Concept of Love Essay

Love is a complex emotion of attachment and sometimes obsession. It cannot be classified so easily, though; it cannot be stuffed into a social concept and left there. Some people search for what seems their whole lifetime for love, whereas others may seem to fall in and out of love on a regular basis. Of course, people can love many things, but the love between two people is unique and special. It is a feeling of trust and wholeness. Love is rarely defined because everyone experiences it differently. What one person thinks is love, another may think is craze or vice versa. How does one know he or she is in love? How is it possible to distinguish between the love of romance and the love shared between friends? In order to understand love, people need to first understand the two major types of love which can be described as romantic love and friendship love. People often define romantic love based on its difference from friendship love. Would you kiss your best friend? Perhaps, but it is not necessarily the things you do with your romantic partner that makes your love spark. Romantic lovers are usually on each other’s minds all the time. Couples make large life decisions based on their romantic partners because they cannot imagine life without those people. Romantic love guides a person’s mind and can sometimes cloud it as to what the right decisions might be. After all, romantic love can be extremely selfless. Friendship love can often turn into romantic love, as it has many times throughout history, but the birth of romantic love between friends will often kill the love of friendship. In other words, friends who become romantic lovers rarely can go back to being â€Å"just friends. Why is it that romantic love is so overpowering? The love of friendship can be very strong, but it is the emotional intensity of romantic love that forever changes the simplicity of the love between friends. Friendship love does not have all the same guidelines that romantic love seems to have. Each friend couple may have a unique kind of love between each other. Friendship love is best described as a warm feeling between people. Girlfriends may have different friendship love for each other than a male and female friend pair may have; the same for male friends. Male and Female friends may sometimes undergo a lot of pressure from other friends and family to turn their friendship love into romantic love, which doesn’t always work. There is a line that friends may cross over, and to know that line is to know the difference between romantic and friendship love. Friends have complete trust for someone and naturally want to be around him/her. People who love each other want to make each other happy; they want to be there as confidants, helpers, and company. Friendship love is often compared to the love between siblings as well. In many cases, a sibling is just as good a friend as any. Society will not accept romantic love between relatives, but friendship love is encouraged and an amazing aspect to have. Everybody experiences love in a different way and may not agree with the concepts that it is dealt with. In the end, it does not matter whether or not the kind of love someone feels fits into any category. Love is personal, and the important thing is, is that it makes people happy and feels cared for. Whether people have romantic or friendship love, love is meant to mean that it is an emotion of a strong affection and personal attachment, and a virtue representing all of human kindness, compassion, and affection.

