How Mad Hatter Is A Nervous And Easily Influenced The...

The film Alice in wonderland the character Mad Hatter is a nervous and easily influenced the March Hare and the Queen of Hearts. He seems to shift his emotions from anger, to nervousness, sometimes becomes ecstatic, to confused very quickly, to polite. The Mad Hatter constantly needs everyone s attention. The Mad Hatter and the March Hare, celebrate unbirthday tea parties so that every day is a celebration. The clinical diagnosis of the Mad Hatter is histrionic personality disorder. People with histrionic personality disorder once called hysterical personality disorder, are extremely emotional- they are typically described as emotionally charged- and continually seek to be the center of attention (American Psychiatric Association, 2013). This is a cluster B diagnosis of personality disorder, which falls under dramatic personality disorder. Comer explains that people with histrionic personality disorder act as if they are always on stage. They use theatrical gestures and mannerism and grandiose language to describe ordinary events. They change their appearance to attract and impress others and only change their outer appearance and behaviour like their values and beliefs. (Comer, 2013) Furthermore, they may wear more provocative and bright clothing that attracts others attention. These individuals are usually attention seeking, and a know-it-all type that may try to take control of other s. In addition, these individuals may lie about their illness to make themselves

Analysis Of The Book The Leviathan - 1750 Words

Overall I enjoyed The Leviathan as a film. However, this movie means so much more than what you see during the scenes of the movie. Although the movie is shot in a very small town in northern Russia and we only meet a couple characters it has a feeling to it as if that is a lot larger than what we are seeing. It opens with distant, monumental views of Russia’s north shore, where large rock formations slope down into a gray sea. Soon we see the husks of abandoned sea-faring vessels along the water’s edge, where, later in the film, we’ll observe the enormous skeleton of a beached whale. The Leviathan took an almost impossible task of tackling religion as well as political corruption within Russia all within one movie. The Leviathan took examples and lessons from the Book of Job as well as examples of political vermouth of Thomas Hobbes. Its story expresses a sense of pervasive political corruption; it has been read as a daring critique of conditions in Vladim ir Putin’s Russia. With this critique of the Russian Government as well as the Russian Orthodox Church as well as religion in general we see the stepping stones for an exceptionally dramatic and controversial movie. The Book of Job is summarized as timeless human suffering which we see throughout the entire Leviathan movie. Within The Book of Job we see the Leviathan being named in Job 41, â€Å"â€Å"Can you pull in Leviathan with a fishhook, or tie down its tongue with a rope 2 Can you put a cord through its nose orShow MoreRelatedAnalysis Of Thomas Hobbes s The Book Leviathan 1957 Words   |  8 Pageshold back peace, in order to make it seem like everyone is equal. This can create disorder in society and many other problems. For example, without government or the wealthy class it would be hard for society to do the things it can today. In the book Leviathan, Hobbes says â€Å"therefore, before the names of just and unjust can have place, there must be some coercive power to compel men equally to the performance of their covenants, by terror of some punishment†¦Ã¢â‚¬  (Hobbes 89). I think Hobbes is trying toRead MoreDo Metaphors Really Matter?1208 Words   |  5 PagesDo metaphors really matter? : An analysis of the use of metaphors in rhetoric Introduction Josà © Ortega y Gasset, a renowned philosopher once wrote: â€Å"The metaphor is probably the most fertile power possessed by man†. Metaphors form a pervasive part of rhetoric, because they have a great influence of our cognitive process. (Pauley, 2014) The use of metaphors in rhetoric is very common; as metaphors have the power to make people act despite the ideologies that are being put forth. In this essay, theRead MoreThomas Hobbes : The Age Of Reason1313 Words   |  6 Pagespolitical conflict between the king and Parliament. (Green-Heffern) This was also a time when many questions existed about how to rule a country and what made a good government. Thomas Hobbes’ Elements of Law (1640), his analysis of the Social Contract and his major work Leviathan (1651), influenced not only the government leaders of his time, but also helped form the foundation of Western political thinking (World Philosophers and Their Works). Thomas Hobbes was born on April 5, 1588 in WestportRead MoreThe Right And The Good Hobbes S Theory On Moral Philosophy1268 Words   |  6 PagesDale Campbell Prof Cummins/Phi 358 THE RIGHT AND THE GOOD IN HOBBES’S THEORY ON MORAL PHILOSOPHY Mr. Hobbes’s Leviathan is one of the many outstanding philosophers that wrote books on moral philosophy and their meaning. Hobbes explains in a clear and engaging manner that makes his Statement thesis clear from the start: Man can be a self-interested animal, and that this self-interest is enough to create a justified and obligatory ways of justice, citizenship, and morality. HeRead MoreThe Link between the Concept of Challenging and Forming Leadership642 Words   |  3 Pagesfilled with numerous instances in which individuals plotted seditions and overthrew various forms of governments dictatorships, monarchies, democracies in order to erect new forms of leadership that were either autocratic or otherwise. A prolonged analysis of various types of these examples, as they correlate to different types of leadership and manners of government, can prove quite beneficial to individuals who wish to lead and not succumb to similar pitfalls. This concept is widely explored inRead MoreCritical Analysis of William Blakes Poem The Tiger1393 Words   |  6 PagesÐ ¨Ã £ÃÅ"ЕÐ Ã ¡ÃÅ¡ÃËœ Ð £Ã ÃËœÃâ€™Ãâ€¢Ã  Ã ¡ÃËœÃ ¢Ãâ€¢Ã ¢ â€Å"ЕПИÐ ¡ÃÅ¡ÃÅ¾ÃÅ¸ КОÐ Ã ¡Ã ¢Ã Ã Ã ¢ÃËœÃ  ПÐ  Ãâ€¢Ã ¡Ãâ€ºÃ Ãâ€™Ã ¡ÃÅ¡ÃËœÃ¢â‚¬  Ð ¤Ã °Ã ºÃ'Æ'Ð »Ã'‚Ð µÃ'‚ Ð ¿Ã ¾ Ã'…Ã'Æ'Ð ¼Ã °Ã ½Ã ¸Ã'‚Ð °Ã'€Ð ½Ã ¸ Ð ½Ã °Ã'Æ'Ð ºÃ ¸ Project title: Write a critical analysis of William Blakes poem The Tiger paying special attention to the stance of the poetic speaker Name: ИÐ ²Ã µÃ »Ã ¸Ã ½ ИÐ ²Ã °Ã ½Ã ¾Ã ² ÐÅ"Ð ¸Ã ½Ã ºÃ ¾Ã ² Faculty number: 1063 Read MoreCritical Analysis of William Blakes Poem The Tiger1378 Words   |  6 PagesÐ ¨Ã £ÃÅ"ЕÐ Ã ¡ÃÅ¡ÃËœ Ð £Ã ÃËœÃâ€™Ãâ€¢Ã  Ã ¡ÃËœÃ ¢Ãâ€¢Ã ¢ â€Å"ЕПИÐ ¡ÃÅ¡ÃÅ¾ÃÅ¸ КОÐ Ã ¡Ã ¢Ã Ã Ã ¢ÃËœÃ  ПÐ  Ãâ€¢Ã ¡Ãâ€ºÃ Ãâ€™Ã ¡ÃÅ¡ÃËœÃ¢â‚¬  Ð ¤Ã °Ã ºÃ'Æ'Ð »Ã'‚Ð µÃ'‚ Ð ¿Ã ¾ Ã'…Ã'Æ'Ð ¼Ã °Ã ½Ã ¸Ã'‚Ð °Ã'€Ð ½Ã ¸ Ð ½Ã °Ã'Æ'Ð ºÃ ¸ Project title: Write a