Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. The WritePass Journal

Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. Introduction Apply the Post-Modernist concepts of intertextuality and pastiche to Shaun of the Dead. IntroductionREFERENCES:Related Introduction This essay is going to investigate the concepts of intertextuality and pastiche of Shaun of the Dead. To do this, the two concepts will be briefly explained and how, although the film is completely made up of references to different films, it is still wholly original because of this. â€Å"Intertextuality is the shaping of texts meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term â€Å"intertextuality† has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term â€Å"has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence† (Irwin, 228).† â€Å"The literary term pastiche is used in two slightly different ways, and the concept can be found in other arts, not just literature, ranging from architecture to film. In the first sense, a pastiche is a form of homage which is accomplished through imitation. In the second definition, a pastiche is a medley of items which are imitative in origin. The term can be used in a derogatory or complimentary way, depending on the work under discussion. The origins of the word lie in an Italian word meaning medley, a reference to a type of cake or pie which is made from a broad mixture of items. The idea behind either form of pastiche is that it integrates themes, ideas, concepts, and characters which have already been seen and used before. These items are integrated in a new work because the author finds them interesting, compelling, or useful; a pastiche is not plagiarism or outright imitation, but a more complex literary concept.† (Smith, 2011). Shawn of the Dead was a 2004 film written by Simon Pegg and Edgar Wright. It was billed as a ‘British romantic zombie comedy’. The main plot of the film is that a man (Shawn) decides to turn his life around by winning his girlfriend back and fixing the relationship with his mother. Unfortunately he also has to deal with the whole community coming back from the dead to eat the living. Shawn of the dead is jammed packed with references to other films, most of which can be found in the following part of this essay. Firstly, in the opening credits, during the company logo, ‘figment’ by S. Park is playing. This is the same music that was playing during the airport scene in Dawn of the Dead. (Shawn of the Dead is obviously paying homage to Dead of the Dead in the similar film title reference as well). In Day of the Dead a zombie staggers into the screen shot and as a nod to this Shawn of the Dead has a shot of Shawn staggering across the floor after waking up. Pete, Shawn’s flatmate answers his mobile phone with the line, â€Å"Hi Dom.† Peter Serafinowicz (who portrayed Pete in the film) was also in BBC series Spaced (starring Simon Pegg) where he frequently used the same line. As Shaun walks to the corner store, he passes a road sweeper. On the operator’s radio, you can hear a report of how a space probe named Omega 6 entered the atmosphere several days early over the southwest of England and broke apart over a heavily populated area. This ties in with Night of the Living Dead, in which a space probe breaks up in the atmosphere and causes the dead to return to life. Throughout the film we see multiple references to a made up pizza chain called ‘Bub’s Pizza’. This is a reference to the smarter than average zombie Bub from Day of the Dead. One of the stars of Dawn of the Dead (1978), Ken Foree, is referenced in the place where Shawn works: Foree Electric. Shawn walks past a sign for Weston Park. This sign is in Crouch End in London. It is the same place that the BBC series Spaced was set and was also where Simon Pegg resided in 2004. They pay tribute to Ashley J. Williams, who played Bruce Campbell. hero from the Evil Dead Trilogy. This is during the scene when Shawn calls a staff meeting. He mentions that the manager and ‘Ash’ have both phoned in sick. There is an exclusive seafood restaurant called Fulci’s in the film at which Shawn tries to make a reservation for. This is a nod to Lucio Fulci, the famed Italian horror director. Ed, Shawn’s best friend, is known for his hilarious impression of Clyde, the orang-utan from Every Which Way But Loose with Clint Eastwood. The zombie in Shawns back garden, Mary, worked at Landis Supermarket. This is a reference to John Landis who is the director of the horror film An American Werewolf in London. As Shawn and Ed are watching news reports on the television they come across a reporter who speaks the same lines as the reporter in the Night of the Living Dead (1968) There is a poster of a bleeding cartoon schoolgirl in the background of the scene where Shawn and Ed get attacked by the one armed zombie. This is a stylized recreation of a scene from Battle Royale, a Japanese film. At one point, Ed warns Shawns mum over the phone, â€Å"Were coming to get you, Barbara.† This line is a reference to a line from the beginning of George Romeros seminal zombie movie Night of the Living Dead (1968). We hear ‘Zombi’ by Goblin, in the scene where Shawn and Ed try to work out how to rescue Liz and Barbara. This music was featured in Dawn of the Dead. When Shawn and Ed get to the idea of seeking refuge in the Winchester pub, a delighted Ed exclaims, ‘Yeah, boy!’ this is a reference to Public Enemy rapper Flavor Flay. As they are making their way to the Winchester, Shawns mum falls behind and gets attacked by a zombie. She screams for help and Shawn rushes to help her jumping on a small trampoline and using it to propel him through the air. This is the same shot that was used near the end of Sam Raimi’s film, Army of Darkness. It was also a popular mode of transport in the computer game ‘Zombies ate my neighbours’ in which you have to bounce from back garden to back garden in order to kill the suburban zombies. On the way to the Winchester, there is a brief reunion of characters from the television series The Office, when Shaun’s group encounters Yvonne’s group. Lucy Davis (Dianne) and Martin Freeman (Declan) played Dawn and Tim on the popular BBC series, and their relationship was a central plot of the show. Noel calls Ed on the phone and refers to him as Noodle. This is the name of one of the teenagers on Spaced. The Mexican standoff at the Winchester pub is straight out of Reservoir Dogs, with the characters holding broken bottles and corkscrew rather than guns, (with the exception of David who is holding a rifle). Shawn exclaims, ‘Stop pointing that gun at my mum!’ in Reservoir Dogs Chris Penn yells, ‘Stop pointing that gun at my Dad!’ Liz’s friend David’s death scene is almost identical to that of Captain Rhodes in Day of the Dead. In the scene where Shawn and Liz escape from the Winchester’s pub cellar via an elevator platform is a direct tribute to Day of the Dead which also heavily features an elevator platform. The way in which Shawn drops the ‘hand box’ after activating the elevator is done in exactly the same manner used by Bill McDermott (Played by the actor Jarlart Conroy) in the Day of thr Dead. The choreographed pool-cue beating of the zombie in the Winchester pub, which was synchronized to the Queen soundtrack, is a carefully referenced homage to the balletic assault on the homeless man in A Clockwork Orange, (1971) The line. ‘get behind me’,   when they were fighting off the zombies in the pub is a direct take of Han Solos line in Star Wars (1977) Shaun berates Ed for calling the creatures zombies (which they are, of course). This may be referring to the fact that many zombie movies (including Night of the Living Dead (1968) and Resident Evil (2002) never mention the word zombie at all. More likely this is a reference to Danny Boyle director of 28 Days Later (2002) and his insistence that it isnt a zombie movie. When Shaun finds his zombie house mate in the shower he utters the words Join us in a half whispered tone. This is a reference to the first two Evil Dead films where the zombies are always asking Ash (also mentioned in the department store) to join us. The scene in which Shaun and Liz leave the basement via the lift through the hatch into smoke and orange light, turning as they do so, is a direct reference to a scene in Star Wars: Episode V The Empire Strikes Back (1980) when Lando leaves the Millennium Falcon to rescue Luke. Towards the end of the movie when the soldiers arrive to save Shawn and Liz the logo on the side of their trucks read ‘Biohazard’ This is the same name that the Japanese use for the uber popular zombie video game Resident Evil, which is also very heavily featured in Simon Peggs BBC series, Spaced. Liz flicks through the channels and we hear a report refuting the news that the zombie attacks may have been caused by rage infected monkeys. This is a direct reference to the Danny Boyle film 28 days later. When Shawn and Liz are watching television after the zombie attack they come across a zombie game show called ‘fun dead’. In the background the shopping centre music from the Dawn of the Dead can be heard. Finally, the end credits of the film features the song ‘The Gonk’ by H. Chappell. This again is the shopping mall music for the Dawn of the Dead but remixed by Kid Koala. There are many more references of intextuality and pastiche in this film and as Simon Pegg and Edgar Wright have said in interviews that the film has many levels that you have to see to understand. â€Å"Shaun of the Dead.   