Overture to “William Tell” by Gioachino Rossini Essay Example for Free

Overture to â€Å"William Tell† by Gioachino Rossini Essay 1. Date: 2-3-13 2. Place: Pope Joy Hall 3. Name of ensemble(s) performing: Albuquerque Youth Symphony included string ensembles of the Violin, Viola, Cello, String Bass, and. The Woodwinds Ensemble included the Flute-Piccolo, Oboe, Clarinet, Bassoon; Brass Ensemble included the French horn, Trumpet, Trombone, and the Tuba. As well as the Percussion ensemble. As well as a Keyboard ensemble the Harp 3. Describe the concert venue and where you sat (i.e.: balcony): I took my twelve-year-old stepdaughter with me and we stood out side for about five minutes waiting in line to purchase tickets. Upon entering Pope Joy Hall, we were greeted by an information booth that was filled with flyers and pamphlets and programs to all different venues of art, from orchestras to plays. Lindsey asked me wide eyed; do all these things mean that this is what is showing or playing here? I looked at her and smiled and replied, yes this is Pope Joy Hall, UNM Center for the Arts and they have a variety of things going on all the time. We grabbed some information on what we would like to come and see and headed to the first theater on the left. We walked up to the entrance doors to the theater and were greeted by two very friendly greeters, who handed us our programs. Then, we entered the double doors and were greeted by an eager usher who politely guided us through hand and arm gestures to go down the left isle. Therefore, Lindsey and I sat together in the lower level on the left side middle end row seats. Once seated, I realized that this theater is set up like a small sized concert hall that would typically be set up for an indoor classical music venue. It was very nice and cozy every one was dressed casual to semi-formal and Lindsey was in awe, she had never experienced anything like this before. 4. Were there any spoken remarks about the concert? Yes? No?: Yes If yes, describe generally, what was said: They started with announcements by that first welcomed everyone to the Albuquerque Youth Symphony, and to state that they are audio and video recording the event and we can if we haven’t already signed up for a copy, we can still do so out side the double doors during intermission or after the concert. Then they went over the program pointing out the fundraiser and the new solar panels that are going to be installed in the near future. Thirdly, they made an announcement about a very special Concertos’ Cellist Kayla Mathes, and announced that she was chosen to be a part of the National Youth Orchestra, in New York this summer and touring to Moscow and London with the group. Lastly, they went over the sponsors and then introduced the symphony. 5. Which genres of music were performed? i.e.: symphony, concerto etc.: The Albuquerque Youth Symphony performed an Overture to â€Å"William Tell† by Gioachino Rossini (1792-1868), Triumphal March from â€Å"Aida† by Guiseppe Verdi (1813-1901), Prelude and Liebestod from â€Å"Tristan and Isolde† by Richard Wagner (1813-1883) as well as the Concerto for Violoncello and orchestra in E minor by Edward Elgar (1857-1934). 6. Were any of the works programmatic (music with literary or pictorial? Associations)? Yes No: Yes. If yes, which compositions were programmatic? : Overture to â€Å"William Tell† by Gioachino Rossini a beautifully written piece of music especially of considerable size and complexity. As well as, the Concerto for Violoncello and orchestra in E minor by Edward Elgar, which was filled with raw emotion. 7. Choose two complete works from the program and fill in the blanks: Composition #1: Name of Composer: Gioachino Rossini (1792-1868) Composition Title: Overture to â€Å"William Tell† Movements/ Tempo markings, if through-written, just leave blank: I. III. II. IV. Historical Era of Work: Rossinis’ Overture to â€Å"William Tell† is a mixture of baroque from (1600-1750) classical from (1750-1820) and romantic from (1820-1900). Choose from: Medieval pre-1450, Renaissance – 1450-1600, Baroque 1600-1750, Classical 1750 – 1820, Romantic 1820 – 1900, 20th Century 1901 – 2000, 21st Century 2001 Present Name any solo voice or featured instruments: None Composition #2: Name of Composer: Edward Elgar (1857-1934). Composition Title: Concerto for Violoncello and orchestra in E minor. Movements/ Tempo markings, if through-written, just leave blank: I. III. II. IV. Allegro Historical Era of Work (see description above): Romantic from 1820-1900 and 20th Century from 1901-2000. Name any featured (solo) instruments or vocalists: Kala Mathes solo Cellist. In the space below legibly write a brief narrative summarizing the two pieces listed above. If you prefer, you may attach a typed summary to this page. Choose among these items to discuss: Describe mode, meter, tempo, dynamics, texture. Was the music more consonant or dissonant? Did it have frequent accents, syncopation or modulation? Did the melodies move more in conjunct or disjunct motion? Was there a voice or instrument timbre that affected you emotionally? Rossini’s overture starts with a dawdling introduction and spry melodies invariably leads to an immense crescendo passage, in which Rossini replicates a motif several times, adding instruments and volume with each repetition. Then out of the stillness, a single cello rises sorrowfully from a low E along an arpeggiated cord through an E-minor chord to a high B, 2 ½ octaves higher, while the other cellos lend their harmony in E-minor. Slowly the first cello leads us toward a brighter atmosphere of E-major. Then adds a few pizzicato beats to lend influence and a fragile yet graceful rhythmic emphasis. While adding an overlap of a new, whirling motif by the violas and second violins, as they ask the question and it is answered with three detached chords from the piccolo, flute and oboes. As the tempo hastens the storm begins. I can hear and see the fickleness of falling rain in my mind and through syncopating the raindrops, it drops off the driving beat of the pizzicato double basses. I can feel the harmony as it darkens, mystifying, drawing me back to the ever so moody E-minor. With a monumental arrival of gestures from the violins and woodwinds, the storm unleashes its wrath over rolling the timpani’s, pounding bass drum and a fortissimo piece from the brass chords. Then the descending motif asks in a desolate torrent, that