critical analysis of William Blakes poem The Tiger paying special attention to the stance of the poetic speaker Name: ИÐ ²Ã µÃ »Ã ¸Ã ½ ИÐ ²Ã °Ã ½Ã ¾Ã ² ÐÅ"Ð ¸Ã ½Ã ºÃ ¾Ã ² Faculty number: 1063 Read MoreHow Rousseau s State Of Nature Differs From The One Established By Hobbes And Rousseau Essay1253 Words   |  6 Pagesmankind was concerned. In his Leviathan, the English thinker saw mankind from a physiological standpoint and was a staunch champion of the role of nature in the formation of man. On the other hand, the Genevan pundit was against the Hobbesian rationale and argued in his Discourse on Inequality, that the English savant did not establish the framework of the â€Å"natural man† idea but of the â€Å"man in society† concept. This essay will try to enunciate the basis of Rousseau s analysis, put forth the Swiss scholarRead MoreThomas Hobbes And John Locke s Theory Of Social Contract Theory1449 Words   |  6 Pagesreligion, and literature. I begin by defining social contract theory and explaining the different perspectives of English philosophers, Thomas Hobbes and John Locke. From there, I will introduce Dostoyevsky’s work, Grand In quisitor, and conduct an analysis of the relationships between the Grand Inquisitor and his subjects as well as Jesus and his followers. Using textual evidence and uncontroversial interpretations of the authors’ works, I will draw parallels between the Grand Inquisitor’s relationshipRead MoreHobbes And The State Of Nature1549 Words   |  7 PagesThomas Hobbes, a 17th century English philosopher outlines in his book Leviathan (1651) that the state of nature is a state of â€Å"warre, as if of every man, against every man†. Hobbes sets out his moral philosophy with regard to human nature; the way humans behave amongst each other and the state of nature; the natural condition of human interaction as a proceed of nature. Hobbes uses the state of nature as a mechanism for demonstrating the preconditions of a political society. By highlighting the

Impact of bollywod on society Free Essays

Movies have been the source of entertainment from time unmemorable. This is considered as a family bonding time these days. Few enjoy watching movies at home as a family to save economy, and some people Like going to theatres as a family calling it a day to relax and having fun. We will write a custom essay sample on Impact of bollywod on society or any similar topic only for you Order Now In both ways movies are tools of relaxation. Is this the case or movies are tools that instigates violence, differences in societies, bring out sexual indecency in the very living room of houses? Allegorical stories, novels and movies can cause a huge revival and Inculcate revolutionary thoughts If the correct message Is conveyed In a right fashion and with implicitly that the uneducated and educated can be enlightened alike. Allegorical movies can help tremendously to make the point across. Most of the Indian movies have some theme and moral they have to convey to the public. They bring awareness to the people what in going on in the world. Not everyone is educated and this media Is a powerful tool to bring to light things happening so that even the uneducated In a remote village knows about everything. Some movies talk about the social justice being denied to the poor, talking about the racial and caste rejoice people face everyday in life all around the world. Some historical movies bring to life the ancient history that is slowly fading away bringing out the beauty of the culture of different civilizations of the past. There are movies that talk about the evils Like child marriages, women being abused and treated badly by the male dominating world. He corruption In the government and higher authorities, the cover up of the companies not to let the public know about the inferior quality of their products or how they pollute the environment and the autocratic nature of the landlords. There are times when there was a huge revolution happening because the public started thinking and this big screen has huge Impact on how people voted In the elections also. Evils Like child sex traffic Is beautifully brought out along with the old practices and taboos of the societies that still exis t in a country that talks about technology and growth. We come to know about the murders happening because of the dowry system, how women are abused at workplace, how there are child abuse in houses that are respected in society saying Just because people live in marble houses, soonest mean they do not have same struggles Like others do. How love is treated as crime in a culture where men and women are not allowed to talk and how this evil brings a male dominant society to always have a winning shot, while women have to stay submissive even if beaten up. How arranged marriages to strangers can cause pains and how adjustment in new place is a Herculean task and how a woman shows her strength to build her and her family with patience and love all these are shown delicately and powerfully saying being a house wife Is also a full UT how a man Juggles between his Job, and his family life and some times how his sacrifices goes unnoticed all are shown in Indian movies impregnated with morals and principles. Thus movies bring out delicate things that are happening in the lives of people in a very artistic way. This is truth that many are fans of these heroes and heroines and every punch dialogues and message they send out becomes a Veda for the layman. Keeping this in mind if people make movies that channel these lives that look unto these artists as role models, there is sure to come a dramatic changes in their lives ND how they will face the world with goodness and positive attitudes. These movies can easily make or easily break the lives of those who are fascinated by movies and not take it as entertainment. Some movies also bring out the evils of terrorism, how a nation should stay strong and united and how hard work is always the essence of progress. ‘Evil never wins’ is the theme in most of them. ?But it can also cause imitation of the violence and the thwarted mind can follow a movie and do the same evil to the society. What we say and what we try to convey should not drive them to take weapons but should make hem see that evil dies and those who take a weapon will die of that for sure. Of course it would not be complete if I do not mention about some movies that are produced for commercial purposes having some sexual content to it, fascinating dream and stunt scenes adding flavor to the movie, but still the themes could definitely convey a message holding some moral lesson. Revealing body and scanty clothing does not help the confused adolescent to keep calm, every one would have felt this way at one point of time, nothing to feel ashamed of this. But when these reportage the child to explore things, which he is not supposed to makes things more and more detrimental. It should also kept in mind, how movies are made and not include sexual content in movies that is family type ones. Unwanted double meaning dialogues and unwanted contents should be avoided no matter how much commerce it brings to the bank. I do believe if we use this powerful and double-edged tool correctly it would always be a great source of enlightenment and empowerment and many good messages can be sent to the world that would make the society a better one. How to cite Impact of bollywod on society, Papers