Like Dawn of the Dead, this film follows what happens in the event of a zombie epidemic.   However, Shaun of the Dead is done in a more light-hearted and comical way.   That raises the question as to whether it is parody or pastiche.   Shaun of the Dead has all the elements of the zombie invasion film.   However, it is handled in a very different way, with comedy.   Shaun of  the  Dead is a classic example  of parody, given Jameson’s definition, â€Å"Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original† (1963).   Shaun of  the Dead takes those things  that are specific to almost every zombie film and makes light of it.   The film could be thought of as pastiche, as Jameson writes, â€Å"Pastiche is blank parody, parody that has lost its sense of  humor† (1963).   Since Shaun of the Dead is meant to b e humorous, it cannot be a pastiche.† REFERENCES: Irwin, William. Against Intertextuality. Philosophy and Literature, v28, Number 2, October 2004, pp.  227-242. S.E. Smith. (06 April 2011). In Literature, What is Pastiche?. Available: wisegeek.com/in-literature-what-is-pastiche.htm. Last accessed 13th April 2011. Anon. (2004). Shaun of the Dead Pop Culture References. Available: shaunofthedead.com/plot/pop-culture/. Last accessed 18th April 2011 B, Nick. (2007). What was once for theory is now used for postmodernism. Available: http://ryancallander.wordpress.com/2007/05/03/group-project/. Last accessed 5th April 2011. Apply the post-modernist concepts of intertextuality and pastiche to shaun of the dead. REFERENCES: Apply the post-modernist concepts of intertextuality and pastiche to shaun of the dead. Introduction This essay is going to investigate the concepts of intertextuality and pastiche of Shaun of the Dead. To do this, the two concepts will be briefly explained and how, although the film is completely made up of references to different films, it is still wholly original because of this. â€Å"Intertextuality is the shaping of texts meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term â€Å"intertextuality† has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term â€Å"has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about allusion and influence† (Irwin, 228).† â€Å"The literary term pastiche is used in two slightly different ways, and the concept can be found in other arts, not just literature, ranging from architecture to film. In the first sense, a pastiche is a form of homage which is accomplished through imitation. In the second definition, a pastiche is a medley of items which are imitative in origin. The term can be used in a derogatory or complimentary way, depending on the work under discussion. The origins of the word lie in an Italian word meaning medley, a reference to a type of cake or pie which is made from a broad mixture of items. The idea behind either form of pastiche is that it integrates themes, ideas, concepts, and characters which have already been seen and used before. These items are integrated in a new work because the author finds them interesting, compelling, or useful; a pastiche is not plagiarism or outright imitation, but a more complex literary concept.† (Smith, 2011). Shawn of the Dead was a 2004 film written by Simon Pegg and Edgar Wright. It was billed as a ‘British romantic zombie comedy’. The main plot of the film is that a man (Shawn) decides to turn his life around by winning his girlfriend back and fixing the relationship with his mother. Unfortunately he also has to deal with the whole community coming back from the dead to eat the living. Shawn of the dead is jammed packed with references to other films, most of which can be found in the following part of this essay. Firstly, in the opening credits, during the company logo, ‘figment’ by S. Park is playing. This is the same music that was playing during the airport scene in Dawn of the Dead. (Shawn of the Dead is obviously paying homage to Dead of the Dead in the similar film title reference as well). In Day of the Dead a zombie staggers into the screen shot and as a nod to this Shawn of the Dead has a shot of Shawn staggering across the floor after waking up. Pete, Shawn’s flatmate answers his mobile phone with the line, â€Å"Hi Dom.† Peter Serafinowicz (who portrayed Pete in the film) was also in BBC series Spaced (starring Simon Pegg) where he frequently used the same line. As Shaun walks to the corner store, he passes a road sweeper. On the operator’s radio, you can hear a report of how a space probe named Omega 6 entered the atmosphere several days early over the southwest of England and broke apart over a heavily populated area. This ties in with Night of the Living Dead, in which a space probe breaks up in the atmosphere and causes the dead to return to life. Throughout the film we see multiple references to a made up pizza chain called ‘Bub’s Pizza’. This is a reference to the smarter than average zombie Bub from Day of the Dead. One of the stars of Dawn of the Dead (1978), Ken Foree, is referenced in the place where Shawn works: Foree Electric. Shawn walks past a sign for Weston Park. This sign is in Crouch End in London. It is the same place that the BBC series Spaced was set and was also where Simon Pegg resided in 2004. They pay tribute to Ashley J. Williams, who played Bruce Campbell. hero from the Evil Dead Trilogy. This is during the scene when Shawn calls a staff meeting. He mentions that the manager and ‘Ash’ have both phoned in sick. There is an exclusive seafood restaurant called Fulci’s in the film at which Shawn tries to make a reservation for. This is a nod to Lucio Fulci, the famed Italian horror director. Ed, Shawn’s best friend, is known for his hilarious impression of Clyde, the orang-utan from Every Which Way But Loose with Clint Eastwood. The zombie in Shawns back garden, Mary, worked at Landis Supermarket. This is a reference to John Landis who is the director of the horror film An American Werewolf in London. As Shawn and Ed are watching news reports on the television they come across a reporter who speaks the same lines as the reporter in the Night of the Living Dead (1968) There is a poster of a bleeding cartoon schoolgirl in the background of the scene where Shawn and Ed get attacked by the one armed zombie. This is a stylized recreation of a scene from Battle Royale, a Japanese film. At one point, Ed warns Shawns mum over the phone, â€Å"Were coming to get you, Barbara.† This line is a reference to a line from the beginning of George Romeros seminal zombie movie Night of the Living Dead (1968). We hear ‘Zombi’ by Goblin, in the scene where Shawn and Ed try to work out how to rescue Liz and Barbara. This music was featured in Dawn of the Dead. When Shawn and Ed get to the idea of seeking refuge in the Winchester pub, a delighted Ed exclaims, ‘Yeah, boy!’ this is a reference to Public Enemy rapper Flavor Flay. As they are making their way to the Winchester, Shawns mum falls behind and gets attacked by a zombie. She screams for help and Shawn rushes to help her jumping on a small trampoline and using it to propel him through the air. This is the same shot that was used near the end of Sam Raimi’s film, Army of Darkness. It was also a popular mode of transport in the computer game ‘Zombies ate my neighbours’ in which you have to bounce from back garden to back garden in order to kill the suburban zombies. On the way to the Winchester, there is a brief reunion of characters from the television series The Office, when Shaun’s group encounters Yvonne’s group. Lucy Davis (Dianne) and Martin Freeman (Declan) played Dawn and Tim on the popular BBC series, and their relationship was a central plot of the show. Noel calls Ed on the phone and refers to him as Noodle. This is the name of one of the teenagers on Spaced. The Mexican standoff at the Winchester pub is straight out of Reservoir Dogs, with the characters holding broken bottles and corkscrew rather than guns, (with the exception of David who is holding a rifle). Shawn exclaims, ‘Stop pointing that gun at my mum!’ in Reservoir Dogs Chris Penn yells, ‘Stop pointing that gun at my Dad!’ Liz’s friend David’s death scene is almost identical to that of Captain Rhodes in Day of the Dead. In the scene where Shawn and Liz escape from the Winchester’s pub cellar via an elevator platform is a direct tribute to Day of the Dead which also heavily features an elevator platform. The way in which Shawn drops the ‘hand box’ after activating the elevator is done in exactly the same manner used by Bill McDermott (Played by the actor Jarlart Conroy) in the Day of thr Dead. The choreographed pool-cue beating of the zombie in the Winchester pub, which was synchronized to the Queen soundtrack, is a carefully referenced homage to the balletic assault on the homeless man in A Clockwork Orange, (1971) The line. ‘get behind me’,   when they were fighting off the zombies in the pub is a direct take of Han Solos line in Star Wars (1977) Shaun berates Ed for calling the creatures zombies (which they are, of course). This may be referring to the fact that many zombie movies (including Night of the Living Dead (1968) and Resident Evil (2002) never mention the word zombie at all. More likely this is a reference to Danny Boyle director of 28 Days Later (2002) and his insistence that it isnt a zombie movie. When Shaun finds his zombie house mate in the shower he utters the words Join us in a half whispered tone. This is a reference to the first two Evil Dead films where the zombies are always asking Ash (also mentioned in the department store) to join us. The scene in which Shaun and Liz leave the basement via the lift through the hatch into smoke and orange light, turning as they do so, is a direct reference to a scene in Star Wars: Episode V The Empire Strikes Back (1980) when Lando leaves the Millennium Falcon to rescue Luke. Towards the end of the movie when the soldiers arrive to save Shawn and Liz the logo on the side of their trucks read ‘Biohazard’ This is the same name that the Japanese use for the uber popular zombie video game Resident Evil, which is also very heavily featured in Simon Peggs BBC series, Spaced. Liz flicks through the channels and we hear a report refuting the news that the zombie attacks may have been caused by rage infected monkeys. This is a direct reference to the Danny Boyle film 28 days later. When Shawn and Liz are watching television after the zombie attack they come across a zombie game show called ‘fun dead’. In the background the shopping centre music from the Dawn of the Dead can be heard. Finally, the end credits of the film features the song ‘The Gonk’ by H. Chappell. This again is the shopping mall music for the Dawn of the Dead but remixed by Kid Koala. There are many more references of intextuality and pastiche in this film and as Simon Pegg and Edgar Wright have said in interviews that the film has many levels that you have to see to understand. â€Å"Shaun of the Dead.   Like Dawn of the Dead, this film follows what happens in the event of a zombie epidemic.   However, Shaun of the Dead is done in a more light-hearted and comical way.   That raises the question as to whether it is parody or pastiche.   Shaun of the Dead has all the elements of the zombie invasion film.   However, it is handled in a very different way, with comedy.   Shaun of  the  Dead is a classic example  of parody, given Jameson’s definition, â€Å"Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original† (1963).   Shaun of  the Dead takes those things  that are specific to almost every zombie film and makes light of it.   The film could be thought of as pastiche, as Jameson writes, â€Å"Pastiche is blank parody, parody that has lost its sense of  humor† (1963).   Since Shaun of the Dead is meant to b e humorous, it cannot be a pastiche.† REFERENCES: Irwin, William. Against Intertextuality. Philosophy and Literature, v28, Number 2, October 2004, pp.  227-242. S.E. Smith. (06 April 2011). In Literature, What is Pastiche?. Available: wisegeek.com/in-literature-what-is-pastiche.htm. Last accessed 13th April 2011. Anon. (2004). Shaun of the Dead Pop Culture References. Available: shaunofthedead.com/plot/pop-culture/. Last accessed 18th April 2011 B, Nick. (2007). What was once for theory is now used for postmodernism. Available: http://ryancallander.wordpress.com/2007/05/03/group-project/. Last accessed 5th April 2011.

261 Intro to Am Literature since 1945 Professor Ramos Blog

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An Analysis Of The Genesis 22 Religion Essay

An Analysis Of The Genesis 22 Religion Essay The chapter begins with a pattern of introduction that usually suggests a new wave in the trend of events. And it came to pass after these things, that God did tempt Abrahamà ¢Ã¢â€š ¬Ã‚ ¦. In verse 20, the same introduction is used in stating that Abrahams brother Nahor had been born children by Milcah. It is known from the onset that God is testing Abraham. The primary aim of the test is to teach Abraham that obedience and commitment are vital to keeping covenants. Obedience to covenant obligations brings guarantee of the fulfilment of Gods promises and fresh bestowal of the blessings that go with covenant keeping. God calls Abraham to take his son Isaac, whom he loves very much to a land which he will show him and offer him for a burnt offering (verse 2). The practice of human sacrifice in ancient near-eastern society is here revealed. In verse 3, Abraham obeys Gods command without any grudges, rising up early in the morning and taking along with him the persons and materials needed to perform the sacrifice. His response to Gods call Behold, here I am shows Abraham has entrusted his future and life into Gods hands. He makes himself totally available for Gods purpose. The prophet Isaiah showed a similar attitude in his vision. Abraham surrenders totally to God knowing he was going to be the founding father of Israel. An important truth is learnt about what happens when Gods word is followed-up with obedience in verse 4. He lifted up his eyes and sees the place of the sacrifice from a distance. He did not need God to speak again for him to ascertain the place. Revelation and divine knowledge and insight follow obedience to the word. Verse 5 shows Abraham leaving his servants behind in the Journey and moving on with Isaac. It seems true worship is a personal thing that often involves the individual going beyond the point where most people can or are willing to go. His faith is unshaken in his confession that he and the lad will go, worship and come back. He understands this is a test and so far, he seems to be doing well. Isaac, the object of the worship is not oblivious of the happenings around him. He is aware a burnt offering is to be performed but does not see any lamb for it. This makes him curious, and even though he was later bound up by his father for the sacrifice, he did not resist ( 7-10 ). Abraham demonstrates his faith once again in God by assuring Isaac of Gods providence ( verse 8). In some way, the whole story is allegorical. Isaac is portrayed as a type of the Christ to come, for as Jesus carried his cross to the place of his crucifixion so Isaac carries the wood for the sacrifice demanded by God(22: 6). Abraham is seen often assuming the status of a god-figure. Twice he is called upon, both by God and Isaac and he responds, here I am'(1). His response with this phrase is reminiscent of the revelation of God(Yahweh) when He speaks to Moses( Ex. 3:14). In Jesus confrontation with the Pharisees, the same title he uses pitches him against them because they taught of him as a blasphemer equating himself with God. This same statement by Abraham is not only indicative of his total availability to God. It in some way makes the parallel of Abraham as a God-figure tenable in the same way that Isaac, the object of the sacrifice is representative of the true lamb in the new testament, Jesus Christ. Isaac carries the wood for the burnt offering ( 6 ), as Christ carries his cross. The place of the sacrifice in the land of Moriah( verse 2) is later seen in the mountain of Jerusalem where Solomon eventually built the temple of the Lord (2 Chron. 