is answered by an equally and majestically ascending motif of the double basses, bassoons and trombones. The climax of cymbals cascading among the whirlwind motif of the flute, piccolo and violins leads into a beautiful breath taking G-major. This then overlaps with the trumpets blaring in E-major with the joining of horns and drums that hold on to a resonant B-major chord that resounded into a galloping anapestic rhythm. This unleashes the contrasting middle section in C-sharp minor that is dominated by a presto line for the strings and woodwinds. Then we find ourselves back to a galloping anapestic measure in E-major that again builds the excitement into the release of the finale. When the hair on my arms were raised, eyes were tear filled, knowing the story behind the music, the life of two brothers who never knew each other, met only once. As one bows down to the other in realization that the other is worthy of praise, honor and recognition, then honors him with an inspiring piece that succeeds to top the ending in triumph. Edward Elgars’ Concerto for Violoncello and orchestra in E minor was alive as it unfolded as an enthusiastically structured, requiem-like a constant outpouring of deep undiluted emotions. The opening of this piece begins with a characteristic of decently and nobly designing the score, is a flourish for the soloist Kala Mathes, and recurs throughout the concerto. The unmistakable main melody-at once was reflective, inspirational, beautiful, and transcendent emerged almost immediately with the violas, before Kala began to play the Cello. Throughout the piece of the movement the theme winds its way through various keys, A, C, G and E minor, while the secondary thematic notes emerge from the clarinets. Then Kalas’ opening flourished as it transformed into a pizzicato passage that appeared in staccato semiquavers. Then in the key of b flat, the Adagio seemed to make time stand still as the beautiful melodious musical lines sang its music of undeniable heartbreak. The symphony at this point was reduced to strings, clarinets, bassoons, and horns as Kala weaved in and out of the symphony fabric in an ever so eloquent song without words, this is where I had goose bumps all over, tears rolling down my face, the power and emotions were overwhelming, for even Lindsey was even crying. The finale nestled back into E minor and had a rondo-like feel to its main theme that echoed the opening. However, nothing could hide the fact that the core of the concerto as a whole is a disposition of acceptance, forbearance and finality. The Albuquerque Youth Symphony played with such passion; it was as if each person and their instrument were one moving in perfect harmony, rhyme, rhythm, body, mind, and spirit. One fluid entity or deity that entranced anyone within ear shot. It was beauty and serenity that was tremendously unbelievable.

Improving Access to Mental Health Services in New Zealand

Improving Access to Mental Health Services in New Zealand FINLEY FERNAN L. ORDENIZA IMPROVEMENT OF MENTAL HEALTH ACCESS FOR SERVICES AND ITS WELLBEING FOR MAORI PEOPLE ABSTRACT Mental Health and wellness promotion is not a fresh concept for Maori people here in New Zealand, but rather it is new on terms of mental health services that focused more on diseases in the past. Maori people got so many practices and one of them are â€Å"tapu† and noa, manakitanga†, it is a philosophy and native practice of caring for their family when sick and not well. The treaty of Waitangi 1840 was to provide protection and to enhance the wellbeing of the natives in New Zealand called â€Å"tangata whenau†. However the government was trying to deal with different Maori groups to resolve the grievances in the past but then it contributed to as risk factor that affects the mental health/ state of individuals. Nowadays, a distinct view is arising of how the Maori people wanted to view themselves in medium term and the wellness and mental health mean in the perspective of the Treaty, they claim that there was a great improvement on their health except for their mental health as long as the Crown would properly addressed and agrees the socioeconomic, justice and educational issues of the self-determination (tino rangatiratanga) by Maori. According to District Health Board report in 2009/10, approximately 120,293 individuals sought for mental health services and 116,645 of these individuals were seen by the District Health Board while 12,256 clients was by the Non-government Organization, and a great increase by 8.1% from 2008/09 on the total counts of individuals seen. Noticeably 54% of those individuals seen were male. Overall the clients identified as having the highest numbers sought mental health services are the Maori people by 22.4%. Demographically speaking according to the report it shows 2.7 times people living on the deprived area seen by the mental health services compare to the least deprived areas. INTRODUCTION Working as a Community Support Worker in IHC and dealing with those intellectually and mentally challenged clients inspire and helps me in choosing this topic for my research on how things need to be for the improvement of the mental health access for services and its wellbeing specifically for Maori people in line to the Treaty of Waitangi and analysing vital ethics and power cultural safety principles on healthcare practice. Mental health as defined by the World Health Organization is a state of wellbeing of an individual realizing his/her own potential, how an individual copes with the normal stresses in life, on how an individual work productively and lastly able to contribute something to his/her own community. In addition to that, World Health Organization emphasizes the meaning of health, wherein for them it was the overall state of a person’s physical, mental, social aspects and not purely the non-existence of disease or illness. To start with, knowing and understanding the nature and extent of Maori’s mental health should be taken in consideration first to meet their mental health needs and effectively handle Maori’s mental disorders and health problems. Te Rau Hinengaro, a New Zealand Mental Health survey provides vital information and track the trends for the past years till present though this survey report focus more on adult Maoris ranging from 16 years old and over and these result help the authorities track what should be done concerning Maori’s mental