London Youth Symphony Case free essay sample

LONDON YOUTH SYMPHONY Colette Southam prepared this case under the supervision of Professor Craig Dunbar solely to provide material for class discussion. The authors do not intend to illustrate either effective or ineffective handling of a managerial situation. The authors may have disguised certain names and other identifying information to protect confidentiality. Ivey Management Services prohibits any form of reproduction, storage or transmittal without its written permission. Reproduction of this material is not covered under authorization by any reproduction rights organization. To order copies or request permission to reproduce materials, contact Ivey Publishing, Ivey Management Services, c/o Richard Ivey School of Business, The University of Western Ontario, London, Ontario, Canada, N6A 3K7; phone (519) 661-3208; fax (519) 661-3882; e-mail [emailprotected] uwo. ca. Copyright  © 2005, Ivey Management Services Version: (A) 2009-10-04 On Sunday April 4, 2004, Daina Janitis, board president of the London Youth Symphony (LYS), sat in her home office and typed: I’ve been around the LYS for nearly a dozen years — eight before I launched my own young musicians into the adult world and the last four as president. We will write a custom essay sample on London Youth Symphony Case or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I have been wearied each year by all the same discussions with the board of directors, â€Å"Can people join if they can’t pay? † â€Å"Do we punish non-attendees? † and â€Å"Are we going to go bankrupt? † Fortunately, today, the last question is not an issue — thank goodness. Instead, the question â€Å"Do we have a bank account but no orchestra? † has surfaced instead. LONDON YOUTH SYMPHONY BACKGROUND The LYS was a not-for-profit organization with a volunteer board of directors. It was founded in 1961 with the support of the Junior Women’s Committee of the London Symphony Orchestra Association with Derek Stannard serving as the first conductor. Not simply recreation for young players, LYS provided the region’s best young musicians with a challenging symphonic orchestra experience. Many of the more than 2,000 LYS alumni went on to have careers as music educators, soloists and musicians in professional orchestras and ensembles while others who pursued non-musical career paths continued their life-long commitments to music through membership with community orchestras throughout Canada. The LYS experience exposed advanced orchestral instrumentalists to a level of repertoire and ensemble playing that could not be duplicated by any school orchestra or through private study alone. Membership in the LYS was open to musicians between the ages of 13 and 23 from London and the surrounding area and was contingent on a successful audition with the orchestra’s conductor and music director since 2002, Len Ingrao. Conductor of the Waterloo Chamber Players and the London Community Orchestra, the former LYS assistant conductor stepped into the role of LYS conductor upon the death of long-time LYS conductor Stan Kopac. The LYS Young Strings (YS) program was an outreach program of the LYS and was open to violin, viola, cello and double bass players between the ages of eight and 15 with Page 2 9B05N009 the recommendation of their school or private music teacher. YS was conceived approximately 20 years ago by London string music educator, Steven Wolsley as a ‘feeder group’ to provide LYS with needed string players. During the weekly full LYS rehearsals, Maestro Ingrao guided the players in musicianship, orchestral playing technique and discipline worthy of the finest and most committed young musicians in the area. According to the musicians, the orchestra gave them a very challenging classical and contemporary repertoire. A recent LYS alumnus who moved on to attend a prestigious private music conservatory recounted how her classmates complained about the difficulty of one of their orchestral pieces. She told them to stop whining and that she played the piece when she was a teenager in her youth symphony. LYS musicians also benefited from regular sectional rehearsals with coaches from Orchestra London and the Don Wright Faculty of Music at the University of Western Ontario. According to Maestro Ingrao, â€Å"It’s too easy to believe that a conductor can or should be able to do everything and forget that the instrumental specialists are the ones who impart the requisite technical advice. † LYS performed three major symphonic concerts per year, featuring a young soloist selected from within the ranks of the orchestra or a young guest artist. A first-time patron at a recent concert was overheard saying, â€Å"I didn’t expect it to sound like a professional orchestra, but when I closed my eyes during the concert, it sure didn’t sound like kids. † LYS also performed at concerts with other groups such as the London Community Orchestra (LCO) and choirs from neighboring community churches. The LYS, through outreach concerts and the 2002 tour in Austria and Italy, has put London on the youth orchestra map. FINANCIAL POSITION On August 31, 2001, the LYS bank account balance was $10,044 (see Exhibit 1). Based on projected expenditures, it seemed inevitable that this balance would be depleted during the fall 2001 season. Additionally, bingo revenues had been an important source of income for LYS and 3C Bingo, the hall that held their licences, was undergoing financial difficulties throughout 2001 so its own future was uncertain. 