3: 1). It plays on the Hebrew word to see (raa) used by Abraham in verses 8 and 14 as to provide. The fact that Abraham was the first to offer a sacrifice there when he eventually offered the ram caught in the ticket shows that he first instituted true worship to God. He was the first to worship God there. It took Abraham three days to find the place of worship. This is probably a half-way point of the entire journey to and fro that would take about seven days. In verse 9, Isaac is bound by Abraham, ready to be slain, yet he does not resist even though his father had already told him that God will provide a lamb for the sacrifice. He is a type of the Christ described in Isaiah 53: 7 who as a lamb brought to the slaughter, opened not his mouth. Abrahams reply to Isaacs question that God will provide himself a lamb for the sacrifice (verse 8) is an act of his faith in God. He had earlier obeyed Gods command to go somewhere to sacrifice his son. Now, he has to assure his son that the object of the sacrifice will be provided. In verse 10, Abraham demonstrates his faith totally by stretching forth his hand with the knife to slay the lad. God sees Abrahams heart that he truly fears him and speaks through his angel from heaven. God is pleased with Abrahams willingness to entrust all his future into his hands. Verse 13 shows Abrahams faith yielding fruits. He had told his son that God will provide a lamb for the burnt offering. Now, the Lord has indeed provided. He sees a ram caught in a bush by its horns and uses it for the sacrifice. Abraham later calls the name of the place Jehovah-jireh, acknowledging that God had indeed seen to or provided. Verses 15- 18 is a re-affirmation of covenant promise by the same angel of the Lord that spoke earlier on. God gives his word through his angel in promise to Abraham that he will bless him and multiply his seed as the stars of the heaven because he has obeyed his voice, trusted him and was willing to sacrifice for covenant. His seed shall posses the gate of their enemies and all the nations of the earth shall be blessed through them. Covenant promise earlier made demands obedience and faithfulness. Now faithfulness in that covenant walk has brought more assurance of more blessings. In verse 19, Abraham returns to his servants and they go and dwell in Beersheba. The underlying theme in the story is the fact that human sacrifice which was a core part of societal life is here seen to be abolished and replaced with animal sacrifice. Infant sacrifice was customary to the nations that dwelt about Abraham and would later become an important practice in Israel (2 Kings 16: 3). Israels realization that the first born belongs to the Lord resulted in their seeking alternative sacrifice that would redeem the first born. Abraham pioneers Israels change from the practice of the other nations through Gods direction to redeem his son by the ram. In verses 21 to 24, the writer notes that Abraham receives news of the children that have been born to his brother Nahor through Milcah. Perhaps the news of multiple bodily fruitfulness is a sign of the promise by the angel of the Lord. The children born to Nahor are Huz, Buz, Kemuel, Chesed, Hazo, Pildash, Jidlaph, and Bethuel. Rebekah, the wife Abrahams servant would later choose for Isaac is the daughter of Bethuel mentioned here. Kemuel is the father of Aram. Nahors concubine Reumah also bore him four children by name Tebah, Gaham, Thahash, and Maachah. This part of the chapter completes the geneology to the second generation of the children of Terah, besides the children born to Abraham by Keturah (25: 1-6). Abraham had fathered Isaac. Now, the younger brother Nahor has twelve children; eight by his wife Milcah, and four by his concubine Reumah. Jacob, Abrahams grandson would later have the same number of children by his wives and concubines. Out of the twelve children born to Nahor, three would become names of places or nations. In Genesis 10: 23, Uz is mentioned as a son of Aram. It is the homeland of Job (Job 1: 1). This is probably northern Edom. The country of Buz is the homeland of one of the friends of Job (32: 2). In Genesis 24:15, Bethuel is seen as a personage. Buz is home to one of Jobs friends ( Job32: 2). Hazu (and Bazu) are mentioned by the 7th century Assyrian king Esarhaddon. In short, Abrahams entire family is blessed even though his youngest sibling Ur, who had fathered Lot had died in Haran. Conclusion Faithfulness is key to keeping covenants. Afterwards, blessings follow. God is faithful. The question is; are we ready to walk in faith with him as Abraham did?

Google in China Essay

Google is the fastest growing Internet search engine company. Google’s mission is â€Å"to organize the world’s information and make it universally accessible and useful.†(International Business: Competing in the Global marketplace, pg 148-149) They have a mantra of â€Å"Don’t be Evil.† Google started this mantra to be the main message to show consumers they would not compromise the integrity of its search results. This case reviews the situation under which Google was required to censor its content and chose to launch its new search engine site. The case explains the role of the Chinese government and its regulations in the Internet market which had a negative effect on Google’s operations in China. In 2000, Google started a Chinese language service. This service was operated from the United States. Chinese authorities blocked the site in 2002 because China censors information to their citizens. This block surprised Google’s managers. This was a challenge the managers did not plan on. If they done their research of the Chinese Government and culture prior to launching the Chinese language service, they would have known the block would be inevitable and they could have tailored their service to the Chinese regulations, culture, and laws. Google knew China was an advantageous business and they would need to adapt their service in order for it to be acceptable and profitable. Google also had to move the Chinese operations to China. Operating from the United States caused slow connection speed and hinder their operation and growth. This was a good move because it enabled Google to employee Chinese citizens who would be able to help understand and adapt to the Chinese laws, regulations, and censorship demands. Google managers made a mistake by not researching their target market. However, they acted quickly in learning and correcting this mistake. Google still offered Chinese citizens a better search engine, but it was not without censorship. The Google search engine offers more results than its competitors, Yahoo, Microsoft’s MSN, and China’s own company, Baidu. Google states Chinese consumers will â€Å"get more information on their site, though not quite all of it.† (International Business: Competing in the Global marketplace, pg 148-149) In 2006, Google had 30 percent share of China’s internet search engines. Baidu had 40 percent. This left another 30 percent split between Yahoo and Microsoft’s MSN search engines. These percentages are good, especially when one considers Yahoo and Microsoft had entered the Chinese search engine market prior to Google. Baidu has several advantages over Google that are mostly associated with it being a Chinese based company, the search engine has â€Å"competence in pinpointing queries in the Chinese language† (Yin & Yulin, 2010, p. 4). Government relations with China are precarious for businesses effectiveness. Google did not have a clear understanding of what they would be involved in. China has become more supported and self-assured due to its increasing economic significance. They are more reluctant to be pressed by Western governments or companies into changing its long term regulations and censorship. Because of this aspect, China does not yet comprehend global strategies and the importance of global public relations. This causes them to be more rigid in their international business dealings. All-in-all, Google has been able to grow successfully in the Chinese search engine market and maintain the number two spot (behind Baidu) in China despite their lack of early research on the Chinese culture, governmental regulations, and laws. References International Business. Competing in the Global Marketplace, Seventh Edition, Chapter 3: Differences in Culture ISBN: 9780073381343 Author: Charles W. L. Hill copyright  © 2009 McGraw-Hill, a business unit of the McGraw-Hill Companies, Inc.