Drama and Play

————————————————- DRAMA Origin of Greek tragedy and comedy Drama, in the western world, begins with ancient Greece, where the two major forms of drama †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. tragedy and comedy †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. were an aspect of religious ritual. Greek tragedy is believed to have begun in the sixth century B. C. with Thespis who introduced the first actor on the stage. The first dramatic dialogue lies in the conversation of this actor with leader of the satiric chorus. The dramatic element was subsequently added by Aeschylus in the fifth century B. C. and later by Sophocles of the same period.They added a second and third actor on the stage respectively. Euripides, a contemporary of Sophocles, used drama as a medium for dealing with the problems of human existence. As the Greek drama developed, the chorus was detached from the main action. Of these ancient Geek trage dies, thirty-two plays are now extant †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. seven by Sophocles, and eighteen by Euripides. Greek comedy originated from the humorous side of the Dionysian rites. A actual feature was the singing procession, or comos. Their song along with a kind of mummery or play-acting developed into comedy. Greek comedy passed through three stages †¦Ã¢â‚¬ ¦..Old Comedy, Middle Comedy, and New Comedy. The Old comedy was the comedy of political and personal satire. The satirical plays of Aristophanes were directed against Euripides. The Middle comedy was a transition from this to the comedy of social life and manners. The satire became impersonal. In the New Comedy, the love intrigue became the dominant theme. The best known writer of the New Comedy was Menander who died in the third century B. C. His plays are now extant in Latin translations by Plautus and Terence. Drama and in Rome The Romans wrote comedies and tragedies in the manner laid down by the Greeks.The characters were mostly stock figures like the comic slave, the braggart soldier, the proud cook, the young lover, the hunch-back, the cuckold and so on. The outstanding writers were Plautus (200 B. C. ) and Terence (150 B. C. ). Twenty plays of Plautus are now extant, including the â€Å"Menaechmi†, from which Shakespeare took the plot for â€Å"The Two Gentlemen of Verona†. Only six plays of Terence are extant. The most important writer of Roman tragedy was Seneca, who was a statesman and philosopher in the Stoic School. His ten plays are translated into English during the Elizabethan period. Drama in EnglandLike other countries, the drama in England had its origin in the services of the church. In the Middle Ages, the services of the church used to be in Latin, and the Bible was therefore, beyond the comprehension of the common people. The clergymen started illustrating Biblical stories by dump shows in order to bring the religious doctrines within the comprehension of the laym en. They were enacted within the church and the actors were all clergymen and monks. In due course, dialogue, first in Latin, then in the vernacular, was introduced and thus the ritualistic representations in the church developed into full-fledged drama.Subsequently the place inside the church was found inadequate and so the representations were transferred to the churchyards. When this also proved insufficient, the drama passed from the church to the street, from the clergymen to the laymen. The mystery and miracle plays The Mystery and Miracle plays mark an advancement in the development of the medieval religious drama. The Mysteries dealt with themes taken from the Bible, whereas Miracle plays dealt with the lives of saints. The institution of the festival of Corpus Christi by Pope Urban IV in 1264 gave an impetus to the growth of these plays.Until the thirteenth century Miracle plays were annually performed at several important towns like Chester, York, Coventry, and Lancaster. Curiously enough, these religious plays combined serious theme with farce, buffoonery, and coarse humour. Devil and Vice were depicted in a funny manner. The Devil was represented as a hideous monster, hairy and shaggy with horns, hoofs and a tail. Vice appeared in a fantastic, variegated dress carrying a wooden dagger and indulging in mad tumultuous pranks and jokes. He continued to have a comic role in English drama for long.This sort of medieval religious drama reached its highest point of development in the fifteenth and sixteenth centuries. The â€Å"cycles† presenting a series of plays containing a story of the creation of the world were popular in England in the thirteenth, fourteenth, and fifteenth centuries. Of these, four cycles †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Chester comprising twenty-five plays, York comprising forty-eight plays, Wakefield comprising thirty-five plays, and Coventry comprising forty-two †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ have been preserved. Monks and scholars generally wrote the plays. Their settings were elaborate.Heaven was presented in an awe-inspiring manner while Hell was presented as a dragon’s mouth. Theatrical effects were obtained by several devices as trap doors, pulleys, and the beating of drums. The aim of these was to instruct an entertain people. The Moralities and Interludes The end of the fifteenth century witnessed a parting between the serious and comic elements in these plays. The serious part of the story was treated separately in plays called â€Å"Morality Plays†. The comic or the lighter side was presented in â€Å"Interludes†.In the Morality Plays religious instruction was substituted by moral teaching and biblical figures were substituted by personified virtues and vices. Mostly the theme was the struggle for a man’s soul. The purpose of these plays was to inculcate virtue by showing the forces of Good and Evil in action. The characters were mostly personifications of abstract qualities like Sin and Repentance. The first known Moralities called â€Å"Paternoster† plays were performed in the latter part of the fourteenth century. It dealt with the conflict between the Seven Moral Virtues and the Seven Deadly Sins.The best Morality play is, however, â€Å"Everyman† published in the early sixteenth century. Humour was kept alive in the character of the Vice, who may be regarded as the forerunner of the Shakespearean clown. The term â€Å"Interlude† is applied to a species of professional performance carried out on special occasions like banqueting. It was used to fill intervals. It marks a definite advance in the art of comedy and forms a bridge of sorts between the Moralities and the Elizabethan drama. The characters were living human beings, and the aim was to amuse and entertain the audience.With the interlude, drama lost its didactic character and became a vehicle of secular entertainment. The most famous interlude is John Heywood’s â€Å"The Four Ps† printed in 1569. The characters in are a Palmer, a Pardoner, a Pothecary and a Pedlar vying with another in telling the biggest lie. The verdict goes in favour of the palmer who stated that of the five hundred women he had known he had never seen one â€Å"out of patience†. The five divisions of the dramatic plot The basic of every dramatic story is conflict. It may take different shapes.It may be between the hero, representing good, and the villain representing evil, it may of the hero against fate or circumstances, or against social conventions and customs. It may also be an inward war as in the case of Macbeth. In any case, a kind of conflict is the central element of the dramatic story. The plot begins with the opening of this conflict and ends with its conclusion. If we sympathise with the struggler, the play is a tragedy, and if laugh at him, it is a comedy. The theme of the play passes through five stages. They are exposition, complication, climax, denou ement, and catastrophe.This is called â€Å"the dramatic line†. Perhaps this five-fold structure of dramatic story accounts for the common division of play into five acts. The Exposition introduces the circumstances or situation from which the initial incident is to begin. Its aim is to give all the information necessary for the audience to understand the play. This is not an easy part of the play and its management may be regarded as a real test of a dramatist’s skill. Mrs. Stowe admits in her book â€Å"The Minister’s Wooing†, †When one has a story to tell, one is always puzzled which end of it to begin with.You have a whole corps of people to introduce what you know and your reader does not; and one thing so presupposes another that whichever way you turn your patchwork, the figures seem ill-arranged†. This is the experience of a novelist who can recourse to direct narrative and explanation. We can, then presume the difficulty of a dramatis t who is denied such privileges. The least dramatic among the methods adopted by the dramatists is that of speech given by one of the characters, or a prologue. An example is the dialogue in the Second Scene of Shakespeare’s â€Å"The Tempest†. A good exposition takes the form of a dialogue which is natural nd appropriate. It is brief, clear and dramatic. The first portion of the play after the initial incident comprises the Complication or the Rising Action or the Growth of the conflict towards the crisis. It should be characterised by clearness and logical consistency. Every incident should appear natural, and nothing that is essential should be obscured by unimportant details. The proper relation between character and action should be maintained. Every scene should have its role in the development of the plot or add to our knowledge about the characters should be indicated.If the conflict is between two persons, both the characters should be made familiar to the aud ience, and if it is within the mind of the hero, hiss qualities and conduct should be presented carefully. The foundation for the following action should be thus laid. In climax or Crisis, the story reaches a point at which the balance begins to learn decisively to one or the other side. This is therefore known ass the turning point also. The treatment of the crisis may vary according to the circumstances. It may consist of a single incident or a group of incidents.Generally the crisis is placed about the middle of the action, tin Shakespeare’s plays, it is generally towards the close of the third act or the beginning of the fourth act. In â€Å"Macbeth†, the Banquet scene, which comprises the crisis, occurs In Act III. After the appearance of Banquo’s ghost and the escape of Fleance, Macbeth’s fortunes are reversed. The dramatist should be careful that the event which determines the whole course of the action to its catastrophe comes out of the action it self and is not superimposed from outside.The crisis over, we enter upon the denouement which is the falling action. In comedy it implies the removal of the obstacles or the clearing away of the misunderstanding which has hitherto been hindering the good fortune of the hero and the heroine. In tragedy it lies in the removal of those resisting powers which have been holding the powers of evil in check. In any case, our uncertainty and suspense come to an end and we rejoice in the happiness of the hero and the heroine or sympathise with them. The denouement presents to the dramatist the difficulty of maintaining the nterest of the audience after they are able to forsee the fortune of the characters. Small wonder Fielding hated â€Å"the man who invented fifth act†: Oddly enough, in Shakespeare tragedies, our interest continues even after the ending of the play can be clearly foreseen. CatastropheI is the final stage of the plot. The dramatic conflict comes to an end. The play t o an end. The play usually ends with a sense of finality. But in modern plays and novels nothing is concluded and as Tennyson said, we seem to be poised on the crest of a wave which does not break.This inconclusiveness is supported by those who favour realism, for, in life, they say, there is no such things as an â€Å"end† yet we must bear in mind that drama is a series of incidents selected for dramatic treatment. Audience demand a story in which no loose threads are left. The dramatist has to make the catastrophe the natural outcome of the forces which have been at work in the play. Aristotle recommended that the unraveling of the plot must arise out of the plot itself, and must never be brought about by a dues exmachina.Though modern dramatists do not resort to a â€Å"God out of the machine† they employ such means as he timely removal of the villain by an accident, or the turning up of a will, or the discovery of a birthmark or something that reveals the real iden tity of the hero, or the unexpected arrival of an uncle long reported to be dead and so on. More common is the sudden change of heart of one of the characters to make the story end happily. The dramatist who employs such contrivances in a comedy may not do so when writing a tragedy. The reason is not far to seek. In comedy life is treated in a light and superficial manner..Criticism of life in the drama The drama is different from novel in being objective. The novel permits the writer to intrude often to express his interpretation of life. He can do it directly or indirectly while the dramatist is forced to confine himself to the indirect method alone. According to Henry James, an novel is a personal impression representation of life. It is not, therefore, easy to detect in a play, the writer’s philosophy of life. The dramatist throws on our shoulders the entire responsibility of finding his meaning and even explaining what he has merely implied. But occasionally the dramatis t escapes from the estraints imposed on him by making one of the characters in the play represent him. The Chorus of the Greek tragedies was thus a representative of the dramatist. He is often the mouthpiece of the dramatist’s philosophy of life. The modern dramatist no longer makes use of such a device. The main function of the chorus was to report the events that took place off stage and to make some comments on the morality of the actions presented on the stage. In modern plays, its place is often taken by one of the characters in the drama. Thus Enobarbus in Shakespeare’s â€Å"Antony and Cleopatra† is a kind of chorus.With his critical comments he serves to bring out the cause of Antony’s degeneration uner the spell of the â€Å"Serpent of old Nile†. In modern problem plays, we often come across a character whose principal function in the play is merely to move through it as a philosopher spectator. He expounds moral problems on behalf of the writer. The French critics call him â€Å"raisonneur†. But it is not always right to identify an out-spoken character with the dramatist. For instance some commentators hhave made the mistake of discovering in the melancholy Jacques in â€Å"As You Like It† the representative of Shakespeare.But Shakespeare makes all the other characters in the play laugh at him which indicates that he does not express Shakespeare’s views. The dramatist may very often find the Chorus –like character or the â€Å"raisonneur† inadequate to express his views on life. He often makes his view clear to the audience through the utterances of the various characters. Even while speaking in accordance with their personalities and situations, they may express the writer’s ideas about me and things. We can thus gain a clear idea of Shakespeare’s ideas and judgements from the utterances of his characters.The difficulty lies in discriminating the particular moments when they express the dramatist’s views. Canon Beeching holds the opinion that the sentiments put into the mouth of these characters with whom we are expected to sympathise invariably express the writer’s views. But we notice that even the characters unable to arouse our sympathy may sometimes express moral truths, defined by them on earlier occasions. For instance, when Edgar says at the end of â€Å"King Lear†, â€Å"The Gods are just and of our pleasant vices make instruments to plague us†,Edmund, the villain replies, â€Å"Thou hast spoken right; ‘tis true; the wheel has come full circle; I am here†. Shakespeare’s commentary upon the plot is provided more by Edmund than Edgar on this occasion. We should ,therefore, be careful in examining the sentiments expressed by the various characters in a play. In conclusion, we can say without any shadow of doubt that dramatist’s criticism of life is embodied in the whole spirit of the play. The world that the dramatist creates, with all men and women, their actions, passions and motives, their struggles