1 The board decided in June 2001, that LYS could no longer afford $10,000 annually to have a paid manager. Over the next two years, the board president, Daina Janitis, and treasurer, Abigail Butt, carried out the majority of the manager’s duties. In October 2002, LYS was accepted at the Bingo Castle and Bingo Palace so that bingo revenues began to flow again. With Butt’s tight fiscal restraint, by August 31, 2003, LYS was in a healthy financial situation again with $41,664 in the general account (see Exhibit 1). Revenues Registered under the federal Charities Act, LYS had no share capital and paid no income tax. According to the income statement, LYS had four different revenue streams: fundraising, tuition fees, grants and sponsorships and concert proceeds (see Exhibit 2). In 2004, fundraising revenue, almost exclusively due to bingos, amounted to $9,309. The city’s ban on smoking in all public places was expected to decrease future bingo revenues by 20 per cent since neighboring municipalities still allowed smoking in bingo halls, as did the nearby casino. Bingos were a key source of funding for not-for-profit organizations in Ontario. Managed by the Ontario Lottery and Gaming Commission, the reporting and record-keeping requirements were stringent. Until 2001, an LYS family had managed the organization’s bingos, but when that family’s 1 3C went out of business in September 2001. Page 3 9B05N009 musician graduated from LYS, this task fell to the board treasurer. Each LYS member family was required to participate at three bingos per year, while YS families were not currently required to participate. Ideally, each bingo required 10 to 12 volunteers (musicians over age 16 or parents) to run smoothly, and had to include a board member who signed the bingo licence application and a few others who were trained in the calculation of prizes or other aspects of the bingo process. However, without a formal process for tracking LYS family volunteering, bingos were running with as few as six people. Other fundraisers were much less lucrative. Sales of poinsettias and bamboo plants in 2002 brought in revenue of $6,579, but the associated costs amounted to $5,545. â€Å"Retail† types of fundraisers were unpopular with the parents who were already saturated with chocolates, cheese and plants to sell for their children’s schools and extracurricular organizations. Many parents opted to purchase the plants as gifts rather than allow their children to sell yet another item to family, friends and their co-workers. Management of these smaller fundraisers also placed an additional burden on the board members, who ran the fundraisers in the absence of a fundraising committee. On the other hand, the returns associated with the Cabaret Night fundraiser in 2000 were more appealing. The single-night event brought in $2,276 with associated costs of only $623. Additionally, the Cabaret experience was fun for the musicians, entertaining for family and friends, and it increased the orchestra’s exposure in the city. Tuition fees brought in $17,069 in 2004. Current tuition is $325 for LYS and $145 for YS (see Exhibit 3). YS tuition had increased by $10 to $145 since 2001. In 2004, LYS tuition had returned to $325 after being raised to $425 for the 2003 season. A decrease in paid enrolment from 50 to 28 musicians accompanied the increase in tuition. Note that there is a discrepancy between the number of musicians that paid to enrol and the number of musicians listed in the concert programs. According to the program notes, there were 35 LYS musicians in 2003, while only 25 paid tuition. There was no formal plan in place to forgive tuition for musicians who were unable to pay due to financial hardship. This was a source of dissention on the board, with some members believing that inability to pay the tuition should not prevent any qualified musician from belonging. YS enrolment did not appear to have an elastic demand and the numbers were expected to remain constant. Grants and sponsorships were an important source of revenue for LYS. Trillium Foundation Grants provided one-time grants that could be used to purchase instruments and music while The London Arts Council (LAC) had been an ongoing source of operating funds. LAC was: dedicated to enhancing the quality of life and the creative vitality of London by nurturing awareness of, involvement in, and commitment to, excellence of all levels of Arts and Culture — through programs and services that provide informational, educational, consulting and networking opportunities to Londoners, visitors, and the arts community. 2 In 2001 and 2002, LYS had received LAC’s third largest grants ($14,000 and $15,000, respectively). This grant had been gradually reduced and, in 2004, LYS received $7,000, which was the eighth largest grant. In 2004, the third largest grant awarded was for $12,750. LAC required audited financial statements for any grants in excess of $10,000, and if LYS had its statements audited, it would likely receive at least $12,000 from LAC. Janitis had recently discovered that corporate sponsorships were a lucrative source of revenue. For the 2004 season, Great West Life and TD Canada Trust each sponsored a concert for $2,500. Concert sponsors received a thank-you plaque, acknowledgement on the front page of the program, and six 2 www. londonarts. org/goals. htm Page 4 9B05N009 complimentary tickets to their concert. Janitis believed that LYS needed to increase the benefits associated with corporate sponsorship in the form of a more public recognition of the sponsor’s goodwill. She wanted to ensure future sponsorship as well as attract a sponsor for the third concert. Smaller corporate sponsors received an advertisement in the program notes. Without a paid manager, the time-consuming responsibility for attracting corporate sponsors and writing grants fell to Janitis, the board president. Performance proceeds had fallen off recently as lower enrolment resulted in fewer tickets being bought by family and friends. Some musicians did not have any family or friends attend, and generally, the musicians played to fewer than 100 patrons. Playing to an empty church hurt morale as the musicians spent months preparing the pieces. A board member proposed that having each member sell six tickets per concert would easily solve this problem. Ticket prices were $10 for adults and $6 for students or seniors, with the audience generally being 75 per cent adults. Saturday afternoons were not ideal times to schedule concerts, but Wortley Baptist Church was obviously unavailable on Sundays. Expenses Most LYS expenses (see Exhibit 2) were fixed costs that did not increase with the number of musicians. An honorarium of $1,044 per month was paid to the LYS conductor. The two YS conductors each received $75 per session with approximately 30 sessions per year. The music librarian was paid $1,000 annually. Prior to June 2001, the manager was paid $10,000 per year. Sectional coaches were paid $50 per session. The conductor preferred to have two sectionals per group (first violin, second violin, cello, double bass, winds, brass and percussion) prior to each concert. In 2003, Janitis proposed to the board that she would be willing to serve as the paid manager for $500 per month. The treasurer advised that LYS could not afford this service, and since financial statements did not exist and the board was not aware of the bank account