Concept Development: Florence Nightingale -Its Con

CONCEPT DEVELOPMENT: Florence Nightingale – Influence on Nursing Theory 1. AIM: This assignment gives an abridged account of Florence Nightingale’s life, her education, aspirations and career. It also discusses the development of nursing theory in general, and Florence Nightingale’s influence in later nursing theorists’ work. Florence Nightingale’s philosophy regarding the environment was fundamental to her concept of nursing and health, which was demonstrated through her work on sanitary reform and hospital construction. 2. BACKGROUND: Florence Nightingale was born in 1820 to well-educated, affluent British parents. Her youthful upbringing brought her into aristocratic society, where she made life-long distinguished friends and acquaintances. These would prove pivotal in her work as the founder of modern nursing. Schooled by her father in mathematics, languages, religion and philosophy (which were put to good use in forming her theories), the young Nightingale began her nursing training in Germany. After returning to England, she became Superintendent of the Hospital for Invalid Gentlewomen 1. During the 1840’s, sanitary reform in the community became a big political issue, which Florence Nightingale zealously embraced. She utilised plans for eliminating sanitation problems on the army wards during her time in the Crimean War. Although medical care in the army was higher than in the community, conditions were still appalling with blocked latrines, overflowing cesspools and contaminated drinking water. The latter playing an important part in epidemic outbreaks of cholera. 1,2. The soldiers named her as ‘The Lady of the Lamp’ when she carried her lantern through the corridors at night. In 1855, Florence Nightingale became very ill with ‘Crimean Fever ‘ and was not expected to survive. This disease is believed by some to be brucellosis melitensis. Her symptoms subsided and she returned to England, after which, she founded nursing schools at St. Thomas Hospital and at King’s College Hospital. Her achievements have included her many writings, such as ‘Notes on Hospitals’ and ‘Notes on the Sanitary State of the Army in India’. Florence Nightingale also compiled statistics and much evidence for the Royal Commission. Hospitals were set up world-wide financed by the Nightingale Fund. Although bed-ridden for much of her later years, she worked prolifically into her eighties, gathering data and expounding her nursing theories. In 1910, Florence Nightingale died at the age of 90 years. . Development of Nursing Theories and Practices Between 1858, when Florence Nightingale first wrote her ideas for the theory and practice of nursing, and the 1950’s, there was little change to the task orientated, authoritarian concept of nursing practice. The nursing theorists may have started to evolve in order to change this viewpoint. Notable protagonists include Henderson, Peplau, Abdellah and Orem. 4 In addition, reactions to the medical paradigm which was well established and developed, may have prompted the change of nursing, from one of traditional symptom orientation to a nursing paradigm in it’s own right. Figures 3. 1 & 3. 2 refer). [pic] Nursing theories have gone through several changes and ideas that were rejected in one stage of development have been accepted in another. There has been a shift from the early rejection of nursing theories, through the positivistic, quantitative research of the sixties to the recent revival of Florence Nightingale’s concept of nursing of health and environment. Nursing research has shifted towards the phenomenological viewpoint (the meaning of experience and perceived reality) illustrated in Figure 3. 3. [pic] Nursing theories prove that nursing is a profession, not simply an occupation. Meleis describes these as being â€Å"a systematic, coherent body of knowledge with boundaries†. There are three types of nursing theories, according to Alligood and Chong Choi. 1 The first is nursing philosophy, in which the meaning of nursing is realised through analysis, reasoning and logical argument. Exponents of this type of work were early theorists. Florence Nightingale’s work is a philosophical one. The second or ‘grand theorist’ type gives a conceptual framework in which one can view the world and take into account it’s aspects. (J. Fawcett 1989)1: 6 . Orem and Neuman are examples of this type. The third type are middle range theories, which are derivatives from other works such as grand theories, philosophy of nursing theories or perhaps from other, related theories. 1 4. Florence Nightingale’s Influence on Nursing Development and Practice Florence Nightingale was the first nursing theorist. She believed her life in nursing to be a calling from God, her chief mission being to improve the environment in which people lived and in which people were cared for. Although an innovator, she was also a product of her time as sanitary reform in the community became a big issue with the educated classes. Her other philosophies influenced nursing theory and practice. These were: * Nursing as a profession distinct from Medicine. Gathering of statistical data for applied research The establishment of recognised system of nurse training Definition of Health Dichotomy of nurse / patient role. The reparative process of disease 4. 1 Environment Florence Nightingale placed great emphasis on the physical aspects of the care setting. These are namely; clean air, pure water, efficient drainage, cleanliness and sunlight, 7 which are largely taken for granted in our modern hospitals. She believed these would eradicate the main source of illness, although, Miss Nightingale rejected the theory of bacterial infection on the grounds that she had no empirical evidence to support it. Florence Nightingale believed that building construction, in particular, hospital building, should pay particular attention to sanitation and ventilation. This together with the correct diet would eliminate much current sickness. Her writings on this subject revolutionised hospital construction. 10. In her Notes on Nursing, she admonished nurses who noisily tripped over fire-irons, thus breaching safety standards. Virginia Henderson wrote of Florence Nightingale’s influence on her own work regarding the environment, when she said, â€Å"Like Miss Nightingale, I have shared an interest in seeing the environment made safer for people. She put more emphasis on fresh air than I, of course, did. I had more opportunity to learn how to control infection than she did. † 8. Miss Hende rson further enlarged on Florence Nightingale’s theory to say that nurses should recommend the construction of buildings, purchase of equipment and maintenance in order to minimise chances of injury. 1 Kathryn Barnard, speaking in 1966, said that in order for the nurse to assist the patient in promoting and maintaining his / her independence, a change in the patient’s environment may be necessary. 1 Martha E. Rogers (1970) and Betty Neuman (1995) echoed Florence Nightingale’s belief that the provision of an environment which was conducive to healing, such as cleanliness, fresh air and calm, were prerequisites for recovery from illness. Nursing theorists widened the concept to include people’s responses to their immediate and broader environment. 9 Rogers holds that the description of person and environment ‘energy fields’ are inseparable. Dorothea Orem’s ‘Universal self-care requisites’ (1980) lists the maintenance of air, water, food, rest and solitude, as being required by all human beings and adding to these; social interaction, elimination, activity, social interaction, prevention of hazards and promotion of human functioning. 4. 2 The Profession of Nursing and Health. The idea that there would be a professional body of exclusively female nurses (Miss Nightingale believed women were natural nurturers) was revolutionary in the last century. The exception was in psychiatric nursing, where men’s’ physical strength was valued. This view is largely discounted today, of course. She was also passionate about the uniqueness of nursing, existing alongside but not incorporated into, other related disciplines, such as medicine. Adherence to signs, symptoms, surgery, medication and disease prevailed in this era of health care. 5 She was suspicious of ‘new’ scientific thinking, wh ich would turn nurses into ‘medical women’. 10 The training of young, more educated nurses in the new progressive schools like St. Thomas Hospital, included Florence Nightingale’s own concept of health: hygiene, environment and care. Her belief was that health was a state of wellness, desired by the patient and gained by using all power available, to the fullest extent. 