followed by success or failure, is a world for which the dramatist lone is responsible.It goes without saying then that it is a projection of his own personality. The whole play, therefore, reveals the temper of his mind, the way in which he looks upon things, the line of hs thoughts, his interests, and his attitude towards life. Characterisation in Drama One of the differences between drama and novel lies in the exposition of character. Usually it is thought that drama is concerned with action and, therefore, characterisation is a secondary matter in it. According to Mr. Henry Arthur Jones, â€Å"The first demand of an average theatrical audience is always the same as the child’s †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Tell me a story†.But story in a drama is childish and unintellectual unless it is related to character. If the story is nothing more than a successio n of incidents, it is not much different from the adventures of a highway man. The story in a play should display the various aspects of human nature. As Hudson says, â€Å"Characterisation is the rally fundamental and lasting element in the greatness of any dramatic work†. This is illustrated best by Shakespeare’s plays. Centuries have passed since Shakespeare wrote them, but we are still interested in them, and our interest is by no means less than that of the Elizabethan audience.What keeps our interest alive are the men and women in them. The essential quality of â€Å"Macbeth† lies not in the murders Macbeth commits, but in the character of Macbeth. Even lago, the villain, can hold us spellbound with his villainous schemes, originated in his brain. â€Å"Hamlet† is nothing more than a revenge play when we consider its plot, but none of these revenge plays that hooked the Elizabethan audience can appeal to us now as â€Å"Hamlet† does. Shakespe are has worked miracle out of that raw material by developing the psychological element in it, and that accounts for the immortal appeal of â€Å"Hamlet†.The first condition in characterization in a lay is brevity. The dramatist has to portray the motive and conduct of a person within a few scenes. Since characterization and action cannot be divorced in a play, and the progress of the story has to be kept up, the task of the dramatist is not easy. This can well be illustrated with Shakespeare’s delineation of Macbeth. In the first act, the dramatist gives us an account of Macbeth’s courage on the battlefield, the evil fermenting in him, the confidence that others, including King Duncan, had in him, and above all, his superstitious nature.The essential qualities of Lady Macbeth are also portrayed with equal precision. Her moral courage, her singleness of purpose, her influence over her husband’s sensitive nature are all laid before us in the first act itse lf. Yet Shakespeare has allotted to Lady Macbeth less than sixty speeches in the whole play, and Macbeth speaks about 150 times, and none of the speeches is long. â€Å"Macbeth† thus illustrates Shakespeare’s skill in characterization. Concentration is another necessary condition in characterization in plays. The main qualities of a character should be emphasized.Every word of the dialogue may be used for this purpose, and supererogatory talk may be avoided. A dramatist sometimes commits the mistake of being absorbed in the development of the character to such an extent that those qualities which do not influence the action may also be mentioned. This is called over characterisation , characterisation in accused Shakespeare of this tendency.. Impersonality is another necessary condition in characteriisation. Unlike the novelist, the dramatist has to spend apart from his characters.He cannot take them to pieces and lay their soul bare before us or pass judgement upon th em. The plot and the utterance of the characters are the only means by which the dramatist can reveal his men, and women, their thoughts, their motives and passions. The dramatist, therefore, makes use of movement of the story, then crises and situations in it to display the intellectual and moral qualities of his characters. In the words of Hudson, â€Å"We know them by what they do, as the tree is known by its fruit†. In a good play, as in a good novel plot rests upon character.A number of men and momen of different dispositions, motivated by different passions asr brought together and the clash of their interests constitutes the plot. The evacuation of the story then reveals thir dispositions, their motives and passions. Dialogue plays an important role in characterization. The characters exhibit their passion and motives, feelings and conflicts in their utterances. When the interest of the drama is psychological, the plot concerns itself rather with the play of the forces behind action, and then dialogue becomes an adjunct to action or an integral part of it.Dramatic dialogue as a means of characterization can be classified under two heads. They are utterances of a given person and the remarks made about him by the other characters in the play. In the words of modern psychological playwrights like Ibsen, the utterances of the given person serves the purpose. Shakespeare generally reveals the fundamental qualities of his characters as soon and as clearly as possible. Though self-portrayal is the principal means of characterization by dialogue, the comments made by others about a person may be add to it. It is not correct to take every work uttered by a character as an indication of his nature.His situation, his sympathy, antipathy and similar aspects should be taken into consideration. Occasional phrases uttered by a man can never be a reliable guidance to his character unless they are reinforced by various other utterances scattered through the play . Shakespeare uses this method in his â€Å"The Merchant of Venice†. Antonio is praised lavishly by all the other characters in the play. Salanio speaks of him as â€Å"the good Antonio†, Lorenzo refers to him as a â€Å"true gentlemen†, Gratiano loves him abundantly, and the gaoler grants him special privileges.The same method is employed in revealing the character of Brutus inn â€Å"Julius Caeser† too. Soliloquy, which is a minor subdivision of â€Å"aside† is another means employed by the dramatists to take his audience down into the hidden recesses of a person’s nature. Certain aspects of a man’s character cannot be revealed in his action or his own word. Neither can the dramatist dissect his men and women as the novelist does. He, therefore, makes the characters themselves do ht work of dissextion, for we cannot understand them well unless we know the workings of their mind.They think aloud, and we overhear what they say. A man, especially a villain, cannot disclose his design to a confidant, and in such a case, he is allowed to reason then imagine, not that the man is talking to himself or to us, but only thinking, and that we are concealed spectators of his thoughts. Modern critics however, condemn the use of Soliloquy, especially in realistic plays,. It is now regarded not only as clumsy, but also as non-dramatic, and the play that contains it is stigmatized as â€Å"old-fashioned†.Modern critics accept the confidant, but also on condition that he has an essential part in the action. The different types of drama Drama has been divided broadly into two categories †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Tragedy and Comedy, the former dealing with adversity and unhappiness, and the latter dealing with joy and mirth. Aristotle in his â€Å"poetics† defined tragedy as â€Å"artistic imitation of an action that is serious, complete in itself, and of adequate magnitude†. He gave importance to suffering or rather, â€Å"an incident of a destructive or painful sort, such as violent death or physical agony†.In order to evoke pity, he recommended a hero neither too good nor wholly vicious, but â€Å"brought low through some error of judgement or shortcoming† known as â€Å"hamartia† or tragic flaw. It existed within the character of the hero, but inn modern plays, the tragic law exists in the milieu more than in the hero who merely becomes a victim of external circumstances. The effect of tragedy, according to Aristotle, is to arouse the emotions of pity and fear in such a way as to effect that special purging and relief known as â€Å"catharsis†. It can be brought about by proper constructions of the plot, which must have a beginning, a middle and an end.Pity and fear are aroused not merely by the complete action but by salient incidents in the plot. Tragedy can be divided in the basis of form and content. From the point of view of form or structure, it is di vided into the classical and the romantic tragedy. The former is based on Greek conventions, and the latter follows it own rules. One of the main features of the classical tragedy is the Chorus. It is consisted of a band of singers and dancers. In Greek tragedy the men and the women forming the Chorus belonged to a lower social rank than the chief characters.Its main function was to report the events that occurred off stage and to make some comments from time to time. In the preface to â€Å"Merope†, Mattew Arnold explains the function of the chorus as to collect and weigh the impression which the action would at each stage make on a pious, thoughtful mind. It deepened the feeling aroused in the spectacular by reminding him of the past, and by indicating what was to come. To combine, to harmonize and to deepen the feelings excited in the audience by sight of the play was the function of the chorus.Its importance dwindled as Greek drama developed. In Aeschylus, it takes part i n the action, but in Sophocles, it becomes a mere commentator, and in Euripides, it is a lyric element. The Elizabethan dramatists in England reduced it to a single speaker, unrelated rest of the characters, who spoke the prologue or occasional interpretations of the plot. In modern plays it is rarely used as in Eliot’s â€Å"Murder in the Cathredal†. The Three Unities is another feature of the classical tragedy. The theory of unities was first propounded by Aristotle a Greek philosopher of the fourth century B.C. They are of time, action, and place. Actually Aristotle mentioned only two †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Unity of time and unity of action. The unity of place was implied in the first, by the unity of action he meant that the story should be the imitation of one action, and of the whole of this , and that the parts should be so arranged that if any of them is transposed or taken away the whole would become different and change. By the unity of time, mentioned in â⠂¬Å"Poetics 5 â€Å"he meant that tragedy should confine itself to ne revolution of the sun, or slightly exceed the limit.His statement (â€Å"Poetics 17†) that, as contrasted with epic, tragic episodes are short and (â€Å"Poetics 26†) confined in less extended limits †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ crowded into a narrow compass, is the nearest he comes to any utterance regarding Unity of place. In short, Aristotle’s requirements were interpreted to mean that the action of the play should be a unified whole, the time should be limited to twenty-four hours, and the scene should be unchanged, or it should at least remain within the limits of a single city.According to some, Aristotle, insisted on the unity of action only, and the other two unities were added by critics of the sixteenth and seventeenth centuries. They argued that verisimilitude †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ an illusion of reality †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ could be achieved only by the observance of the three unities. In England romantic tendencies were stronger than academic precepts and therefore, the playwrights violated the theory of the unities came from Dr. Johnson who defended the romantic playwrights for following laws of nature rather than those of art imposed by the critics.It is universally admitted that more than Sophocles and Aeschylus, Seneca, the Roman dramatist, influenced the tragic writers of the renaissance in England. It happened so on account of the melodramatic elements in his plays and because he wrote in Latin which was treasured more than Greek then. His understanding of the working of human emotions commended itself to he Elizabethan playwrights in England. Moreover, Seneca showed in his plays a moral tone and system of philosophy popular in England. The moral purpose and the rhetorical methods of Senecan play appealed to them.While Aeschylus, Sophoclus, and Aristotle believed that man had some chance for happiness. , Seneca showed that man was sure to be beaten. But he introduced a stoical remedy that appealed to the Elizabethan dramatists. Senecan plays were immersed in honours, epigrammatial moralizing and stichomuthia or line repartee. The Senecan tradition also associated with supernatural arents like ghosts. Kyd’s â€Å"Spanish Tragedy†, and Shakespeare’s â€Å"Hamlet† and â€Å"Macbeth† show Senecan influence. The Neo-classical tragedy departed from the Senecan model in two points. They were the introduction of romantic love and the dropping out of chorus.The ancient playwrights held the opinion that the introduction of romantic love would mar the dignity of the hero and the high seriousness of the narrative. The Neo-classicists, however, trudged in the footsteps of the classicist in observing the Three Unities rigorously, and in making the drama basically narrative. Nearly everything, especially of a violent character, happens, in a neo-classical theory, off the stage and is narrated to the audience. The n eo-classicists as well as the romantic dramatists dealt with great legends of the past and were in this respect not different from classicist.The chief characters were all majesty, far above the ordinary human beings. The dialogues were stately, devoid of homely phrases, and mostly poetic. No attempt was made by the neo-classicists to mirror ordinary life. The romantic plays, though dealing with aristocratic character, were different in the method of treatment. The tragic hero is placed in a common world, among ordinary people. The dialogue had many touches of familiarity and even colloquialism. Realistic details like King Lear’s famous, â€Å"Pray you, undo this button† abound. Thus the romantic tragedy was a combination of the idealistic and realistic elements.To the romantic dramatists, unity of action meant not a single action, but organic connection among the various action presented in the play. Subplots, like the comic plot in Shakespeare’s â€Å"The Tem pest† were introduced, provided the two plots were independent. Moreover, the romantic drama is, unlike the neo-classical plays, a drama of action. Nearly, everything happens in the stage. Duels are fought, murders and suicides committed, and battles waged in full view of the spectators. The play of Shakespeare and his contemporaries thus satisfied the appetite of the Elizabethan audience for the action.The romantic dramatists differed from the neo-classicists in their attitude towards the theory of unities too. They ignored the unity of time and place. Even Shakespeare moved his scenes from town to town, and from country to country, and described the events of many years. Tragic comedy is a new form of play. The classical dramatists never allowed any comic element to enter their tragedies though they allowed serious element in their comedies. But the romantic playwrights disregarded this line of demarcation between tragedies and comedies. They freely mingled tragic and comic scenes in their plays.Addison calls it â€Å"One of the monstrous inventions that ever entered into a poet’s thought†. Dyrden agreed with him by commenting, â€Å"There is no theatre in the world which has nothing so absurd as English tragic-comedy†. Though considered a non-Aristotlean form, the trig-comedy was successful. Shakespeare’s â€Å"The Merchant of Venice† is an example for it. The important characters in tragi-comedies were drawn from both the high class and the low class. A serious action is introduced as threatening the protagonist who, by a sudden change of fortune, escapes and the play ends happily.The term â€Å"tragic-comedy† is sometimes applied to play with double plots, one serious and the other comic. On the basis of content, tragedy may be divided into various types. One of them is the horror tragedy, developed in England in the early part of seventeenth century by Ford and Wesbter. The appeal to the audience is made in these plays, not by characters, but by incidents. The aim of the writers who wrote horror tragedies was stage sensationalism. The inner struggle