balance, the motion was defeated, although there was unanimous support for having Janitis serve as a paid manager if LYS could afford it. Performance proceeds did not cover associated performance expenses. Annual hall rental at Wortley Baptist Church was $2,850 in 2004, up from $2,275 in 2003. Shortages of certain instrumentalists necessary to give the orchestra balance were alleviated by hiring young musicians at $50 to $100 per concert. Exhibit 4 details the numbers of extra musicians hired and the instruments where shortages existed since 2001. Most of the hirings in 2004 became necessary when a paid LYS performance was scheduled during the Kiwanis Festival. Many LYS players were unavailable due to competitions. This paid performance resulted in inconvenience to the families, an expense of $675 in 2004 to hire additional musicians to fill in for missing players, and a $400 fee for use of the out-of-town facility. The actual LYS reception expense has been understated. A reception in the church basement followed each LYS concert to which each family was required to bring a tray of baked goods. The level of compliance to this request varied with some families bringing in huge offerings and others repeatedly ignoring the request. The musicians had a pizza supper prior to each concert as the dress rehearsals occurred during dinner hours. Other concert expenses were not expected to increase. Instrument costs were covered by Trillium Foundation funds, and no new purchases were planned. Fundraising expenses were determined by the individual undertaking, but bingo licence fees would be increased to $90 per bingo session (with 10 sessions anticipated), and bingo expenses were fixed and were not expected to drop with decreased revenues. Uniform expenses were expected to amount to $1,200 annually for each of LYS and YS. The large cost in the most recent year was due to the discount purchase of a two-year supply of sweatshirts for LYS. Insurance was expected to increase by three per cent annually. General and administrative expenses had increased considerably, but these were expected to Page 5 9B05N009 decrease. Telephone costs were expected to amount to $40 per month. Several phone bills had gone unpaid, and the organization received a letter threatening to cut off service. As a result, a large expense in the previous year was generated in the form of a $500 pre-payment of the next year’s bills. The website design and software costs were one-time expenditures. A current board member was an information technology (IT) director who offered space on his company’s server, free of charge. A large advertisement in the Kiwanis Festival brochure cost $200 annually and targeted the appropriate audience. Music expenses and annual dues and licences were expected to remain constant. There had been no payment to an accountant since 2002, but it would cost $500 to have the statements audited and taxes filed for 2005. The cost of music, annual dues and licences, photocopying, office supplies, postage and post office box rental were not expected to change. It was hoped that bank charges would be offset by the interest that would be earned if the surplus bank balance were invested in a guaranteed investment certificate (GIC). BOARD OF DIRECTORS As a not-for-profit organization, LYS had a volunteer board that tended to be composed of dedicated parents and educators (see Exhibit 5). Although, historically, the role of the board was to make strategic decisions, since June 1, 2001, LYS no longer employed a paid manager. Therefore, daily operations of the symphony were divided among the board members. The contribution of these unpaid volunteers was substantial, and board members were inclined to help in order to keep the orchestra viable for London’s young musicians. There were no existing guidelines dictating board composition, term length or any formal method for recruitment. Historical records were kept in several cardboard boxes in the treasurer’s garage. Federal not-for-profit organizations are regulated under Part II of the Canada Corporations Act (C. C. A. ). In general, the duties of the directors and officers of not-for-profits were similar to those that applied in a commercial context. Board members were required to exercise due care and to serve as fiduciaries that act in the best interests of the organization. Because of the non-compensated nature of their positions, board members of not-for-profit organizations were held to a less stringent standard of care than board members of for-profit companies but still had the duty to conserve and protect the organization’s assets. LYS carried comprehensive liability insurance for its directors and officers. ENROLMENT At least part of the large drop in enrolment from 50 in 2001/2002 to 28 in 2002/2003 might have been attributable to the increase in tuition fees by $100. Even with the reinstatement of tuition to the former level of $325, the 2004 enrolment of 32 musicians was low. The youth symphonies in Ontario all had enrolment issues in 2004 due to the double cohort. Many of the musicians played with their youth orchestras while they attended high school, and the elimination of Grade 13 reduced numbers provincewide and was expected to continue to affect numbers. Even with the declining numbers, at the 2004 auditions, LYS had more qualified flutes and clarinets than were required, a shortage of bassoons, oboes and strings, and no trombones or violas. These shortages resulted in having to hire extra musicians for concerts and limited the repertoire that could be chosen for the concerts. The low numbers also ruled out the possibility of a European tour, which was a prime motivator for membership. With a population of more than 300,000, London was the 10th largest city in Canada and had the third largest Kiwanis Music Festival in Canada with over 3,000 entries. Given the large number of young musicians in the city, the board often puzzled over the causes for the low enrolment. Competition and Page 6 9B05N009 substitutes for the LYS experience, existed in: the London Community Orchestra (LCO), high school and university bands and orchestras, private music teachers, and the Forest City Talent Education Centre. The LCO was composed of musicians of all ages (from age 14 and up, but had a large contingent of retired people) and from all walks of life. LCO was also directed by Len Ingrao, LYS’s conductor. LCO charged student (high school, university or college) members only $100 annually. LCO had the benefit of practising and performing in the same venue. They practised Tuesday evenings and performed four annual concerts on Sunday afternoons at the Aeolian Hall. Annual rent at Aeolian Hall was $2,400 — less than what LYS was paying at Wortley Baptist Church. Although the hall could benefit from a