health and accessing Mental Health services. On this survey they found vital facts learned that one in every three Maori adults met the criteria for at least one mental disorder on the past 12 months and half of the Maori had been experiencing mental health illness in their lifetime. They also learned that in Maori, developing a single mental health illness was usual. The came out with a conclusion that socioeconomic status of Maori was vital that affects their mental health, and mental health illnesses are most common to Maori people aged 16-44 years old but less common within older age group. Maori women had larger occurrence of having metal health disorder compare to men. Though having higher number affected with mental disorder/illness on Maoris, the number of Maoris who seek health services are lower than non-Maori people. ANALYSIS The topic and issue was all about improvement on the access of mental health services by New Zealanders specifically the tangata whenau or the indigenous people called Maori with proper acknowledgement of Te Tiriti or Waitangi and its respective principles that governs the entire characteristics of mental health service provision. Wherein the Mental Health Commission recognizes the importance of this Treaty as the original outline for relations between the Crown and the Maori people. As a healthcare service provider, the significance of this issue was it open our minds on the existing problem that Maori people experiencing nowadays, in contrary with the Treaty implications wherein it says in article one that with regards to the public funding and delivery of mental health services, it needs significant consultation with the Maori people and they should by involve in the development of those services. The other thing was in article two about Maoris self-determination that gives Maori people with more chances to establish and implement strategies and services that would enhance mental health services, Maoris wellbeing outcomes and mental health status. And lastly, the article three of these implications that the Crown make sure that the Maori receive the same rights of citizenship and benefits that includes the equal access to mental health services, the equal health and wellbeing outcomes, accessible mainstream mental health services that meets Maoris needs. According to the result from the analysis of Te Rau Hinengaro 2003/04 27, it illustrates the Maori people generally have higher rates of mental disorders than non-Maori people and higher level of need for mental health services is not currently met. Continuous and consistent effort should be needed to create pathways of care, the environments and workforce to effective for Maori mental health service users and their family. Whanau Ora carries all Maori aspirations about mental health and delivers an approach that establish whanau capability and gives assistance for Maori families to attain their overall health and wellbeing. For these services to be efficient for the Maori people, they need to meet the comprehensive health and mental needs of the service user in their whanau setting. They should also recognize the contexts of the service user’s being and objectives. Distinguished a Maori world sight in rendering the service and approach appropriately in Maori’s culture, able to point out the barriers to Maori who access mental health services and surge access for Maori to equal access to mental health services. At present, the government proposed a change based on the manual created named Blueprint 2, it emphasizes the recovery approach and the initiative to offer access mental health services for Maori people that are moved by mental health issues here in New Zealand. The Government are focusing on the needs of the Maori people with mental health issues notably influence their total health and their capacity to be effective neither at home and work. The government also was conscious in terms of the benefits if early response and recognition to achieve positive result for Maori people and for society. Latest survey shows that New Zealand still one of the highest suicidal rates among the youth in a developed world and disparities in mental health outcomes for Maori and Non-Maori people. This Blueprint 2 according to the government will help achieve better vision and outcome in the future especially for Maori people, as they emphasize that â€Å"mental health and wellbeing is everyoneâ€℠¢s business†, putting the phase for the future wherein people concerned does their part in protecting and refining mental health and wellbeing. At the government believes that mental health and wellbeing shows a vital role in building a well-effective and useful society. When this proposal would be successfully implemented, heaps of great improvement to Maori’s mental health due to access to services would happen. Some of these are, Maori people suffering from mental health issues doesn’t need to wait for help; they become partners in the process of care; mental health issues will be accepted and treated accordingly on the entire life-course; they would experience good mental health due to hand on hand partnership of the government and the community. Providing an overview of the ‘best practice’ trends for managing the issue is to recognize and create efficient management Maori’s mental health problems. Though it is known that mental health problems are common to them but unfortunately their needs were not met appropriately especially accessing mental health services here in New Zealand. Determining mental health issues and delivering immediate services to Maori people should be considered as the main concern. Rendering most effective level of mental health service to them, the government should acknowledged sole viewpoint in Maori’s culture. They should determine Maori’s perception on how they deal with mental health problems and how they do it prior on rendering this mental health services to them. The Ministry of Health here in New Zealand are trying all the best shots in dealing with mental health problems within Maori people and the accessibility of mental health services but not enough to say that the project was a success. There are heaps of things should be done and changes in terms of accessible mental health services and the government should take in consideration to recognize that there is higher occurrence of mental health disorders within Maori people and their needs for