in these tragedies depends upon external events. Horror from situation dominates these plays. An example is â€Å"The Duchess of Malfi†.The Heroic tragedy was cultivated during the Restoration Period by a number of dramatists, the prominent among whom are Dryden and Otway. The subjects of these plays were love and valour and the themes were developed to epic magnitude. An air of exaggeration prevailed in them. Dryden himself said, â€Å"Heroic play is the representation of nature wrought up to a high pitch†. The scenes in them were laid in distant countries like Peru, India and Mexico. The characters were men of superhuman power and women of immortal beauty and unattainable virtue. The speeches were magnificent, marked by a declamatory style.The heroic meter, instead of blank verse, was employed in them. Its Artistic beauty a nd effect were marred by its artificially and exaggeration. Domestic tragedy was a type of play written in the eighteenth century. The term is also applied to some of Ibsen’s plays and some Elizabethan tragedies like† A Woman Killed with Kindness†. It is a serious play, realistic in style with its hero drawn from the low or middle class and its action concerned with personal or domestic matters. The domestic tragedies were written mostly in prose. They were devoid of emotional force and was based on pity and sympathy.An example is Lillo’s â€Å"The London Merchant†. Comedy, according to Aristotle, deals with â€Å" some defect or ugliness that is painful or destructive†. The characters, mostly from low classes were drawn from observation and experience. The writers were often satirical and the characters became caricatures of actual human beings. The plots were less complicated than those of tragedy. Misunderstandings and mistaken identities p layed a prominent role in them. Yet a good comedy can penetrate deeply into the roots of the human nature, and make the audience aware of man’s limitations.Aristotle believed that the play is rendered comic by making the characters in it worse than they are, thereby making them objects of merriments. Ben Johnson also believed that whatever is awry in men provokes laughter. A number of critics from Kaunt to Hazlitt have found that the source of laughter is incongruity. In sidney’s opinion also, â€Å"Laughter almost ever cometh of things most disproportioned to ourselves and nature†. Allardyce Nicoll traces the source oof laughter to a desire for liberation from the restraints of society.It goes contrary to Bergson’s view that the source is automatism which implies that the conditions of comedy are unsociability on the part of the object of laughter. The first regular drama in English in the form of a comedy was â€Å"Ralph Roister Doister† written by Nicholas Udall in 1550 or so. The writer seems to have been influenced much by Latin comedies of Plautus and Terence. The second English comedy was â€Å"Grammer Gurton’s Needle† of doubtful authorship performed at Christ’s college in Cambridge in 1552. Both these comedies had the classical division into five acts, and the action was limited to a single day and a single locality.On the basis of form, the comedy may be divided into classical and romantic comedies, which differ from each other in the same manner the two types of tragedies do. On the basis of content, comedy may be divided into various types. The comedy of Humours was written chiefly by Ben Johnson who used the term â€Å"humours† in the medieval sense in which it reffered to the four fluids: blood, phlegm, yellow bile and black bile in the human body. According to the theories of humours, a person’s physical, mental and moral conditions are determined by the state of his humours.A n imbalance in their proportion affected the behaviour of the person, and a perfect balance created an ideal man. The dramatists who adopted this theory designed â€Å"humourous† characters, whose behavior was determined by a single humour. Ben johnson’s â€Å"Every Man in His Humour†is the earliest play written in this way in 1598. Shakespeare has introduced â€Å"humourous† characters like the melancholy Jacques in â€Å"As You like it†. Johnson drew comedy down to real life, using it to present the follies of contemporary London. The comedy of humours disregarded humour as the term is used now.It depended on wit and satire. The comedy of Manners developed in the Restoration period. The writer were influenced by the French dramatist Moliere and the Spanish dramatist Claderson. It is realistic in nature, and concentrated on the activities, intrigues and amorous achievements of gay, frivolous men and women who used to meet in cafes, chocolate house s, clubs and gambling centres in London. Reputations were murdered and Clandestine love affairs were carried out by them. A lot of senseless prattle went on with scandal mongering in the air.This degraded life of the aristocratic classes of the day is presented in these comedies. Satire was an integral part of these comedies. It was the satire at the follies of those who strive to enter the elegant circle by plotting against their rivals and competitions in love. Besides satire, it made use of wit which is seen in the repartees that abound in these plays. It has been critised for its obscenity and immorality. The Genteel Comedy was developed by Colley Cibber in the middle of the eighteenth century. His â€Å"The Careless Husband† is regarded as the first genteel comedy in English.The term was first used by Addison for the type of comedy that portrays more artificial life than the comedy of manners. Affectations ruled the life of the upper class society then, and these affecta tions are presented in humorous manner in these comedies. Laughter arises not out of the playful fancies of intellectual men, but ou of the affectations of the high class society. The Comedy of Intrigue came into inception in the days of Fletcher and continued to be popular till the end of the eighteenth century. In this type of comedy laughter arises out of the disguises and the intrigues and complications of the plot.An important writer of this type of comedy is Fletcher. The play captures our attention with a series of situations leading to innumerable mistakes and amusing denouements. There is little wit, no humour, no satire, but there are several comic situations. Its laughter depends on external sources, and it provides little intellectual mirth. The Sentimental Comedy of the eighteenth century was a reaction against the comedy of manners of the Restoration period. The sentimental comedy was opposed to the light-hearted fun in the comedy of manners.In fact, it is opposed to t he spirit of comedy itself. Humour is driven out of it, and as Allardyce Nicoll says, it presented tears in place of laughter. The place of humour was taken by pathos. Wit or brilliance had no place in this type of comedy. The writer aimed at moral edification, for they felt that the taste of the readers had been degraded by obscenity and vulgarity depicted in the comedy of manners. Distressed middle class characters were presented in these comedies to evoke sympathy. The principal writers of this type of comedy were Richard Steele, Huge Kelly and Cumberland.It developed not only on account of the theatrical and social changes of the time, but also because the rising middle class demanded a different type of comedy. The sentimental comedies provided moral lectures and lacked emotional appeal. Hazlitt aptly says, â€Å"It is almost a misnormer to call them comedies; they are rather homilies in dialogue†. The One Act Play The origin of the one-act play can be traced back to the short farces that flourished in Italy from the fourteenth to the seventeenth centuries and the miracle and mystery plays of became a curtain-raiser. In 1903 when W. W.Jacob’s play â€Å"The Monkey’s Paw† was acted as a curtain-raiser, it appealed to the audience so much that most of the people left the theatre when the curtain descended upon this play became a series rival to the long play. The one-act play may be tragic as in Synge’s â€Å"Riders to the Sea†, it can be didactic as Willis Hall’s â€Å"The Day’s beginning†, it can be comic and satirical Houghton’s â€Å"The Dear Departed†, or oit can be a fantasy like Lord Dunsany’s ‘The Golden Doom†. It can be farcial too Arnold Bennet’s â€Å"The Stepmother†, or melodramatic like ‘The Monkey’s Paw†. It can be written in verse like Christopher Fry’s â€Å"A Phoenix too Frequent†.The outstanding cha racteristic of the one-act play is that it turns upon a single idea or situation, presenting a single mood or single aspect of character, though it presents a conflict like long plays. A few characters are introduced and the interest is concentrated on a single dominant character in whom a single trait is revealed in a flash. Dialogues are short, and the dramatist cannot unities of action, time and place are observed. It has an immense future because modern people have less time and inclination for long plays, it is cheaper to produce, and can be performed by amateurs.Above all, the growth of radio and television has made it popular. The importance of the opening scene of the play The Exposition as given in the essay on drama. Soliloquy and the Aside The aside like the soliloquy indicates that dialogue is not the only substitute for the dramatist for direct analysis and commentary of the novelist. Soliloquy is a convention by which a character, alone on the stage, utters his thought s aloud. The audience is thus provided with the information necessary to understand the character’s motives and the state of mind.Aside is another similar stage device in which a character, not necessarily alone on the stage, expresses his thoughts in a short speech which is supposed to inaudible to the other characters on the stage. Both these conventions, prevalent in the Elizabethan and later drama, were adopted by the dramatist to take the audience down into hidden recesses of a person’s nature. The dramatist, being denied the privilege o dissect his characters as the novelist does, has to resort to such means to enable the audience and readers to understand his characters well.In soliloquy and aside the characters are not supposed to be speaking to us or to themselves, but they are merely thinking aloud. The conventions, however, fell into disuse in the nineteenth century when realism was insisted upon. Melodrama â€Å"Melos† is a Greek term meaning â€Å" song†, and the term melodrama wass, therefore, applied to musical accompaniment was a characteristic of most of the plays, because â€Å"legitimate† plays were permitted only in the Drury Lane and Covent Garden theatres while musical entertainment had no such restrictions at all. In melodrama the hero and heroine were embodiments of virtue, and the villain was a monster of evil.The plot was centered round intrigues and violent effect and emotional excitement. Now the term â€Å"melodrama† is applied to any work that contains improbable events and sensational actions. Tragic Flaw / Hamartia In Aristotle’s view, tragedy should evoke pity. To do so he recommended a hero neither superlatively good and just or wholly vivious and depraved. He brought to misery through some mistaken act caused by an error in his judgement or some shortcoming in his nature. This error of judgement is called â€Å"hamartia† or â€Å"tragic flaw†. It exists within the character and causes the tragedy.In Greek tragedies a common form of hamartia was pride which tempts a man to disregard divine power. It moves us to pity because the hero is not an essentially evil man, and his misfortune is far more than what he deserves. In modern social drama the tragic flaw often exists in the milieu, and the hero becomes a victim of external circumstances. Catharsis â€Å"Catharsis† in Greek signifies â€Å"purgation† or ‘‘purification†. The effect of tragedy, according to Aristotle, is to arouse the emotions of pity and fear in such a way as to effect purging and relief, and this is known as â€Å"catharsis† in tragedy.Recently, Aristotle’s â€Å"Catharsis† has been interpreted as applying not to the effect on the audience, but to an element within the play itself. It then signifies the purgation of the guilt attached to the hero’s tragic act by demonstrating in the course of the drama that the hero p erformed this act without knowledge of its nature. Aristotle distinguishes the tragic from comic and other forms by this effect. In any case, he accounts for the extraordinary fact that many tragic representations of suffering, defeat and death leave on the audience a feeling, not of depression, but of relief and exaltation. Comic ReliefComic relief is the relief provided by a spell of fun between two serious scenes or just before a serious incident in a play. It is achieved by the use of a humourous characters and their speeches. This was common in Elizabethan tragedy. They are necessary to provide a sort of relaxation to the audience after witnessing a grave scene or to prepare themselves for a grave incident. Sometimes the comic relief is provided by an intrusive episode or dialogue. It not only alleviates the tension, but also adds variety to the play . in some plays they become an integral part of the play and serve to intensify the tragic note.An example is the â€Å"Porter S cene† in Shakespeare’s â€Å"Macbeth†. Dramatic Irony Dramatic Irony s an utterance by a character in a play when he is ignorant of the real significance of his words. It is a situation in which the audience shares with the author knowledge of something which the speaker in the play is ignorant of. The character acts in a way inappropriate to the circumstances or says something which turns out to be true later though he did not expect such a turn of events. Writers of Greek tragedy, who generally borrowed their plots of this device.For instance, in Sophocles’s â€Å"Oedipus†, the king (Oedipus) hunts for the evil-doer who has brought plague upon Thebes without being aware that the culprit is himself. The English Chronicle plays Chronicle plays are plays for which the source is the Chronicle, or rather, record of events in the chronological order preserved in a king’s court. These historical materials are dramatized into chronicle plays. In En gland, Marlow’s â€Å"Edward II†, and are taken from Holinshed’s â€Å"Chronicles†. They were popular in the Elizabethan period when patriotic fervor rising out of the defeat of the Spanish Armada in 1588 reigned supreme in English society.The early chronicle plays merely presented a series of events during the reign of an English King. The plays were effective on the account of the battles presented on the stage and the pageants and spectacles that accompanied the victory in battle. Marlowe, for the first time selected and rearranged materials from Holinshed Chronicles for his â€Å"Edward II†. The Elizabethan chronicle plays are often called history plays. Parallelism in drama Parallelism and contrast are two elements in the composition of the plot of a play.The central idea of one part of the action reappears in another part of it, and each serves to illustrates and reinforce the other. Shakespeare seems to have been very fond of this stage devi ce, for he often uses it to add to the dramatic interest of the story. However, the best example of parallelism in Shakespearean play is found in â€Å"King Lear†, the two plots of which correspond in every detail. Shakespeare has here worked upon two narratives from two sources. In one story we come across a father deceived in the character of his daughters, ultimately getting real love from the one he had spurned.In the other story, we have a father deceived in the character of his sons, finding love in the one he has tried to kill. The Shakespeare, each supplementing the other in tragical emotions. A sort of burlesque parallelism is found in the comic scenes in Marlowe’s â€Å"Doctor Faustus†. The tragic hero Aristotle recommended for the tragedy a hero who is neither too good nor too evil. This is best seen in Shakespeare’s tragedies. His heroes are all men of high rank and great eminence, but they are brought low by some weakness in their nature.In M acbeth, it was indomitable ambition, in Othello it was an over-credulous nature, and in hmlet, it was a wavering spirit. Tragedy proceeds from the character or the actions of the hero. But Fate or circumstances also plays a dominant role in bringing about the tragedy. The suffering and calamity that fall to the lot of the hero are not of the ordinary type. They are exceptional. Macbeth is pricked by a guilty conscience to such an extent that he feels â€Å"life is a meaningless tale, told by an idiot, full of sound and fury, signifying nothing†.