facelift, the acoustics were warm and considered by some to be the finest in the city. There were rumors that Clark Bryan, a renowned concert pianist, was considering purchasing the Aeolian Hall with the intention of restoring it to its former grandeur, when it was known as the jewel of East London. No renter was using the hall on Saturday afternoons, and it also had the benefit of being an actual performance hall with a box office and facilities to run a concession booth, which could bring in at least $150 per concert and would remove the obligation for families to provide baked goods for the post-concert reception. High school and university bands and orchestras were also direct competitors to LYS. The local high schools required students enroled in their music courses to play in one or more of their school’s bands, orchestras or ensembles. These groups practised before school, charged no tuition fee, and did not require parents to attend bingos or provide baked goods for receptions. Janitis frequently sent all high school music teachers several mailings with posters and audition information, and yet very few musicians were referred by their high school music teachers who were devoted to further developing their own school music program. The University of Western Ontario University Orchestra rehearsed on Thursday prior to LYS rehearsals. This meant that some musicians came late to LYS rehearsals and played for six hours on Thursday evenings. Many of the university students played with LYS during high school or were friends with current LYS members. Tuition fees were prohibitive for some university students living away from home. Private music teachers should serve as complements rather than substitutes for the LYS, but according to Len Ingrao, The bottom line is that we no longer have the wide base of teachers who sent us string players in the past. Most of those teachers are now associated with Forest City (FC) Talent Education which has 100+ students in its program and continues to expand yearly. We need access to those 100+ players to survive. It is as simple as that. Suzuki music programs started children as young as three playing stringed instruments. Strong parental commitment was demanded, and these children progressed quickly to advanced repertoire. Most youth symphonies in North America relied heavily on Suzuki programs such as FC to feed the string sections, which were the dominant component of the orchestra (see Exhibit 6). Whenever FC was discussed at LYS board meetings, emotions ran high. Some members emphatically stated that there was a difference of philosophy between LYS and FC, with FC aimed primarily towards the soloistic education of string players. However, the FC program also included abundant chamber music (string trios, quartets and quintets) as well as several string orchestras including Primus, the senior string orchestra initiated by the musicians themselves. The second major objection to an association with FC was that LYS would lose its autonomy and would become â€Å"sucked into† the school. The major benefits for the FC students were that LYS would expose them to full orchestral pieces (beyond just strings) under the Page 7 9B05N009 direction of a professional conductor, and would allow them to participate in international youth orchestra activities. During informal discussions with the FC school, it was suggested that the reason FC string players do not join LYS was that, â€Å"given the number of extra-curricular activities high school students now contend with, the musicians could not devote yet another evening during an already busy week. † The FC students practised on Saturday mornings so moving the LYS rehearsals to Saturday afternoons might facilitate more members joining LYS as well. 3 Although tuition costs were not cited as a deterrent for joining LYS, FC families already paid thousands of dollars each year for private lessons, participation in FC ensembles, accompanists and registration for competitions. Although one of its stated missions was to provide LYS with string players, LYS Young Strings had never been a major provider of players, with two to three players each year being the average carry-over. Many LYS-YS students were recommended by their elementary school’s music program and many had never taken private lessons. A minimum level of Royal Conservatory Grade 7 was required of LYS string players, and that level could not be attained without regular private lessons. The LYS-YS directors (one a board member) were current or former school music teachers who believed that the LYS-YS was an enriching experience for these young players and did not want to be considered a ‘feeder’ program to LYS. There was very little integration of LYS-YS with LYS, and there was no active program to recruit LYS-YS players into private lessons and or to LYS concerts. Some board members believed that LYS should sever connections unless the LYS-YS conductors were willing to accept the mission statement. Additionally, it was discovered that LYS’s phone message system had close to 100 messages, some of them very old and some inquiring about auditions. The phone was physically located at a board member’s house, with the voice mail system accessible by code, but the message retriever had not realized that the voice mail box was sub-divided. Due to communication issues on the board, no one had responded to these calls. LYS did not currently maintain a membership database, but relied on paper records maintained by various board members. The conductor would notify the board and musicians about shortages and anticipated shortages in specific instruments, but no records were maintained about orchestra composition. Janitis also pointed out that she had no contact information for the private music teachers who were the primary source for musicians. In an attempt to recruit more musicians, Janitis sent all high school music teachers regular newsletters about the opportunities LYS could offer their musicians. To date, only one musician had been referred by a high school music teacher. CURRENT SITUATION With more than $40,000 in the bank, Janitis realized that the healthy bank account cushion could cover all operating expenses for a year, even if no tuition were charged. She recognized that, with several board members retiring, LYS had the opportunity to conduct some financial experiments. The season’s goal was to design a strategy that would increase LYS enrolment to at least 40 members and double attendance at concerts. Improved communication within the board and with the musicians and families was also a priority, as was increasing visibility in the community. LYS could afford an operating deficiency in 2005, but would like to maintain a minimum bank account balance of $30,000 and break even in 2006.

