinciding with the lyrics â€Å"if there’s a future we want it now†. She looks hurt and confused by the chaos happening around her. She spots the Captain from across the battlefield, and begins to walk towards him, not consumed by hatred or vengeance. She is calm and collected. Despite explosions and savage beatings getting really violent and bloody feet away from her, she doesn’t flinch. She knows what she has to do to stop the fighting, and sets about to do it. This represents her feistiness, linking with the lyrics â€Å"I’m bringing my sinking ship back to the shore†. The boys try to fight off people in her way, filling the air with coloured powder and smoke. Hayley gets hit on the back of the head with such force that it brings her to her knees. But it’s not an expression of physical pain that is spread on her face it’s more emotional. It looks like she can’t take anymore, she looks around nervously in an attempt to find her bandmates, who just stare at her helplessly, not knowing how to help or fight back. She looks to the Captain belting â€Å"there’s a time and the place to die, there’s a time and the place to die† as the music builds up. She runs to towards him shouting â€Å"and this aint it†, her band members begin to restrain reaching out to her crying that she comes back. All of this shows independence of her and how she will continue to achieve in her career. She then runs and hugs the captain tightly causing him to release his baton and the battlefield clears of smoke, showing that they have achieved their future â€Å"if there’s a future we want it now†.

“Interpreting The Day the Earth Stood Still for Contemporary Film Audiences” Review Essay

In the article â€Å"Interpreting The Day the Earth Stood Still for Contemporary Film Audiences† written in 2008, the Author, Joshua Pardon, writes about the messages that were sent to the American film audience of 1951 through the film The Day the Earth Stood Still, based on a short story by Harry Bates written in 1940. These messages ranged from topics like the societal costs of atomic technology and both a negative and positive view of militarism, to criticism of the mass media. He also writes about how, unlike TV shows, and stories by the baby boom generation portrayed the 1950’s as a time when everything was wonderful for every citizen all the time, the argument can be made that it was a â€Å"strange and weird† time full of uncertainty, fear, and paranoia; and this film portrays these feelings, with strong messages that Pardon suggest could be applied to current world events. To make you better understand his article, he added a very well written summery of the movie followed by interpretations of the film’s scenes that could be applied to what was happening in America in 1951 and events happening in 2008. He compares the Cold War’s potential to lead to atomic catastrophe to the current war on terrorism; the public’s confusion on whether to trust scientist to the current debate of stem cell research, climate change and the scientific basis of evolution; and the media’s need to sensationalize current events take away from the real issues both in 1951 and today. I would have to say that Pardon’s article is very convincing and well written; the amount of information given by the author is very satisfactory. There is plenty of background information on what were the current events in the 1950s on every interpretation on the not so hidden messages of the movie that allow you to see the similarity of today’s issues and clearly see how the movie can be relatable today. Also, it goes into details of every important character, and even compares characters to specific iconic people from that era, such as Albert Einstein; and even the character Tom Stevens, a co mpany man with selfish intentions as a negative portrayal of a greedy American business culture. Such great details of interpretation make this article a very good and fulfilling read. In my opinion, the weakest part of this article is that, although the information given allows you to paint a clear picture of what the author is trying to communicate, it often added too much information of what almost felt like irrelevant information. Additionally, I felt that the author jumped from one subject to the next,  just to bring it back up later in the article, and even though it wasn’t confusing and the information was always different, it made the subject feel redundant. To sum up, Pardon’s article on the interpretation of the film The Day the Earth Stood Still, was a very informative and eye opening article that clearly shows all the political messages in the film. His words were able to paint a very good picture of what was happening in 1951, when the movie was made, so that you can better understand the messages that were being sent by the film that allowed us to b etter see how, even though it had been over 60 decades since this article was written, the film is still relevant today.

The motives underlying of merger and acquisitions Essay

The motives underlying of merger and acquisitions - Essay Example There are various factors that motivate mergers and acquisitions in different countries. There are also different outcomes of mergers and acquisitions as a result of the methodologies that are used to undertake the process. As such, this paper has been designed to analyse the major factors that motivate mergers and acquisitions drawing examples from institutions from the UK that have mergers and acquisitions. The paper will start by defining the meaning of the two key terms namely merger and acquisition in order to gain a full understanding of the whole concept. According to Jackson & Schuler (2000) a merger is a company that is formed after two companies have been joined or merged to form one entity and these companies have proportional ownership shares in a merger. On the other hand, in an acquisition, the other company takes full control of the other organization which is bought out through an acquisition. There are various factors that motivate companies to merge or to acquire other organizations. For instance, the need to increase market share, increase their geographic reach as well as responding to new deregulation as a result of globalisation are some of the forces that motivate mergers and acquisitions. Companies involved in mergers and acquisitions ought to reach a mutual agreement in order to obtain the envisaged benefits from the deal. The agreement between the two companies involved in a merger or acquisition has a bearing on the success or failure of the initiative. There are also quite a number of factors that motivate mergers and acquisitions in different nations. The realisation that markets are global as a result of globalisation has significantly contributed to an increase in the activities involving mergers and acquisitions especially of multinational companies (MNCs). According to a paper entitled ‘Factors that motivate mergers and acquisition’ (ND), deregulation of the global markets has significantly contributed to an increase in