1:10 Miss Nightingale combined both health education with sick nursing in her teachings, a practice which is very much in evidence today. Hildegard Peplau, followed Florence Nightingale, in 1952, and pioneered a knowledge-based nursing practice, which included education and research; distinguishing it from medicine-based health care. 1, 11 In 1987, Rosemarie Rizzo Parse echoed the need for nursing to move away from the medical model in order to evolve. 4. 3 Concept of Nursing and Statistical Data Gathering In 1970, Martha Rogers took Miss Nightingale’s concept of nursing and redefined it as a constant human interaction with the environment. 5 She lauded Miss Nightingale’s ability to place the person â€Å"within the framework of the natural world†, by her vision of health and by supporting this with statistical data. 1 Rosemarie Rizzo Parse was greatly influenced by Martha Rogers. She believed that, since Florence Nightingale’s time, nursing owed it’s existence to Man and Health. 1 4. 4 Nurse/ Patient Role and her Model of Nursing Florence Nightingale believed disease to go through a reparative process Her model of nursing reflected her belief that nature would cure the patient by the actions of the nurse’s control on the environment, 12 the patient’s role was a passive one, with little or no say in the way in which he or she was treated by the health care team. Few would argue that nursing theories has taken a more holistic approach than was the case in Florence Nightingale’s time. A legacy of the Nightingale School is the military terminology used by Miss Nightingale from her time spent in army nursing. Phrases such as; ‘on duty’, ‘off duty’ and ‘sick leave’ are still in use today. 10 5. Conclusion Florence Nightingale saw nurses as women who were not only professionals in their own right, (a revolutionary concept for Victorian England, when most women were subservient to male domination) but were to be instrumental in bringing about changes in order to improve the environment in it’s broadest sense. By this token, she was also the first health educator. Miss Nightingale presented her own empirical evidence i. e. based on her own experiences and observations, as established facts. She was a believer in research. Her gathering of statistical data was used to give credence to her hypotheses on her epidemiological studies. She laid the foundations for a recognised system of nurse training, not only in this country, but abroad. However, those nurse educators, who followed in Florence Nightingale’s footsteps in teaching young (and from an increasingly higher social class) women in the art of nursing, failed to differentiate between the goals and focus of nursing and of medicine. The medical model tended to neglect the patient as a human being. Furthermore, nursing creativity would be stifled (at least in the U. K. ) under a regimented, task-orientated regime until the early 1950’s until the emergence of new nursing theorists, such as Peplau (1952), Henderson (1955) and Orem (1958). Some of Florence Nightingale’s practices and beliefs have been largely discontinued or discounted today, such as the pathology of dirt and dampness, her disregard to the germ theory, and the fact that the patient was non-participative of his/her method of care. This lack of holism was perhaps in keeping with her time. 1. Her vision of nurses as innovators for social health reform, continues to inspire us today. – End of Assignment – REFERENCES: | | | |1. | Marrinner-Tomey, A. (1994). Nursing Theorists and their Work. St. Louis, Missouri: Mosby. | |2 |Dingwall, R. , Rafferty, A. M. , Webster, C. (1988). An Introduction to the Social History of Nursing. London: Routledge | |3 |Baly, M. E. (Nov. 13. 1996). Different history for Nightingale illness, Letters. Nursing Standard, 8 (11) 10. Harrow, Middx. , R. C. | | |N. Publishing Company. | |4 |Castledine, G. (1994). A definition of nursing based on nurturing, 3 (3): 134. British Journal of Nursing. | |5 |Meleis, A. I. (1985). Theoretical Nursing: Development and Progress. Pennsylvania: J. B. Lippincott Company. | |6 |Fawcett, J. (1989). Analysis and evaluation of conceptual models of nursing. In A. Marrinner-Tomey (Ed). Nursing Theorists and their| | |Work. St. Louis, Missouri: Mosby. | |7 |Nightingale, F. (1992). Notes on Nursing. London: Scutari Press. | |8 |Smith, J. P. (1989). Virginia Henderson: The First 90 years. London: Scutari Press. | |9 |Pearson, A. , Vaughan, B. , Fitzgerald, A. (1991). Nursing Models for Practice. London: Heiman | |10 |Baly, M. E. (1986). Florence Nightingale and the Nursing Legacy. New York: Croon Helm. | |11 |Fitzpatrick, J. and Whall. A. (1983) Conceptual Models of Nursing. Prentice Hall Publishing Co. | |12 |Kershaw, B. and Salvage, J. (1994) Models for Nursing. Great Britain. John Wiley & Sons Ltd. |

Claudio Monteverdi Essay Example

Claudio Monteverdi Essay Example Claudio Monteverdi Paper Claudio Monteverdi Paper Monteverdi letters do provide great insight into his life, but the fact remains that the most important biographical documents and dates are missing (Redline, 1-2). Even information on his ancestors and immediate family is sparse because most of them are unknown, the exact dates of his father and mothers birth and death are even unknown (Redline, 2-3). The most startling secret of Monteverdi existence Is that his body Is lost; his remains are known to be In a public tomb of the Chapel of Santa Imbroglio In the del Frail Church, but no one can Identify his remains from the remains of all the other people that were put to rest there (Moldier, 386). While much of Monteverdi biographical information may be lost, his letters and influential music provide a wealth of information on his life (Redline, Examine). Monteverdi life is known to have begun in Ceremony, Italy, but the exact date of the birth is not known (Examine, 117-118; Redline, 4). His birth has been established to be in the early part of May 1 567, and the baptismal records at the Church of S. Nazarene and S. Cells in Ceremony confirm this time. The church records reveal Monteverdi birth date to be May 15, 1567 (Redline, 4). While the Church register of baptisms does provide a birth date for Monteverdi, it also creates confusion about the spelling of Claudio last name (Raddled, 4). The church records provide the spelling Monteverdi, which contradicts the spelling: Monteverdi that Is present on all of the Orlando 121 letters (Raddled, 4). The confusion about the name Is completed by the spelling that is in printed collective editions of his works, which reads Monteverdi (Redline, 4). The spelling Monteverdi takes precedence because Claudio as known to have not overseen all the printed editions (Redline, 4). While Monteverdi name and life was a confusing composition of secrets, his familys lives were not any more revealing. Monteverdi was the first born of five children, and biographers only mention one of the siblings, Gigolo Cesar, as having any significant presence in his life (Redline, 3). Monteverdi was probably the closest with his brother that was six years younger than him because they shared the ambition to have musical careers (Redline, 3). Cesar first appeared In 1607 as the publisher of Monteverdi Scherzo Musical and as the tutor of the Deliberation, which was strongly Influenced by Monteverdi (Raddled, 3). The relationship between Monteverdi and Cesar Is Implied to be a happy one, which can be illustrated by Monteverdi inclusion of two small original compositions of Curares In Nils volume AT ten scenery Cesar neon an organs post In Castellated, and he was later Maestro did Chapel at Solo Cathedral in 1612 (Redline, 3-4). He seems to have had an intimate relationship with Monteverdi during the Mutant period of Claudio life, yet he is not mentioned after the year 1612. His arenas are completely different in the amount of information that is known about them; his mothers maiden name and Christian name are unknown, and she is mentioned very little in any sources on the topic of Monteverdi life (Redline, 1-2). Ballades, Monteverdi father, is much more evident in Claudio life (Redline, 3); Ballades was a doctor, which provided his family with a comfortable lifestyle and his children with a classical education under the best teachers (Redline, 3). The teacher that Ballades chose for his sons (Claudio Monteverdi) musical education was Marc Antonio Engineering; Ballades was a cultured man with the means o provide the best for his son (Redline, 4). Engineering was without a doubt the most important musician within the boundaries of Ceremony (Redline, 4). Claudio was a pupil of Engineers for ten years, which can be illustrated by Monteverdi mention of him on the title-pages of Monteverdi compositions during that time period, 1580-1590 (Redline, 5). There was a three-year gap between Monteverdi books of madrigals at that time, but the sub-title of the later publication that mentions Engineering implies that the master and pupil were together (Redline, 5). Under the audience of Engineering, Claudio composed Continually at the age of fifteen; the work showed the pupils complete