Pathogencity and Immuneology; Host resistence and the immune response Essay

Pathogencity and Immuneology; Host resistence and the immune response - Essay Example The virulence, resistance and the antigenicity of the microorganism are the most important in my view to determine the spread and severity of the disease that it may cause Virulence of an agent is very important when determining the infection that a certain microorganism is able to cause. Certain agents are highly virulent whereas some of them not virulent because of which they do not cause diseases that can be life threatening. In a community it is necessary that measures are taken by the authorities to ensure that the highly virulent strains do not harm the people in anyway. The resistance of an agent which causes disease is also important in determining its effect on the human beings. If an agent is resistant to environmental conditions then it is possible that it can survive the latest of the antibiotics and this would cause havoc in the human society. Diseases can get severe and life threatening if the resistance of a strain is high. Some of the strains of agents get resistant to antibiotics and adverse environmental conditions because of the continuous exposure to them and hence the authorities should ensure that this practice does not prevail in the community. Lastly the antigenicity of an agent is a factor which helps to determine whether an agent would be able to cause the same disease in the community or not. Some strains have a high antigenicity because of which they can be destroyed immediately while some of the strains have low antigenicity. It is important to determine the antigenicity of an agent so that it can be confirmed that the disease may or may not be caused again. If the antigenicity of an agent is low then the authorities should enhance the passive immunity of the people so that their immune system can fight off the agent. Infectivity is a measure of the ability of an agent to multiply and cause a disease. It is not considered to be important

Affiant Introduction Assignment Example | Topics and Well Written Essays - 500 words

Affiant Introduction - Assignment Example Lieutenant James Bryant is a Homicide Investigator for the Twin City, Wisconsin Police Department, a position he has held for ten years. At the rank of Lieutenant, Bryant is responsible and in charge of a six member homicide investigations squad. In his over twenty years with the Twin City Police, he was also a patrol officer for three years, five years as a detective on the robbery squad, and three years on the Fugitive Apprehension squad. Prior to that, he also served in the US Army as a military policeman in Frankfurt, Germany for four years. Lieutenant Bryant’s education includes the University of Wisconsin, with a degree in Criminal Justice. He is also a graduate of the FBI National Academy and the Wisconsin Law Enforcement Academy. The Lieutenant has received specialized Training in SWAT Training, Crisis Negotiation Training, and Latent Fingerprint Training. His professional affiliations include the National Peace Officer Association, the National Homicide Investigators Association, and the Wisconsin State Peace Officers Association. Bryant has been involved in testimony for over 150 court appearances, of which twenty times were as an expert witness. He has participated in the investigation of some 2,500 cases. In specific for Homicide Cases the officer has investigated 300 separate cases. Of those he had 200 arrests and a 96-percent solve

Technology is Bad for Us Essay Example | Topics and Well Written Essays - 1500 words