having the said treatment was increasingly unmet as well; the government should prioritize Maori people when determining mental health illnesses/disorders and prioritize them when rendering early actions; the government should recognize that there is a difference within Maori people on how they see the health problem as a whole, their knowledge regarding mental health problem and their treatment goals based on their culture and beliefs; ensuring care rendered to them is culturally in a right manner a nd lastly create a partnership with Maori healthcare providers and treatment should be acceptable to clients culture and their whanau. In addition, in terms of accepting mental health problems in Maori, mostly they exhibit mental health disorder likely the same way with non-Maori clients but healthcare provider should welcome appearance including much spiritual and physical manifestations of suffering. Majority of health professionals should be conscious with these manifestations to be able to search for expert advice to clear the problem and render proper actions. Having an effective communication between health professionals and clients is a meaningful aspect to be able to distinguish mental health problem/ disorder and so appropriate mental health services will be rendered as early as possible depending on client’s needs. Providing enough time to establishing therapeutic relationship is vital on the entire process. Like for example the GP would introduce himself properly and knowing his/her client well, the GP should dig more deeply the client’s background, culture, about client’s family/ wha nau and create good connection. Providing the client all the time and patiently listening to client’s story contribute as well for a successful treatment process. And the other thing was, the GP or healthcare provider should take into account that mental health problems usually go along with substance abuse problems and clients/ individuals may encounter heaps of mental health problems at the same time. Analysing the ethics and power cultural safety used on healthcare practice the government should recognize different principles for better understanding and as a guide on rendering mental health care services to Maori people. The first principle was, the cultural safety’s goal was to enhance the New Zealanders wellbeing and relates entire relationships by emphasizing positive health consequences and health improvements, healthcare providers including nurses and GP’s should recognize Maori’s beliefs and customs compared to other non-Maori clients like for instance and this could be according to their age or group, sexuality, sexual preference, profession and social and economic status, ethnic foundation, spiritual belief and disability. The second principle of cultural safety aims to improve the provision of health and disability services by having a culturally safe healthcare professional workforce in a way like recognizing the power connection between the service provider and the individuals who are using the health services. The healthcare professional acknowledge and works together with other people after undertaking a thorough process of institutional and own analysis and enabling the service users. Individuals should be able to convey degrees of identified hazard or safety. Helping healthcare professionals to comprehend the diversity throughout their own cultural reality and the effect of that to any individuals who varies in some other way from themselves. Concerning social science models that strengthen the art of healthcare practice, wherein understanding that healthcare practice is further than carrying out the duty but rather it is more on responding and relating effectively to individuals with varied nee ds in such a way that the people who uses the health services can characterize as safe. The third principle of cultural safety is general in its application by accepting the disparities within healthcare communications that signifies the microcosm of disparities in health that have existed throughout history and inside our nation and more largely on addressing the source and result association of history, politics, socioeconomic status, housing, education, sexuality, personal experiences of individuals using health services. In addition, recognizing the validity of disparity and diversity in people’s attitudes and social structure and recognizing the behaviour and beliefs, guidelines and customs of health and disability service providers can turn as barriers on accessing the services concerning quality development on rendering the service and service user’s rights. Lastly the fourth principle concerning cultural safety has an attached emphasis on comprehending the effect of the healthcare professional as a carrier of his/her own culture; the history, behaviour and life experiences. Challenging healthcare provider to assess their custom carefully, accepting the power relationship in healthcare is biased toward the health and disability service provider. This principle emphasize on balancing the power connections in healthcare practice so that every client receives an efficient service, prepare healthcare professionals to decide any tension between the cultures of healthcare professional and the service users. Recognizing that those power imbalances can be assessed, bargained and changed to render equitable, efficient and appropriate delivery of service wherein it lowers the risk to the people who may then estranged from the service. This principle highlights that result on understanding of self, the rights of other people and validity of dispari ties and it should support the healthcare professional with skills in working with different type of people. REFERENCES Word Health Organization. Retrieved from http://www.who.int/features/factfiles/mental_health/en/ Mental Health Commission (June 2012). Retrieved from http://www.hdc.org.nz/media/207642/blueprint%20ii%20how%20things%20need%20to%20be.pdf Ministry of Health. 2013. Mental Health and Addiction: Service use 2009/10. Wellington: Ministry of Health. Retrieved from http://www.health.govt.nz/publication/mental-health-and-addiction-service-use-2009-10 Best Practice Journal. Recognising and managing mental health problems in MÄ ori. Retrieved from http://www.bpac.org.nz/BPJ/2010/June/mentalhealth.aspx â€Å"Oakley Browne M, Wells J, Scott K, (eds). Te Rau Hinengaro: The New Zealand Mental Health Survey. Wellington, New Zealand: Ministry of Health; 2006.† â€Å"Ministry of Health. Te Puawaitanga: Maori mental health national strategic framework. Wellington: Ministry of Health; 2002.†