understanding of the three-part vocal writing style (Redline, 5). Monteverdi was an oddity in that he had already published four diverse works: tracing, sacred madrigals, contrasts, and secular madrigals before he was twenty years old; this musical foundation was laid by his master, Engineering (Redline, 5). The first time that Engineers name is absent from the title-page is in 1590 when Monteverdi dedicates a book of madrigals to his new master, the Duke of Mantra; his is the last time Engineers name is mentioned in accordance with Monteverdi (Redline, 6). Monteverdi career at the Court of Mantra began in 1590, but he on probation during this year (Redline, 6). He was only accepted for a permanent position at the beginning of 1591 (Redline, 6); he was hired as a singer and violist (Examine, 117-118). He served there for 21 years (Examine, 117-118), and during this time he was promoted to Cantors, which is basically a music director (Redline, 9). During Monteverdi career at Mantra he created many great works, including his and Mantas first opera, Refer (Shards, 224-225). The opera was performed in 1607, and it was a lavish production (Examine, 119-120). Refer contained star soloists, a chorus, dancers, and a large orchestra of about forty players; the lavish setting of the opera was mostly per request of Monteverdi master (Examine, 119-120). Monteverdi master, Vincent I Conga, was an important part of his life; he was the one that promoted Monteverdi in 1592 (Redline, 6,9), and he was the one that gave approval to Monteverdi choice of bride (Redline, 9). Claudio new wife was Claudia Castanet, the daughter of Monteverdi violist colleague, was a professional singer (Redline, 9). The two were married in the later part of 1594 or early in 1595, while Monteverdi was still serving at the Mutant Court (Redline, 9). The couple had two sons during their twelve-year marriage, but they also struggled Dialectally (Really, 1 I en years AT Atlanta trouble spanned Trot to 1607, which was also a time of illness for Claudia (Redline, 15). The Monteverdi family moved to Ceremony to live with Ballades, Monteverdi father, who cared for Claudia (Redline, 15). The stress from their debts caused Claudia health condition to worsen, and she died on September 10, 1607 (Redline, 15). She left Claudio a widower t the age of forty (Redline, 39-40) and with two sons: ages seven and two (Redline, 15). After Claudio and Claudia short marriage and her death, Monteverdi went into a time of oblivion and chastity (Redline, 42-43; Mainliner, 388). Monteverdi may have not known it during that time of pain for him, but he would be musically active again. He would be considered the bridge between two musical periods (Redline, 35). Monteverdi comprised both the Early Baroque and Venetian periods; he was able to live through the crossover between the two periods (Redline, 35). Each musical period had a part in shaping Monteverdi career. Works of the Baroque period (1600-1750) were known to be extremely emotional; it was a time of lavish and dramatic proportions, especially in music (Examine, 98). The best Baroque music is from the later part of the period, but the early period composers were the most revolutionary; this is the category Monteverdi fit into (Examine, 98). In Italy, especially, music was created or composed with texts that conveyed ultimate emotion; the text was the most prominent part of the music (Examine, 98). These reasons led to the creation of opera. Opera was conceived in Italy from the discussions of the Camera, small group of nobles, poets, composers, and other artists who began to meet regularly in Florence in 1575 (Examine, 116). The Camera wanted to create a new vocal style based on music of ancient Greek tragedies; it was designed to be midway between melody and speech (Examine, 116). While Monteverdi was not a member of the Camera, his first opera, Refer, followed the ideal the group had set up for opera (Mainliner, 393). Monteverdi, like other Early Baroque composers, preferred homophobic texture because he felt the words could be projected more clearly with one main melody and only a choral accompaniment (Examine, 98). Most of the Baroque opera was composed for ceremonial occasions at court and was designed as a display of magnificence and splendor (Examine, 116-117). Monteverdi operas and productions at the Court of Mantra are a perfect illustration of this Baroque period characteristic. The subject matter of the Baroque operas was Greek mythology and ancient history; the aristocratic patrons loved the classical civilizations of Greece and Rome and related to the Greek and Roman divinities and heroes (Examine, 116-117). Monteverdi went along with these ideals because he knew that while opera was a retentive expression, it was also a way to flatter and gain the acceptance of aristocracy (Examine, 1 17). While Monteverdi appreciated the ways of aristocracy as a way to gain success musically, he had a growing discomfort with the courts of princes and an increasing skepticism towards aristocratic methods of business (Redline, 44). These feeling became more apparent during Monteverdi Venetian period in his later years, which stems from his sudden and inhumane dismissal from the Mutant Court (Redline, 44). Monteverdi master at Mantra, Vincent l, died and left his heir, Francesco V, who dismissed Monteverdi without cause (Redline, 44). Even though Monteverdi felt negatively towards some aspects of his society, he was mostly unaffected by them (Mainliner, 393). He was more concerned with creating music of emotional Intense TTY en 010 not care auto skeletal or religious motives Duty simply artistic ones (Examine, 118-119). Monteverdi aspirations in the musical world were simply to create the highest degree of expressionism; he did not want to create new forms, he did not want to please nobles, and he did not want to gain spiritual enlightenment (Mainliner, 393). Even though these were not Monteverdi goals, he still attained them in some way. His relation to religion is the most ironic; he did not seem to be a spiritual man, yet much of the success of his career is based on religious positions he held and spiritual music he created (Mainliner, 392-395). The time period that Monteverdi lived in was the cause of most of his religious works and posts; the earlier portion of Monteverdi lifetime made spiritual music and musicians dominant (Redline, 46-47). Official musical posts were controlled exclusively by ecclesiastical appointments; Monteverdi appointment as Maestro did Chapel did San Marco outweighed any secular post (Redline, 46, 47, 48). He held this position at SST. Marks Church in Venice from 1613 until his death, thirty years (Examine, 118). Even in Monteverdi younger years of composition and training, many of his published works were dedicated to Ceremonies clergy and nobles (Redline, 5). Monteverdi relationship to the church seemed purely traditional (Redline, 43-44), but he was actually Just doing what was necessary to get his music heard (Shards, 247-248). This can be proven by the fact that Monteverdi did not compose sacred or elisions music until he was ordered to compose it by his master at the Court of Mantra in 1601 (Shards, 247-248). It was twenty-eight years before he published new sacred music, but his secular or nonreligious music was published regularly (Shards, 247-248). While he did not seem to enjoy his religious works, they, such as: the Miss and Vespers are considered to be some of his greatest compositions (Redline, 146-147). Claudio was also known to change the words of his secular works to make them into religious works that he was required by his society and his posts to create (Mainliner, 393-394). It is obvious that Monteverdi felt constrained by the religious requirements of his era, but change slowly occurred throughout Monteverdi lifetime. Music and the career of the musician changed slowly but drastically during Monteverdi life (1547-1643); colonization became more acceptable (Redline, 46-47). Even though Monteverdi was required to compose religious music, he was able to create secular music on the side (Examine, 118). Europe, especially Italy, became more of an artistic center; music became even more important for political functions for aristocracy (Redline, 46-47). While it was not Monteverdi intention to create new musical ideals and concepts in his works, he did manage to revolutionize music in many ways (Redline, 39). Monteverdi most dominant purpose in creating music was expressionism; he wanted to illustrate human nature through an artistic dramatic work (Shards, 226-227). He did not view musical forms as permanent or unalterable schemes or patterns for him to follow; Monteverdi used them as a guideline and altered them to achieve the dramatic effect he desired (Shards, 227). He compromised his mix of form and improvisation with the terms: Prima Practice and Seconds Practice (Redline, 