Technology is Bad for Us - Essay Example Advancements in technology have made many changes in life. It has made the life of people much easier than before. The benefits of these technological advancements are not limited to a single field of life but these changes have brought a complete alteration in lives of people. This paper discusses the useful and harmful effects of some of these technological advancements on our lives. The most common blessing of continuously developing technology is computer; computers have made the life of individuals easier than before. They are used not only in businesses but also in other fields of life. Computers are used in education and made it easier for the students to carry out information about any topic easily. The use of computer and internet has made it easier for businesses and to gather data and information. People are now also free to transfer useful information to each other using this advancement of technology. Hospitals, railway stations, schools, colleges, airports, businesses a re all kind of depended on computers these days. I. Drawbacks of Common technologies like Computers A. I believe that the drawbacks associated with computers include the time that students and young generation waste playing games, chatting, listening to music and net surfing. B. In addition, the continuously changing software has made it impossible for older employees to continue working with the new technological advancements at their work places. This factor has led to an increase in unemployment. However, there is a technique available to solve this issue which involves the participation of employees in training programs but it would lead to higher costs for the businesses. The security issues that are link to the data stored in computers are also counted as a drawback of computers (Fisher & Lezion 2009). II. Benefits of Common Technologies like Cell phones A. Cell phones are one of the fastest ways of communication today. They have brought a great change in the communication mea ns. People are now able to communicate each other from any part of the world. The benefit of the cell phones is that it is faster than other communication mediums and is available for the users all the time regardless of the days. B. My point accompanied by various researches, however, cannot be ignored. People often misuse cell phones. Younger generation wastes hours talking with friends mostly on useless topics. This does not only waste their time but also cost them in monetary terms. People also use it to send messages which include some disgracing jokes about religions, races and cultures. This fact is creating distances among the people and is posing a threat to the overall peace among the people belonging to different backgrounds (Castells 2007). III. Technology, People and the Environment A. Automobiles are an effective mode of transport in the world today. These automobiles have really made journeys and transportation easy. Because of it the distances previously travelled in weeks are reduced to a single day or even hours. Not only this, automobiles also have a proper setup the individuals travelling in it. This setup consists of seats and air-conditioning systems. Because of these factors automobiles also provide a comfortable environment. Thus, they are really effective for transportation and travelling purposes. B. However, on the other hand, I argue that automobiles also have their bad effects. Firstly, most of the automobiles designed in the world consume fuel so that they can work. The fuel which is used by it is scarce and thus the usage of fuel is causing scarcity of important resources of this world. Moreover, automobiles also release different harmful gases in this world which can cause global warming to increase. For example it releases Carbon Dioxide. This gas constitutes an important part of the global warming. Not only this, the gases also have a toxic effect on the body of a human being. Thus automobiles have their own share of bad effec ts too (Alters 1999 p 837). IV. Technology Helps in Building and

Poetry Essay Example | Topics and Well Written Essays - 1000 words

Poetry - Essay Example The man has to pass through the narrow road, but in the presence of the doe, it could be difficult and might end up causing another accident. While throwing the doe in the river would mean killing the fawn inside the doe’s womb, it was certain that the fawn could not be born anyway. He could still ignore it, since was not his duty. It is a poem of love and compassion that causes the narrator emotional discomfort, between ignoring the situation and moving on, or acting responsibly. Even if doing the right thing is not his duty, even if doing the right thing would disrupt his journey, the heart still insists on doing the right thing. This is a complex real life situation, that presents a battle between the mind and the heart, where the heart insists on compassion, but the mind calls for making a decision based on the line duty. The sense of compassion is calling on him, but the sense of duty urges him to progress. The narrator has to act and stop ignoring the situation. He knows very well that leaving the doe still laid on the road, when it is dark, is likely to cause more accidents. Therefore, he opts to sacrifice his time and remove the doe from the road, for the benefit of other road users. This way, he drags the doe out of the street and into the river, thus clearing the road. This is a poem of responsibility, a poem of self-sacrifice, a poem of performing duty, for the benefit of all. A poem of human compassion for others. â€Å"My Papa’s Waltz† This is a poem of nice memories of a son who spend time with his drunken father waltzing around the house, messing up his mother’s kitchen and disorganizing the house in the name of fun. It is a poem expressing disapproval of the father’s drunkenness, but still expressing the unconditional love the son had for the father. This is a narration of a real life situation, where the relationship between parents and their children could go soar within a family, but one fact remains clear, they are one blood. Therefore, regardless of the bad blood and soar relationship, a child will still love his parents. It is a narration of a family setting where the father is irresponsible and uncaring, messing up the house setting notwithstanding the wife’s concern. It is a story of a father trying to engage his son despite being drunk, a fact that causes more harm than good to the son. Nevertheless, the son is still fond of his father, and has to continue clinging to him even when the dancing turns nasty and disorderly. For the love of his father, the son has to withstand the pain caused on his ears and his wrist as waltzing around the house continues. It is a poem narrating the lifestyle of a family made up of a father who does manual work, and takes alcohol to cool off the pressure caused by his hard labor, but still wants to spend a perfect evening with his children. It’s a poem telling the story of a not so well-to-do family in pursuit of balancing the nature o f their job and the family life. Achieving the balance is quite difficult. Nevertheless, the attempt made, though not wholesomely pleasing, is still worth appreciation. â€Å"Digging† This is a poem narrating the hard work of the old folks, who could do nothing else but sustain their families through tilling the land. It is a reflection of the changing times, when the

Essay Convsersion Example | Topics and Well Written Essays - 1000 words

Convsersion - Essay Example ngers to know the exact location of the city buses they intend to board, using GPS network, and thus to avoid longer waiting periods in the cold and rain. Our project idea won the competition and our professor for the marketing subject even went to the extent of advising us to propose the idea to the London Transport Authority. Personally, I was in complete agreement with him. Initially all the four of us were fired up with enthusiasm but eventually my colleagues lost interest in pursuing the idea, overcome by heavy school work and imagined bureaucratic hurdles. I followed the herd, killed my own instinct and dropped the idea altogether. In hindsight, as I see the proliferation of GPS applications now, I realize how I have lost a golden opportunity in not pursuing my own instincts – a lesson well learnt from a mistake. Coming to the second episode, after completing undergraduate degree, most of my fellow students were scrambling for jobs and accepting offers that came their way. On the other hand, I was watching with interest the globalization process and the emergence of China on the world economic scene and felt that in this changed scenario, familiarity with the Mandarin language would be of immense help in the coming days. At that time, I had the option either to accept an offer from an investment bank where I had successfully completed internship earlier or to go to Beijing to learn Mandarin, following my inner convictions. I chose the later option and do not regret it. It proved as one of my best self-improvement investments, as I had to deal with Chinese clients both in my earlier stint with a New York investment bank and after joining my family business here in Singapore. Aptly enough, this response follows upon the previously related incidents and has continuity with them. Before joining my present job, I worked for four years in a couple of comfortable jobs in international banking. They had all the fun of high profile jobs – lot of travelling

Hurricane Katrina Rescue Efforts Term Paper Example | Topics and Well Written Essays - 750 words

Hurricane Katrina Rescue Efforts - Term Paper Example On 25th August 2005, the landfall took place in Florida and was estimated to be of category 1. As it was moving towards the tip of Florida winds were observed to lower down but then it again gained the force when it moved ahead to Mexico. Increased force was observed through the movement of Katrina as it was travelling towards west and then North. The conditions of atmosphere and surface of the sea turned the storm into a disastrous hurricane by 26th afternoon. The force of the hurricane continued and attained utmost wind speed on 28TH August and further reached to the category 4 level when reached to south on 29th August regardless of dry air.(Vigdor 136) Hurricane Katrina-The Impacts Hurricane Katrina was one of the strongest storms in United States thus it caused extraordinary terrible destructions all over the states of the Gulf Coast. Loss of Life When the first landfall of Katrina took place its strength was of category 1and 11 deaths were noted at that time. It then extended t o category 5 where actual number of deaths is still unknown but reported 1836 by some reports. While 705 people are reportedly missing since then. (Petterson 645) Floods The blend of tough winds, storm and heavy rains caused crack in the earthen levee leaving New Orleans under 20ft of flood water. Other cities also face about 20-30ft of flood till days after the landfall. (Petterson 648) Economy Oil industry faced a lot of distraction because the oil assembly in Mexico was abridged by 95% per day due to which gasoline prices reached its peak. On the other hand people lost their properties too and it was reported that $81 billion is the cost of property scratches. Thousands of people were left unemployed after the Hurricane.(Petterson 651) Power Loss More than 1.7 million citizens were facing power shortage till several weeks and it was not possible to repair it due to the effects of disastrous hurricane.(Petterson 653) Loss of Infrastructure Katrina Hurricane caused airports to be f looded, bridges were destroyed, small roads were underwater and highways were not in a condition to be crossed. The condition was unbearable and people were badly stuck as there was no way out. (Petterson 655) Hurricane Katrina-Relief Efforts United States’ Government, people of United States and the Governments of other countries jointly participated in the relief efforts of the Hurricane. More than ten thousand volunteers served not only at the time of rescuing people but even after the hurricane when shelters were set up in many states for the effected people. More than 15000 people were houseless and needed shelter and food. (Vigdor 137) At the time of landfall around 34000 people were rescued in New Orleans by the Coast Guard, citizens’ leaded boats and tendered shelter, water and food to the people.(Vigdor 139). Federal Emergency Management was however not well prepared for the disaster but prepared shelters in various states for the refugees later on and made al l possible efforts in order to fulfill their needs. Donations were provided by more than 70 countries across the world in order to provide relief assistance to the effected people. The largest donation of $500 million was made by the government of Qatar while others also contributed whole heartedly. (Vigdor 149). Disaster Medical Assistance Team was formed in Atlanta and Houston.