Matthew, Mark, Luke, And John :: essays research papers fc

Matthew, Mark, Luke, and John Theocentric Studies-Part I February 2, 1996 The four Gospels are neither histories of the life of Christ nor biographies. They are portraits of the person and work of the long promised Messiah, Israel's King and the world's Savior. As portraits they present four different poses of one unique personality. Matthew by the Holy Spirit presents Christ as King, Mark as Servant, Luke as Man, and John as God. Although featuring Christ as King, Matthew sketches His role as a King in closest connection with His character as Servant, as Man, and as God (Matthew 13:53-19:30). Likewise, although featuring Him as Servant, Mark depicts Christ's servant role in closest connection with His character as King, Man and God (Mark 11:1-16:1-8). Similarly Luke focuses the spotlight on Christ as Man and John as God, but like other evangelists they do not separate Him from His full- orbed character (Luke 4:14-9:50, John 1:19- 2:50). The four Gospels narrate, largely, the same things, but with some differences. Only Matthew and Luke tell of the Birth and childhood of Jesus (Matthew 1:14-9:1, Luke 1:5-4:13). Matthew and Mark dwell on the Galilean Ministry; Luke, the Perean; John, the Judean. John omits most of the Galilean Ministry, and records visits to Jerusalem that the others omit (Luke 9:51-19:27). The others omit the Judean Ministry, except the Last Week, which all four cover rather extensively. The Last Week occupies one-third of Matthew, approximately one-third of Mark, one-quarter of Luke, and one-half of John. John devotes seven chapters, about one-third of his book, to Crucifixion Day, sunset to sunset. Thus all four writers present the one and same Person: the God-Man, Servant of the Lord, King of Israel, humanity's Redeemer. The special emphasis of Matthew is that Jesus is the Messiah foretold by Old Testament Prophets. As he quotes from the Old Testament repeatedly, he seems to have had Jewish readers in mind. Mark's special emphasis is the Superhuman power of Jesus, by demonstrating His Deity by His Miracles (Mark 1:14-9:1). Omits most of Jesus' lectures. Narrates things Jesus did rather than things Jesus said. Seems to have had Gentile readers in mind. Luke's special emphasis is the humanity of Jesus. Representing Jesus as the Son of God. Luke features His kindness toward the weak, the suffering and the outcast (Luke 9:51-18:27). He seems to have had the Greeks, who represented culture, philosophy and wisdom, in mind. John places special emphasis on the Deity of Jesus. Consists mostly of Jesus' lectures and conversations. Discusses things Jesus said rather than things He did (John 1:1-18). By describing the eternal pre-existence, human birth, death,

Essay --

April Greiman is a contemporary designer who is recognized all across the world. Through her life she is known as the first designer to use computer technology. Her work is signature for her use of different materials, texture, and color. She has also inspired many people, and has been inspired by many professors and artist in her lifetime. She continues today to impress people with her knowledge of graphics, architecture, and environment. April Grieman was born in New York City in 1948. She studied art in Switzerland at Basel School of Design. She then studied at the Kansas City Art Institute. After graduating, she moved back to New York City to work as a freelance artist until 1976. This same year, she moved to Los Angeles, California, where she opened â€Å"Made in Space, Inc.† This became a well-known graphic design studio. In 1980, April Greiman was among the very first graphic designers to fully realize the design potential in the Macintosh Apple computer. She also picked up on Quantel Painbox digital technology. She is one of the most influential graphic designers using the digital media. In 1982, Greiman became the head of the design department at the California Institute of the Arts. In the 1990’s, she wrote and published a book called â€Å"Hybrid Imagery: The Fusion of Technology and Graphic Design.† April Greiman has worked as a designer for the MAK Center for Arts and Architecture in L os Angeles. Since then, April continues to work today for companies such as Espirit, Benetton, Sears, and AOL/ Time- Warner, Microsoft, the US Postal Services, and the architects Frank O. Gehry, RoTo Architects, and others. April Greiman has received numerous awards and distinctions for her work. April works at the border some of the discipli... ...itional photographic images and cutting- edge digital images, including a life-sized self-portrait. These images were various personal images with personal significance. She told her audience to â€Å"think with the heart† and reach her audience emotionally. This was one of the first major commissions that started her successful on going career. Another successful commission was the design for Cerritos Center for the Performing Arts as seen in Figure 2. This was commissioned in 1993 in Southern California. In this project, she worked closely with RoTo Architects. German had been sought- after for her expertise in color, surfaces and materials. She is known for this piece for the materials and color applied to the buildings interiors, exteriors, and campus. With this building she included the design of exterior tiles and other architectural elements and printed pieces.

Eulogy for Friend :: Eulogies Eulogy