10 mejores y 10 peores estados para hacer negocios

10 mejores y 10 peores estados para hacer negocios Para los  hispanos  que residimos en Estados Unidos es importante conocer cules son los mejores y los peores estados para hacer negocio por una razà ³n muy simple: somos el grupo con el porcentaje ms alto de emprendedores. Y es que 11 de cada 100 tienen un negocio, siendo la presencia latina especialmente notable en  empresas de limpieza, jardinerà ­a, reformas de viviendas, eventos y negocios que requieren licencias profesionales. Muchos de los negocios son pequeà ±os y en realidad son una forma de autoempleo, particularmente entre los migrantes mexicanos y entre los mexicano-americanos que son dueà ±os de aproximadamente 800 mil negocios de este tipo. Est claro que los negocios son importantes para la comunidad latina, tanto para la ya asentada como para la recià ©n llegada y eligen esa opcià ³n como los que no tienen otro remedio porque llegan con una  visa E-2  que debe ser renovada perià ³dicamente  o una  green card por inversià ³n. Por esta razà ³n conviene conocer en cules de los 50 estados de Estados Unidos existe una regulacià ³n y un clima econà ³mico y empresarial que favorece la creacià ³n y el crecimiento de los negocios. Por ello este artà ­culo comprende: Lista general de los 10 mejores estados para hacer negociosLista general sobre los 10 estados en los que es ms complicado y dificultoso sacar adelante un negocioY lista de los 5 estados que los empresarios latinos prefieren para desarrollar su idea de negocio, que no siempre coincide con el listado general. Son muchas las listas que se hacen anualmente sobre los mejores y peores estados para hacer negocio. Aquà ­ seguimos la de Forbes, por su amplitud y metodologà ­a, pero en general puede decirse que hay pocas variaciones entre los diferentes listados. Se han valorado factores como: potencial econà ³mico para el futuro, regulacià ³n sanitaria y de contratacià ³n, disponibilidad de trabajadores, calidad de vida, clima econà ³mico y costo para hacer negocios. Los 10 mejores estados para emprender Utah, destacando en potencial de crecimiento (poblacià ³n: 2,963,000)Carolina del Norte, que sobresale en regulacià ³n favorable para los negocios (poblacià ³n: 9,992,000)Nebraska, tambià ©n con un excelente clima regulatorio (poblacià ³n: 1,877,600)Dakota del Norte, con un buen clima econà ³mico, influenciado por los hidrocarburos (poblacià ³n: 744,600)Colorado, el estado nà ºmero 1 en normas laborales (poblacià ³n: 5,397,200)Texas, el estado con el mejor clima econà ³mico (poblacià ³n: 27,187,700)Virginia, el mejor estado desde el punto de vista regulatorio (poblacià ³n: 8,355,200)Indiana, el mejor despuà ©s de Virginia en regulacià ³n (poblacià ³n: 6,608,900)Dakota del Sur. el estado con menor costo para hacer negocios (poblacià ³n: 856,200)Washington, un estado con excelentes perspectivas de crecimiento (poblacià ³n: 7,108,400) Los 10 peores estados para hacer negocios En esta lista se empieza con el menos malo de los top 10 para acabar con el que califica como el peor, es decir, Virginia Occidental. Nueva Jersey, sà ³lo en un estado es ms caro hacer negocio (poblacià ³n: 8,947,700)Vermont, es caro hacer negocios y mucha regulacià ³n (poblacià ³n: 626,500)Hawaii, un estado para vivir pero no para hacer negocios (poblacià ³n: 1,424,900)Alaska, un estado muy caro (poblacià ³n: 738,000)Rhode Island, sà ³lo califica bien en calidad de vida (poblacià ³n: 1,056,900)Nuevo Mà ©xico, el estado con mayor porcentaje de hispanos (poblacià ³n:2,085,300)Maine, destaca por su lado positivo, la calidad de vida (poblacià ³n: 1,331,600)Mississippi (poblacià ³n: 2,995,700)Virginia Occidental, el estado que peor califica en oferta de trabajadores y regulacià ³n (poblacià ³n: 1,844,900). Los mejores y los peores para los emprendedores latinos Los empresarios hispanos en Estados Unidos destacan en la creacià ³n de pequeà ±as empresas e incluso en las que su objetivo es el autoempleo y tienen un à ºnico empleado: el propio emprendedor. Por ello, prefieren estados donde las regulaciones laborales, de salud y de seguridad le sean favorables para sacar adelante su pequeà ±o negocio. Por estas razones, en las encuestas estos son los cinco estados preferidos por los empresarios latinos para hacer negocio: TennesseeOregà ³nUtahPennsylvaniaTexas Curiosamente, tres de los estados con una amplia presencia latina como son California, Nueva York y Florida, no aparecen en ninguna lista entre los mejores para hacer negocios. A tener en cuenta antes de fundar un negocio Los ciudadanos americanos y los residentes permanentes legales podrà ­an tener acceso a subvenciones para negocios, tanto de carcter federal como estatal o incluso local. Es importante informarse sobre posibles ayudas para prà ©stamos, subvenciones, asistencia local y condiciones para calificar para contratar con el gobierno en la pgina oficial del Small Business Administration, que tiene una versià ³n en espaà ±ol. Adems, todos los empresarios en potencia debe tener en cuenta que es importante familiarizarse sobre las formas jurà ­dicas que se le puede dar al negocio para crear una empresa. Puede haber diferencias importantes a la hora de pagar impuestos o de proteccià ³n ante la ley.   Asimismo, considerar familiarizarse con el sistema de franquicias si les gustarà ­a lanzarse al mundo del emprendimiento pero no se sienten seguros porque no conocen bien las regulaciones. Y, finalmente, antes de empezar a hacer gastos, conviene realizar si es posible un buen plan de negocios y contabilizar todos los gastos que puedan surgir, tales como abogado, contable, licencias, alquileres, seguros mà ©dicos, impuestos, derechos de los empleados, salarios mà ­nimos, etc.