Hypothetical Family Health Promotion Assessment Essay

Hypothetical Family Health Promotion Assessment - Essay Example While some families may consist of the standard two-parent home, there are a numerous amount of ways in which families are organized and in which social groups they exist. The modern nurse must be sensitive to these unusual circumstances and adjust one’s attitude accordingly, being careful not to place judgment upon clients who need nursing services. According to Bomar (2004), â€Å"During the past two decades, the evolution of family nursing assessment in nursing theory, practice, education, and research has been observed and documented in the nursing literature† (pp. 275). Nurses must be sensitive also to the fact that various ages, races, ethnicities, and other demographics of people may not fit perceived stereotypes, or that their lives’ paths vary significantly from what is considered socially appropriate or aesthetically pleasant. Some people live in abject poverty while other patients may be quite rich—and it is important for the nurse to understand that she must treat all of her patients with the same amount of dignity and care as she would anyone else. This is especially true of the Morrison family as evidenced in Mary Lawson’s book Crow Lake. Katie is definitely not the typical caregiver, as she is an young adult herself and learning how to take care of a young sister who is less than five years old. Katie is one of the focal points of the book, a scientist who struggles with the issues that surround being impoverished, but, at the same time juggling responsibilities while aspiring to a better life. The FFAM is, according to Stanhope and Lancaster (2006), â€Å"[o]ne family assessment model and approach developed by a nurse†¦Ã¢â‚¬  (pp. 335). The FFAM is able to assess various family issues that are of concern to the nurse in his or her chosen profession. Obviously, in any family there are immediate telltale signs of problems. The most obvious sign of some problem is physical abuse, although, the problems to b e discussed here are more internal, invisible, intangible problems which can have effects on patients. Although one can’t see a bruise, indeed, the individual is injured, albeit in his or her psyche. It is the emotional pain that can also scar a patient irrevocably for life, and this is what the nurse seeks to diagnose in order so that he or she can assuage the patient’s fears and continue to pursue a plan that will plot a course of treatment appropriate for the patient. Affective Involvement is the first aspect that I would think would be very key in assessing the Morrison family’s situation. The family’s young ones are taught not to express themselves overtly in a strong manner. Says Lawson (2003), â€Å"Understatement was the rule in our house. Emotions, even positive ones, were kept firmly under control† (pp. 9). Most relevant for promoting the Morrison family’s health in this category comes under the concern of the young people basicall y not being cared for in the ways they need to develop. For example, one very important concern is Katie’s younger sister Bo, who is a toddler. Toddlers need lots of love and affection from parents in order to develop properly, and without that kind of support, Bo will rely almost entirely upon her older sister as a mother figure, and upon her brothers Matt and Luke as father figures. However, since Luke at one point might go away to college, and Matt establishes his own family—only Luke remains once he decides that he is going to get a job to support the family instead, even though he

Alfred Lord Tennyson - The Charge Of The Light Brigade Essay Example for Free

Alfred Lord Tennyson The Charge Of The Light Brigade Essay Discuss the poets different attitudes to war, as presented in The Charge Of The Light Brigade and Exposure A more experienced poet known as Alfred Lord Tennyson wrote the Charge Of The Light Brigade. He was born in 1809 and died of old age in 1892. He wrote The Charge Of The Light Brigade in response to a Newspaper Report from the Times, which was written by W.H.Russel, so his understanding of the war was from second hand knowledge, he was removed from the action. Unlike Wilfred Owen, who wrote Exposure. Owen was born in 1893 and died at a very young age in 1918. The reason for his young death was, he was a participant in the war and died during battle, so his was writing from his own experiences. Although Owen was a less experienced writer, his poems only really became known after his death, as he had a less authorative voice. The main similarities between the two poems is that they are both writing about wars, however both wars are from a different time and so are fought in completely different ways. Tennyson wrote The Charge Of The Light Brigade about the Crimean war, which was originally between France and Russia but Britain joined because she worried about her security. The Crimean war was fought on horseback, which meant that it would be over fairly quickly. I think this because it would have been one charge, this battle would then have gone on until all the soldiers in one side were injured or dead. He was very far removed from the action, as he didnt even witness the war, so his poem written is third hand. Where as Owen wrote Exposure from first hand experience. For these reasons I may be able to place more value on Wilfred Owens poem. The First World War was fought over several years and the soldiers spent a lot of that time in trenches. The mood, tone and language in each poem are completely different from the other. In The Charge Of The Light Brigade the mood is very light and gives the feeling that all the soldiers, were excited about what they were doing. This is helped by the fact that Tennyson doesnt go into the atrocities of the war, instead writing of When horse and hero fell. Here he is basically saying that they have been shot down, but the way Tennyson puts it, its like its not that dramatic, when it is. In The Charge Of The Light Brigade it doesnt really distinguish those soldiers that died in battle and those that lived, Then they rode back, but not the six hundred. This is what I think plays a big part in making the mood of the poem so light, as it avoids death, which is upsetting. Where as in Exposure the mood is very depressing and dismal as Owen is constantly saying how the soldiers were being attacked in different ways. He mentions the weather attacking them, which can be seen from in the merciless iced winds that knive us. As well as things like the barbed wire in front of the enemies trenches, Like twitching agonies of men amongst its brambles. However the poem doesnt mention soldiers attacking them, which may indicate that the weather and other things were more threatening and chilling, then the enemy. In Exposure Owen speaks of the soldiers pain and this is what I think makes the poem so disheartening to read, because he is trying to show how war causes suffering and reduces the soldiers. Unlike Tennyson who is trying to honour and glorify the soldiers and so making the poem seem more pleasant. However in some ways the poems are similar as the language used indicates that poets generalise and universalise all the men in the war. The Charge Of The Light Brigade is a lot more structured then Exposure. This is because in Tennysons poem he talks about the different stages of the battle, where as Owen doesnt really mention battle, its more about the soldiers suffering. In The Charge Of The Light Brigade Tennyson goes through each stage of the battle, within each individual stanza. So in the first stanza the soldiers have been ordered to start their charge. The second stanza is quite an important part of the poem, as we discover that the soldiers had been given the wrong order. However because they are so disciplined and loyal to their country, no one questions it. Tennyson is trying to glorify and honour the soldiers so he simply says, Not though soldiers knew, someone had blundered. In the third stanza the soldiers are in range of the enemys guns and in stanza four, the soldiers are forced to turn back because so many men have been killed. Even though at this point the British soldiers are being defeated Tennyson emphasises their bravery. That takes the readers attention off the fact that they are losing so badly. An example of this is, Sabring the gunners there. The word sabring has been used very cleverly as it gives the reader the impression that the British soldiers were hacking away at the Russians, because Tennyson was writing the poem to honour The Light Brigade. In stanza five the British soldiers are still not out of danger despite turning back, as more Russians have come in behind them, so even more soldiers get killed. Stanza six is simply Tennyson reflecting on their bravery. In Exposure there isnt such an obvious structure. In stanza one Owen talks about the soldiers being attacked by the weather and in stanza two they are being attacked by the enemys barbed wire and it goes on like this. The weather is continually being described in different ways, one very effective way is when Owen uses alliteration, Dawn massing in the East her melancholy army. There is no real progression to the poem because it mirrors what is going on in the war, as they are stuck in trenches. The rhythm in each poem is completely different form the other. The Charge Of The Light Brigade has a very lively and energetic feel to it, this is due to its incredibly fast pace. In contrast Exposure has a very slow rhythm like the progress of the war. However in the third stanza there is a change in pace and it picks up just a little bit. This is due to the rhythm sounding like the bullets being described in the stanza, Sudden successive bullets streak the silence like the shells being shot in The Charge Of The Light Brigade. But the pace returns to its gloomy rhythm in the next stanza. In The charge Of The Light Brigade the rhythm of the poem sounds very much like the rhythm the galloping horses would make, this can be seen from Half a league, half a league onward, all in the valley of death rode the six hundred. I also think that the discipline of the British soldiers shows in the discipline of the rhythm. Each poem gives a completely different image of war, because they were written for different purposes and from different points of view. In The Charge Of The Light Brigade Tennyson uses a lot of similes and metaphors to create tension in the poem. He also uses similes to give the reader a better image of the battle and to show how heroic the soldiers were. Where as in Exposure Owen uses similes and metaphors to show how much the soldiers around him have been reduced, and the only thing they have to keep them going is happy memories. In The Charge Of The Light Brigade the first noticeable and most repeated image is All in the valley of death. I think that Tennyson choose to describe the charge like this because death is a very moving word. The word all unites the soldiers and due to the image of the extreme danger, given by the word death, shows the soldiers bravery, it also gives the idea of a big sacrifice. Not only do we get the feeling of danger, but Tennyson also discreetly describes sounds, through the use of onomatopoeia, Volleyed and thundered. I think that this is really clever, as it adds realism to the poem. When Tennyson uses alliteration, the words he uses sound like the hissing of the artillery on the battlefield. An example of this is Stormed at with shot and shell. Tennyson uses euphemism to describe the British soldiers killing the enemy; he uses words like flashed and sabring. The British soldiers are basically killing people, but the way Tennyson describes it, its as if they are doing it elegantly and almost gracefully. All of these images give the main picture that the war was glorious. The reason we get this image of the war is because Tennyson hides the realities behind euphemism, unlike Owen who shows the war for what it really is. Right from the first word our we immediately know that it has been written from the point of view of the narrator. Owen gives a very chilling image to the war because he has experienced it, he can say what he has seen and felt. The use of personification shows how the soldiers looked on the outside: Attacks once more in ranks, on ranks of shivering grey. Here Owen is talking about the weather attacking the soldiers, because the soldiers looked so grey and dull. Owen also adds shivering to the sentence, which could show that not only were they shivering because they were cold, but because they feel cold in their hearts like theyve been forgotten. Owen uses alliteration to emphasise that the men have no luxuries, unlike Tennyson who used alliteration to show the excitement of the war. In Exposure the uses of alliteration gives the reader the image that its as if the weather is trying to find them to put them through more distress, this can be seen from Pale flakes with fingering stealth come feeling for our faces. However I think Owen saves the most moving image for the end, unlike Tennyson who reflects on the heroism of the men during the battle, Owen shows just how terrible it is. In the final stanza Owen creates a very strong image, Pause over half-known faces. All their eyes are iced. To begin with it seems as though Owen is talking about the dead soldiers eyes being iced, because they are dead, but he is also talking about all the soldiers who are still alive and have to look at them. Owen is saying that in order to cope with what the soldiers have to face out in the trenches their eyes have also iced over, as they have no feeling any more. In Exposure we get the impression that it is probably easier to be dead, as you have gone to a better place and the pain and suffering stops, as soon as your spirit leaves your body. When I read Charge Of The Light Brigade I didnt feel very much inside, because the images that were given through the use of personification and other things were glorious. In Exposure the image seemed very real, because the poet was really writing from the heart and it made me feel quiet and lonely inside. Exposure and The Charge Of The Light Brigade both use repetition to show the reader that there have been casualties in the war. In The Charge Of The light Brigade different words are repeated to highlight different things. To emphasise the courage of the charge Tennyson repeats, Forward, the light brigade and The valley of death, which gives the idea that there is no turning back. In stanza two, three lines begin with their. This is used to show the discipline of the soldiers, that not one of them is questioning the wrong order. At the end of the first three stanzas Tennyson is still repeating, Rode the six hundred, this use of repetition gives the idea that the soldiers are still alive. However the final line of stanza four, Not the six hundred shows that not all the soldiers were going to come back from the valley of death. In stanza five some of the lines from stanza three are repeated, Cannon to the right of them, this gives the idea that even though they are on their way back the danger still surrounds them. At the end of stanza five Tennyson has said, Left of six hundred. He is still repeating six hundred, but has changed the words in front of it, to give the idea that the number of losses was more then the number of survivors. Exposure doesnt have has much repetition in as The Charge Of The Light Brigade, but it too has the majority of its repetition at the end of each stanza. The repetition of But nothing happens in three of the stanzas and the final stanza, give the image that the soldiers are almost waiting to die. The use of repetition in this ways indicates that they feel forgotten, because they have gone out to the trenches to do a job, and they are unable to do that job properly. In stanzas five, six and seven Owen repeats, dying at the end of each stanza. By doing this I get the impression that not only are the soldiers dieing because they are being attacked, but their spirits are dying as well as their love for things, its like they have lost themselves in the strong winds that surround them. So in both poems the use of repetition sums up the casualties of war, in Exposure they are shown in a more harsh way, then in The Charge Of The Light Brigade. Both poems are completely different in the way they portray the war, in that Exposure uses realism and The Charge Of The Light Brigade uses euphemism. The reason for there being such a lot of euphemism in The Charge Of The Light Brigade is because Tennyson wants to praise the soldiers. He also uses euphemism to hide behind the grim realities of life. A very good example of euphemism in the poem is, Sabring the gunners there. It is basically saying that the British soldiers were hacking away and killing the enemy, but it isnt described like that because the aim of Tennysons poem was to honour the soldiers. The word sabring makes the British soldiers sounds elegant and sophisticated, as if they arent doing anything wrong. So in order to honour the Light Brigade Tennyson hides behind euphemism. In contrast Owen uses realism in his poem because he wants to show war for what it really is. In everything he says he is very blunt and relates even the simplest things to every day horrors. By using realism Owen shows the reader that the only thing the soldiers have to keep them going are memories, an example of this is, Slowly our ghosts drag home: glimpsing the sunk fires glozed. This emphasises that the soldiers have no luxuries and how now they take nothing for granted, because they now realise it isnt always going to be there for them. The reason for The Charge Of The light Brigade using euphemism and Exposure using realism, is because each writer is trying to give a different image of the war, for different reasons using these methods. In conclusion both poems appear to be very similar when I first looked at them, however the only thing they have in common is that they are both about wars. The reason they only have this in common is for two reasons. The first reason is that both wars were completely different types of wars. The second reason and the most important, is that the writers show different attitudes towards war. In Charge Of The Light Brigade Tennyson wrote the poem to honour and glorify the soldiers that fought in the war. So the way he presents the poem, its as if Tennyson is saying that war is good thing to part of. I think the other reason for him putting such a positive image on the war was because he didnt fight in it, therefore there are no feelings included in his poem. So because Tennyson approves of the soldiers loyalty there are no signs of irony. Where as in Exposure Owen, who fought in the war, is able to include feelings. Due to having such a horrible time in the trenches, these feelings are sad and seem painful, putting war in a completely different light. Unlike Owen, Tennyson believed that no good could come from war, and although Owen is against war Exposure isnt an anti-war poem. However the one attitude that both writers show in their poems, is that you have to fight sometimes to preserve what is good.