Eulogy for Friend On November 16th each of the individuals on this altar were to take part in what would have been the most special day in Michael’s life†¦ the day he would have taken Stephanie’s hand in marriage. Instead we stand before you today and attempt to eulogize a great friend and beloved brother. Though our hearts are filled with much sadness on this day, our message is not one of despair, but one of hope, love, and celebration. Anyone who had the good fortune of spending time with Mike can attest to the wit and good humor, which he embodied. He loved to laugh and more importantly he loved to make others laugh†¦a job he always seemed to accomplish with ease. He was the type of person who lived his life to the fullest, and took advantage of each and every minute. These were central traits that dominated Mike’s personality. While we mourn the loss of such a great person, we should not lose sight of these ideals which Mike found so important. He would want us to continue living our lives in the same manner he did. He would want us to laugh again. Rather than mourn his death, he would want us to celebrate his life.   In keeping with that spirit, we thought about the many things that Mike did to make us laugh. We remember the time he worked for Menna's meats as a delivery boy. Even while at work he would make us laugh. He would drive by the silver beach parking lot, while we were playing football, in a huge cream colored thunderbird doing his deliveries. As he would pull around the turn we knew it was Mike. As he passed by he would be wearing a huge orange colored crash helmet while giving us the thumbs up, man we would laugh hysterically.    We also remember Mike and his Fantasy Football team. He and Benny would pick the worst team every year. We would all make fun of him for listening to Benny. He would just laugh along with us and watch his team come in last place †¦.. year after year after year. I’m sure he’s laughing at us now because his team is a contender this year.   We also reflected back to the last week of Mike’s life. It was a typical week for Mike. Tuesday, fantasy football night (which Eulogy for Friend :: Eulogies Eulogy Eulogy for Friend On November 16th each of the individuals on this altar were to take part in what would have been the most special day in Michael’s life†¦ the day he would have taken Stephanie’s hand in marriage. Instead we stand before you today and attempt to eulogize a great friend and beloved brother. Though our hearts are filled with much sadness on this day, our message is not one of despair, but one of hope, love, and celebration. Anyone who had the good fortune of spending time with Mike can attest to the wit and good humor, which he embodied. He loved to laugh and more importantly he loved to make others laugh†¦a job he always seemed to accomplish with ease. He was the type of person who lived his life to the fullest, and took advantage of each and every minute. These were central traits that dominated Mike’s personality. While we mourn the loss of such a great person, we should not lose sight of these ideals which Mike found so important. He would want us to continue living our lives in the same manner he did. He would want us to laugh again. Rather than mourn his death, he would want us to celebrate his life.   In keeping with that spirit, we thought about the many things that Mike did to make us laugh. We remember the time he worked for Menna's meats as a delivery boy. Even while at work he would make us laugh. He would drive by the silver beach parking lot, while we were playing football, in a huge cream colored thunderbird doing his deliveries. As he would pull around the turn we knew it was Mike. As he passed by he would be wearing a huge orange colored crash helmet while giving us the thumbs up, man we would laugh hysterically.    We also remember Mike and his Fantasy Football team. He and Benny would pick the worst team every year. We would all make fun of him for listening to Benny. He would just laugh along with us and watch his team come in last place †¦.. year after year after year. I’m sure he’s laughing at us now because his team is a contender this year.   We also reflected back to the last week of Mike’s life. It was a typical week for Mike. Tuesday, fantasy football night (which

Modernist Poetry Doesnt Communicate With Society English Literature Essay

Modernist poets, or in that instance all modernists minds, philosophers and creative persons, ignores the societal order to some extent. They do non do any effort to speak to or pass on with the society, but really revolutionises the thought of art in the domain of the societal thoughts. In simpler words, Modernist philosophers do non follow the society, like its predecessors and it inquiries the easy accepted truth of the old age. In the late 19th century, in the aftermath of the to the full industrialized western universe with its new economic, societal and political construction, traditional projection and reading of art and civilization lost at least some of its importance. Following the old norms was nil but a return of what has already been talked of and achieved for the poets, minds and creative persons. To accomplish something new, they had to rehearse a signifier which was more individualized and yet obscure in its look. But that nevertheless do non reply the point of our treatment as to how or why the deficiency of communicativeness between the poet and the reader occurs in the 19th century western universe. With the popularity of the printing imperativeness, literature was no longer confined to the higher strata of the society. With this development in the history of printing, writers and poets found themselves traveling off from their audience. The opportunity or the impulse to interact straight with the multitudes decreased with the flow of clip until the clip when there is no effort to speak to or pass on with the society. The modernist poet ever lives in isolation from the existent universe while seeking to convey his/her individualized points of position. But for the reader, the same verse form can keep different reading at different clip and infinite. For case Emily Dickinson, the modernist American poet, published less than a twelve of her about 18 100 verse forms during her life-time. It was merely after 1886, after her decease, when her cache of verse forms were discovered by her younger sister Lavinia, that the comprehensiveness of Emily Dickinson ‘s verse form became ev ident. Emily Dickinson, merely like the other modernist poets, was alienated from the society. As a poet she could n't associate to the community, she was populating in, and the society in bend could n't associate to her verse forms, when they were published. Hence, during her life-time, the few verse forms which were published were to a great extent edited and altered harmonizing to the caprices and wants of the publishing house in order to model them in regard to the bing societal norms. Dickinson was obsessed by ‘death ‘ and has immortalised the construct of ‘death ‘ in her poesy. In one of her ignoble verse form, she seemed to hold related with ‘death ‘ and to some extent has personified the construct. â€Å" BECAUSE I could non halt for Death, He kindly