117). Prima Practice accepted the art of polyphonic composing, and it made the music and words equally important (Redline, 117). Seconds Practice was extremely emotional; it is when the words climax with elemental force (Redline, 117). Monteverdi wanted to extend the previous range of emotions to Include gloating, excitement, Ana passion (Kamala, 1 achieved this intensity in his music by using more dissonance than ever before, and he would use new orchestral effects like pizzicato and tremolo to create angry and war-like feelings in some of his texts (Examine, 119). Claudio other musical achievements were: the discovery of orchestral color, which is blending the vocal and instrumental tones or timbres into a unique combination of sounds; his evolution of chromatics for expressionistic reasons; and the coining of characteristic types of motive (Redline, 39). Monteverdi music never followed the same pattern and was unpredictable; he was experimental enough to be considered revolutionary and traditional enough to be appreciated by society (Mainliner, 388). In the last phase of Monteverdi life during his Venetian period, he did not settle own as most composers of his time did (Redline, 37). He was very active musically; he published The Eighth Book of Madrigals in 1638 and Selves Morale e Spirituals in 1640 (Redline, 37). It is also during his older years that Monteverdi started to commission music again; he was seventy-four when he gave operas to the public opera houses (Redline, 48). Monteverdi even wrote for the first public opera house in Europe, San Casino (Examine, 118); it opened in Venice in 1637 (Redline, 48). Only a short time later, Monteverdi wrote his last opera: Oleomargarine did Poppa (Examine, 18). Monteverdi, along with other Early Baroque composers, was greatly forgotten until the 20th century with the invention of long playing records (Examine, 98). Even with the invention of records, only three of Monteverdi twelve operas are preserved and can be heard (Examine, 1 19). One of the remaining operas that can be listened to is Refer, which is the first opera ever written by Monteverdi (Examine, 119). It is also the first operatic masterpiece to be written by a professional musician (Examine, 117). Refer was composed in 1607 for the Mutant Court, and it was an ornate and lavish production (Examine 119-120). The story of the opera is one of Greek mythology, which is fitting because it was composed for Monteverdi aristocratic court that enjoyed the stories of Greek mythology and related to the characters (Examine 119-120). The myth and opera is about the very gifted musician Orpheus, the son of the god Apollo (Examine, 119-120). Orpheus is very happy after his marriage to Eurydice, but he is extremely depressed when he discovers the death of his new bride due to a poisonous snakebite (Examine, 119-120). Orpheus goes to the underworld or Hades to try and bring Eurydice back, which he able to do because of his musical talent (Examine, 119-120). Orpheus can bring her back to the world on the one condition that he cannot look back at Eurydice as he guides her out of Hades. In a moment of hesitation, Orpheus looks back at her, and she vanishes (Examine, 119-120). The opera ends with Apollo pitying Orpheus and allowing him to remain in Heaven eternally where he can gaze on Eurydice radiance in the sun and stars The specific movement that I feel encapsulates Monteverdi (Gamete, 119-120). Sino for expressionism and drama is in Act II; it is called Tu SE Mortar (Examine, 120). The translation of the title is: Mimi are Dead, which is what Orpheus is so intensely singing after the discovery of Eurydice death. This song is haunting because of its text, and its slow tempo and singular accompaniment. It seems as if Orpheus is all alone mourning the loss of his bride; it is a very intimate moment in the opera that made me feel uncomfortable as I listened to it, as if I should not have Eden listening In on tens mans private Ana sorrows LU moment. Scenically, LU SE Mortar is brilliant; it has a vocal line that is rhythmically free with barely any sense of beat or meter, and its phrases are irregular in length (Examine, These aspects of the song make Orpheus pain seem real; the odd rhythm, beat, meter, and phrase length make it sound as if Orpheus cannot contain his grief. This makes the song sound as if it were perfect at one time, technically, and now it is overcome with the pain of a lost love, so it is slightly off and does not sound completely correct or resolved. The songs oddities may also symbolize Orpheus life without Eurydice, which is now slightly off and does not seem to be correct. Monteverdi mastery of the past novelty of recitative is seen in Tu SE Mortar; the flexible setting of the text is meant to suggest the passionate speech of an actor declaiming his lines (Examine, 120-121). I definitely felt Orpheus passion as he sang the recitative, which provided the important information. The aria climaxed after the recitative, which made it even more powerful. I especially appreciated how Monteverdi made the word mortar very low, quiet, and eerie. It was as if Orpheus was whispering to Eurydice that she was dead, and Orpheus would then spiral into the aria, which I think symbolized his rage at the realization that his wife was actually dead. The song also involves lines about Orpheus bringing Eurydice back from the dead; these lines are also very loud and powerful. I think Monteverdi made these lines loud and extreme to show how determined Orpheus was to have his wife back. When Orpheus sings these lines, l will bring you back to me to see the stars again it is like he is singing to Eurydice like she is still alive.

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The Goal Book Review I really enjoyed reading this book. It’s so unlike any book I’ve had to read for class before, except for novels that we read in English class, of course. It was sort of a text book, but with a story. And an interesting plot, no less. I liked how Goldratt got me all involved in not only Alex’s job at the plant, but his personal life as well. I’ll have to admit that as I was getting into the story, it was easy to guess that the book will conclude with a happy ending. I was enthralled anyway, though. I thought this book was so good, it actually only took me three days to read. I thought that was pretty good considering all the stuff a person does in one day. What got me so interested is the way the story is written. Goldratt kept me trying to guess what Alex was going to do next, and that kept me reading into the next chapter. 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Sure, we all want to do well in our careers and move ourselves up the ladder, but there really needs to be some s... Free Essays on The Goal Free Essays on The Goal Eliyahu M. Goldratt’s The Goal When I first started reading The Goal, I felt that I couldn’t relate to the topic and setting of the book, since I am still an undergraduate business student who has not even begun studying a specific area of business. But the more and more I read, the more I became interested in the story and the more involved I became in rooting for the success of the plant. Never before have I really thought about the world of manufacturing, especially managing a plant that produces industrial parts. As a marketing major, I think I have always felt that manufacturing was a completely separate part of business like the financial aspects of business (accounting and finance). 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I thought that was pretty good considering all the stuff a person does in one day. What got me so interested is the way the story is written. Goldratt kept me trying to guess what Alex was going to do next, and that kept me reading into the next chapter. And not only did he keep me guessing about how in the world Alex was going to save the plant, he also kept me guessing about how Julie was going to react to all of it. But Julie’s reaction is typical. I’m sure I would feel the same as her as well. I think it’s hard when one spouse stays at home while the other one works long hours. What I enjoyed most about this novel is the fact it seemed so real. We’ve got this ordinary guy, who’s an engineer like me. My husband, who is actually an industrial engineer, got excited when he saw me reading this book. He had read it in his intro class and really like it as well. Though he said they read it over the course of several months. Anyway, this ordinary guy has real life problems just like everyone else in the world. There are problems with his job, working too hard, and work cutting into his personal life. I think one great thing that this book tried to teach is how to balance work and life. Sure, we all want to do well in our careers and move ourselves up the ladder, but there really needs to be some s...

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