Satire, Parody, and other Forms of Ridicule

Satire, Parody, and other Forms of Ridicule Satire, Parody, and other Forms of Ridicule Satire, Parody, and other Forms of Ridicule By Maeve Maddox Writers have been raising laughs by ridiculing people and human behavior since at least the time of the Greek dramatists. Here are some terms to describe types of ridicule intended to make us laugh and, maybe, think. satire (n.) This broad term applies to literature that blends criticism, wit, and ironic humor with the aim of ridiculing or rebuking someone or something. The target of satire can be person or thing. Jonathan Swifts savage essay A Modest Proposal targets the Irish landowning system. In our own time the government and individual politicians are favorite targets of satire. The verb is satirize. parody (n.) A parody is the imitation of a created work. Originally the word referred to a written work, but now it can also apply to graphic art or music. A parody is not necessarily intended to ridicule, but it often does. Mel Brookss SpaceBalls is a parody of George Lucass StarWars. Stephen Colberts TV persona is a parody of an ultra-conservative talk show pundit like Bill OReilly. Alexander Popes The Rape of the Lock is a parody of a Homeric epic. Artist Michael Ian Weinfeld has created a parody of the famous Obama Hope poster: the Pope poster. Pianist Victor Borge made audiences laugh with parodies of the classics. Similar to a parody is a travesty. I think of the difference in that the parody is intentionally silly while the travesty is unintentionally so. The Pyramus and Thisbe play in A Midsummer Nights Dream is intended by Peter Quince and the other workmen to be serious, but their lack of acting skill makes it funny. caricature We usually think of a caricature as a drawing, but the word can also refer to written descriptions that exaggerate the peculiarities of the person being ridiculed. Tina Feys impressions of Sarah Palin were caricatures. Cartoons of Walter Mathau exaggerate the size of his nose. Bobble-heads of celebrities are caricatures. lampoon A lampoon is a virulent attack on an individual. It can be written, or in the form of a drawing. In the early years of the United States, political lampoons were both common and vicious. Our own political cartoons can be seen as lampoons. The word is more frequently used as a verb nowadays, often preceded in its past participle form by the modifier unmercifully. burlesque The word burlesque has various meanings, one of which is a strip-tease show. In the context of satire, however, a burlesque is an outrageous imitation of something that is supposed to be taken seriously. Peter Schickeles P.D.Q. Bach inventions are examples of musical burlesque. spoof, take-off, send-up -all informal words for parody Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:Wether, Weather, WhetherPeace of Mind and A Piece of One's MindGrammatical Case in English

Reality Internet Assignment Research Paper Example | Topics and Well Written Essays - 1250 words

Reality Internet Assignment - Research Paper Example Another definition is given by Jonathon Bignell, who defines it as the unscripted actions and behavior of everyday people, which are the shows’ focus of interest (Edwards 17). While reality TV’s boundaries are blurred, the most fundamental factor separating it from other TV genres is its focus on people’s situational reaction and private thoughts. Effects of Reality TV Production Elements on Non-Reality TV Because of reality TV’s popularity, non-reality TV has been forced to pick up some production elements from them to remain competitive on the screen. One of those elements assimilated into non-reality TV is the use of real-life participants. Since reality, TV’s biggest appeal is the use of real people playing their part, rather than actors, non-reality TV has taken up the tendency to create characters out of real life people (lostintelevision 1). One example of this is the HBO drama The Wire, which uses real life people together with actors to cre ate an authentic feel in their program. The use of real neighborhoods and real occupants of these neighborhoods with no acting experience and placing them in situations like drug busts and murders, while also taking their reactions, is what made The Wire such a big TV hit. With time, these real-life characters, including workers in the Mayor’s office, became integrated into the show, adding to the authenticity of its message. Another element used in non-reality TV and borrowed from reality TV is the use of unscripted performance (lostintelevision 1). Again, The Wire is a good example of this with the producers placing real life characters in the midst of their scenes and focusing on them to see their reactions. Normally, because the people of Baltimore are used to these situations makes their reactions authentic compared to, for example, bringing in actors into these situations. However, while these situations are unscripted, the producer sets up the situations with real life events being controlled using a narrative structure carried by the actors. Another element of reality TV that has been assimilated into non-reality TV is the use of reality-style testimonials, where the characters explain their situations to the camera and the audience (lostintelevision 1), such as was used in the British Sitcom The Office. The narration is usually in the form of present tense and usually deals with what is going on as the audience watches as the narrator of the testimonial adopts informal styles of speech and communication. Surveillance or observation is another production element popularized by reality TV that has influenced the production of non-reality TV. Just as in reality TV, non-reality TV has become reliant on observation and has turned to intrusive surveillance to become more real. Documentaries have especially taken up this element by integrating CCTV images into their production. This has also introduced the element of voyeurism with the CCTV images bei ng used for surveillance becoming increasingly intrusive (lostintelevision 1). The producer uses the CCTV imagery to exhibit something that he/she is investigating and this positions the audience as voyeurs in the situations being filmed. While those being followed do not at the time, and the cameras were not meant to pick up what they were doing, the producer eventually uses these images to create a real-life situation. Impacts of Reality TV on Cultural Norms Sex and promiscuity are some of the most