stopped for me ; The passenger car held but merely ourselves And Immortality. † ( Dickinson ) The imagination that has been projected through the above mentioned Dickinson ‘s verse form is unconventional and to some extent radical. In the late 19th century America, fewer poets would ‘ve showed the bravery to oppugn the conventional beliefs sing ‘life ‘ and ‘death ‘ . Harmonizing to the above mentioned lines, ‘death ‘ to her is ‘immortal ‘ . In another verse form she states, â€Å" I DIED for beauty, but was scarce Adjusted in the grave, When 1 who died for truth was lain In an adjoining room. He questioned quietly why I failed? â€Å" For beauty, † I replied. â€Å" And I for truth, -the two are one ; We brethren are, † he said. And so, as kinsmen met a dark, We talked between the room, Until the moss had reached our lips, And covered up our names. ( Dickinson ) The imagination that is produced by the verse form is quite unconventional. Death has been beautified, glorified and celebrated by the poet in above mentioned verse form. Death has been a really of import subject for the modernist poets. Through their daring symbolism and representation of thoughts, subjects like depression, devastation, Hell and decease has ever been a really popular point of treatment among the modernist poets like Robert Frost, T.S. Elliot and of class Emily Dickinson. In T.S. Elliot ‘s â€Å" The Hollow Men † , the poet concludes the verse form by saying, â€Å" This is the manner the universe ends This is the manner the universe ends This is the manner the universe ends Not with a knock but a whine. † ( Elliot ) To the modernist poets, the abrasiveness of the existent universe was intolerable and hence from an stray infinite, the poet represents the inhuman treatment of the existent universe through his/her ain linguistic communication, non seeking to explicate everything. The reading nevertheless is left entirely on the reader and the poet does non even do an attempt to link with the readership or the society. Modernity can be said to unify all world in a self-contradictory integrity of disunity. Harmonizing to Marshall Berman, â€Å" It pours us into a whirlpool of ageless decomposition and reclamation of battle and contradiction, of ambiguity and torment. To be modern is to be a portion of a existence in which, as Marx said, ‘all that is solid thaws into air. ‘ † ( Berman ) . Modern authors have agreed to the fact that the lone unafraid thing about modernness is its insecurity. The lines of W.B. Yeats ‘ â€Å" The Second Coming † resonates a similar sense, â€Å" Thingss fall apart ; the Centre can non keep ; Mere lawlessness is loosed upon the universe, † ( Yeats ) The passing and the delicate nature of the age is possibly the most popular line of reading for the above two lines. The ideas of the Enlightenment minds, to cultivate nonsubjective scientific discipline, corporate morality and jurisprudence, were drawn to roll up with the cognition of many single free minds, to develop the miscellaneous doctrine of human release and the enrichment of the twenty-four hours to twenty-four hours life. Science and Technology promised an age devoid of scarceness and want. Rational signifiers of societal apprehension erased the bing unreasons of myth, phantasy, faith and superstitious notion. Traditional metaphoric representation of the ‘word ‘ was replaced by a more obscure imagination, which each and every reader can construe harmonizing to his/her apprehension of the ‘word ‘ . Surrealism, Dadaism and Cubism became a portion of the bigger image of Modernist art, literature and poesy. In another verse form of Emily Dickinson, she states, â€Å" Fame is a bee. It has a song- It has a sting- Ah, excessively, it has a wing. † ( Dickinson ) Here ‘fame ‘ is compared with a ‘bee ‘ , an unconventional representation merely as Charles Baudelaire compares ‘flowers ‘ with ‘evil ‘ in â€Å" Fleur du Mal † ( Flowers of Evil ) . These metaphoric representations of the ‘word ‘ was new to the age and was absent in the old enlightened western age of literature and art. A individual line which possibly can be the easiest guide line of looking at modernist poesy is expressed by Archibald MacLeish in his â€Å" Ars Poetica † , â€Å" A verse form should non intend, but be † . ( MacLeish ) . The primary difference between a Romantic text and a Modernist text is that a Modernist text imitates guesss and readings. The elans after each line of Emily Dickinson ‘s verse forms are perchance placed to supply the reader a infinite for contemplation and retrospection. A Romantic text, on the other manus, invites battle. Emily Dickinson ‘s â€Å" Fame is a bee†¦ † is a verse form that may look simple and shallow, but if one Judgess the construct of celebrity in the late 19th century, he/she is bound to look up to the simpleness of the technique in which the blunt passing nature and the frailties of celebrity is projected through the seemingly showy and musical drape of popularity. â€Å" The Second Coming † by W.B. Yeats is another fantastic work of Modernist poesy. The poet uses a dark scene to specify a clip when the universe is near a disclosure. The verse form depends on the cognition of a certain Christian belief. It is a antic look of the clip in which it was written. It provides us with a image of the First World War in Europe where, â€Å" Mere lawlessness is loosed upon the universe. † Stuning imagination of terrorizing linguistic communication, where poesy is no more depended on linguistic communication, but linguistic communication comes out of poesy. Yeats ‘ womb-to-tomb captivation of the supernatural and occult was lyrically manifested in this verse form. The significance of the ‘gyre ‘ is an equivocal one. It can be a historical period or the psychological stages of an person ‘s development. The personal imagination of the ‘gyre ‘ insinuates at the Hegelian construct of coiling history. The verse form is really in loose iambic pentameter, really much closer to the free poetry. The rhyming is haphazard. These dogmas were the trumpeters of the coming of Modernist poesy. In modernist poesy, the several poet does non care to explicate or construe their ain verse forms. It is something prohibited for them. The distance between the reader and the poet is big and there is no effort nevertheless to pass on between the two.

The factory system took little account of the needs of workers – How far do you agree with this statement?

On the whole I agree with this statement. Most factory owners did not take into the account the needs of their workers. However, there were some exceptions, sir Titus salt for example. To begin with I shall look at the factory system in general and the appalling living and working conditions it imposed on its workers. In the factory towns houses were squeezed into the centres of towns or around the factories. Landlords crammed as many people into houses as they could. The water supply was another problem. Sewage and rubbish was left in the backyard, piled up in the street or thrown into open drains, which ran down the roads. Even where there were drains and sewage pipes, they normally ran into the local rivers – where people collected their water. Most factory owners built the house quickly which made them not safe and also built them closely together witch meant diseases, people having to share toilets which caused dirty water. People had to buy fresh water from carts and rich people. â€Å"Sixty thousand of the population had no running water except from wells and rain water† (From the commercial directory of Leeds – 1834) The dirty water caused lots of disease such as cholera. Cholera was a disease that arrived from the continent. It could kill a person very quickly. People only used to live to 19 on an average due to disease. The reason for this was that people worked at least 9 hours a day and only had four hours sleep. Most people were too tired to eat after they came home from work. Most people only got paid fifteen shillings, which is equal to fifteen pence per week. If they wanted to work over time they only got a further three pence. Many people went to live in the towns so that they could find work in the factories. Before this they had worked in their homes. Factory life was very different. Children were often beaten black and blue with a strap or kicked in the ribs. If you got injured. For example lost your finger in a machine you wouldn't have got any wages. Girls who had long hair often had their hair chopped off as a punishment for bad work. The power loom would of would of made a terrible noise this causing harm/ear acre for the factory workers most of the time they was nothing to stop the workers from breathing in the dust from the machines. † My eldest. The cog caught her finger and screwed it off below the knuckle† (Samuel Coulson, Father of two girls, giving evidence to the committee – 1832) The factory owners only paid their workers very little amount of money or even none at all when they were off due to sickness, they may have even lost there jobs and became paupers. Those people who were fit were made to go to the workhouse often families were separated. The food was poor and they had to where a uniform. There were 129 steam factories in Bradford and Bradford had become the world centre of the worsted industry. Worsted is a fine woollen cloth used to make women's dresses and men's suits. The town often attracted tens of thousands of migrants – mainly young men and women who wanted to work in the mills, they came from all over the British Isles. The town was unable to cope with them. No one took responsibility for a long time. There were terrible problems of drunkenness, violence and crime. The pollution of the atmosphere in Bradford was dreadful. When the magistrates tried to introduce the workhouse system to Bradford in 1836 they had to flee to Leeds as the mob tried to take control of the town. This map shows that there was only a little built up area in Bradford about 1800 But in 1879 they where much more houses built more closely together and more people were living in them. The rapid growth of population caused terrible problems because there were no rules or regulations about building houses. Here I include a source from the Bradford Observer June 5th 1845. Thompson's buildings – this locality is situate on an eminence at the foot of which runs a filthy beck, or stream, impregnated with the refuse of dye houses, manufactories, and dwellings contiguous to it. The streets are narrow and filthy, and the general arrangement of the dwellings unfavourable to health. The inhabitants uniformly complain of ill health. In 12 cases taken on rotation, the figures showed that the dwellings are inhabited by ninety-five persons, having only twenty four beds, or eight to one bedroom, the average size of which is seventeen feet by fifteen. Case 7: Family 9 ,rooms and beds 2, house workers 5. Case 8: Same numbers of family, beds, and rooms as last; house workers 4. Case 9: Family 6; rooms and beds 2, house workers 4. Case 10: Family 10, rooms and beds 2; house workers 5. Case 11: Family 7; rooms 2; bed 1; house workers 4. Case 12: Family 11; rooms 3 beds 2, house workers 5. Case 13: Family 8; rooms, beds, and workers 2; females, charcoal. Case 14: Family 12, rooms 2, beds 3, workers 4; females 2; coals. Case 15: Family 7; rooms and beds 2; workers 4; female 1. Case 16: Family 10; rooms 2, beds 3; workers 4. Case 18: Family 4; room and bed; workers 2; female 1. This meant that they would be more pollution; they would be more sewage in the streets, which would attract rats and other vermin. The pollution was so bad that the canal was called â€Å"STINK RIVER†. A survey in 1845 revealed that between 8 and 12 people lived in two rooms on average. This, along with poor sanitation, badly built (jerry built) houses caused the life expectation in Bradford to be the lowest in Yorkshire – only 20 years of age. They were exceptions though my first example is Robert Owen 1771 – 1858. Between the years 1815 to 1820 they was distress and a lot of unemployment. Parliaments were Luke warm about the new idea, but the setting up of villages of co-operation remained the basic aim of socialists and the co-operative movement up to the middle of the nineteenth centaury. One of the most dramatic events in Robert Owens life was the forming of the Grand National Consolidated Trades Union in 1834. Though the settlements were a failure, the co-operative movements inspired Robert Owen, spread rapidly through Britain between 1826 and 1835, when some two hundred and fifty Co-operative societies were formed. They set up stores for the sale of high quality goods at reasonable prices and formed producers' co-operatives to help the unemployed. It was the co-operative retail shop, which gave the movement its greatest success. Here I include the map of Robert Owens successful mill, New Lanark. Owen gave socialism all its basic ideas. He laid the foundations of the co-operative movement and left his mark on trade unionism. He was a pioneer in a factory reform and progressive education, and few men have played such a large part in social reform. Now I go on to look at my second example, Sir Titus Salt. Sir Titus Salt was born at Morley in 1803. He first worked for his father as a wool merchant. He later set up his own spinning plant in Bradford in 1834. By this time he had married Caroline Whitlon, The daughter of a rich Lincolnshire sheep farmer. He first carried out a social survey among his workers to see what size house they needed. It had not previously occurred to anyone that a worker with ten children needed more rooms in his house than a worker with one child. Sir Titus Salt chose a site adjoining the Leeds Liverpool canal, the River Aire and the newly made railway station, So he had ideal transport facilities for his trading. It was a massive mill, he chose innovative architects, and agreed to their suggestion of Italianite style. There was space, light and warmth in his new mill. The location was superb, in a green and pleasant are. The mill opened in 1853 on Titus Salts 50th birthday. He then created an entire village of houses, park, school, library, recreation and a learning institute and an outdoor sport facility. The streets were named after his children and family. He called this village â€Å"Saltaire†. Titus employed a large number of workers in combing, spinning and weaving his cloth. He had business connections throughout Europe and America and yet â€Å"For in his making his thousands he never forgot, the thousands who helped him to make them† Titus had simple but good education, and would have liked to become a doctor, but could not stand the sight of blood, so that ambition was quashed, although it did show that young Titus was aware of health and disease. His family were Congregationalists, and religion was very influential in their upbringing. On the whole I agree that the factory system took little account of the needs of its workers but there were exceptions, sir Titus Salt and Robert Owen were one of these exceptions.