Roles and Responsibilities in Construction Project

Roles and Responsibilities in Construction Project Task 1. Describe the roles and responsibilities of all parties involved in the planning and design phases. Owner An owner is the person who owns the project and has full authority to control the whole project. He is mainly involved in the process for supporting the financial matter for the construction project to go through easily. He has to pay for fees and charges associated with the work. Besides, he has to work together with architect and other consultants to achieve the goal of the construction project Architect Architect monitors the construction of the project to assure that construction is in accordance with the plans and specifications prepared by the architect and approved by the Owner and Contractor. He has to engage in inspection and completion of the building process for the designing and supervising of the building work which the architect has full control of the proceedings. Lender The person or entity engaged by the lender to independently check and verify that the progress of construction conforms to the plans, specifications and Contract Documents in order to permit construction loan payments to the contractor. His responsibility is not to the Owner but to the lender to assure the lender that the lender is paying for true construction costs and to assure lender priority. Facility Manager Facility Manager is mainly involving in the development of master plans for facilities and properties as well as budget projections for proposed projects. He frequently serves as lease managers for the owner’s rental properties and is charged with tenant relations. His responsibility might include space planning, utilization studies, and space inventory and allocations. In addition, he might be in charge of minor capital projects in the same location as contracted work and services. Estimating Engineer Estimating engineer has the responsibility for pricing building work in accordance with tender documents and to assist management in their submission of a tender to the client or architect. This includes a report on the project in hand and a summary of project details and a note of any matters of concern. Planner The builder’s planner is responsible for selecting the most cost and time effective method of carrying out the work, programming each activities of work in a coordinate order so as to provide continuity of work primary for the builder’s operations establishing labour and plant requirements providing details of site requirements such as staffing and the proposed layout of the site. Ref > CSI Construction Contract Administration Practice Guide Task 2 Describe the roles and responsibilities of all parties involved in the construction phases. Project Manager Project Manager is the person who has the responsibility for ensuring that the Project Team completes the project. The Project Manager develops the Project Plan with the team and manages the team’s performance of project tasks. It is also the responsibility of the Project Manager to secure acceptance and approval of deliverables from the Project Sponsor and Stakeholders. The Project Manager is responsible for communication, including status reporting, risk management, escalation of issues that cannot be resolved in the team, and, in general, making sure the project is delivered in budget, on schedule, and within scope. The Quantity Surveyor The Quantity Surveyor provides the client with advice on building costs and contractual matters throughout the building process, in addition, acts as a consultant to the architect. He also supports for the preparing the tender documentation, receiving and analyzing tenders and preparing the tender report for the client and recommendations for approval. Consulting engineer Consulting engineer is responsible to the architect for the design of certain parts of the project and provide information that will assist the quantity surveyor with his financial reporting. He is involved in the work carried out by nominated sub-contractor. Health and Safety Inspector Health and Safety Inspector is employed by the health and safety law enforcement agency to ensure that the construction project site has to follow the safety regulations and codes of practice relating to the Health and Safety at Work act are observed on the building sites. Construction Workers Construction workers are different according to their different fields. They are a very special breed of worker. They own their specific jobs, duties and responsibilities in the construction sites. They have to follow the client to achieve their functions. Ref > Construction Project Management ( Peter Fewings) Task 3(a) Describe the corporate and personal responsibilities of all parties in construction. Construction Company with shareholders is to make up an important decision they have to hold a meeting with partners. For important projects, the partners vote for the decision and the outcome is carried out by the project manager. Project manager plays an important role in construction business because he is entrusted the goal of project by the board of directors. He has to make small decisions on his own to reach the goal and report the outcomes to the board of director at regular meetings. As for the sole owner, every goals and decisions has to make by himself. And he needs to do all the job as a manager. But the goals and strategies can be changed according to the situation by the owner. (b) Evaluate the differences between these responsibilities. Owner Owner is the one who owns the whole construction site and supports money to build his building with his desire organization. He settles the project completion date which governs the scheduling of work for both the designer and contractor. He should set priorities for the components that make-up the project. The Design Organization The design organization assists a design schedule of the owner’s schedule. In the schedule, there is a prioritization of work in accordance with the owner’s needs and should be developed with extensive input from all designers who will have principal roles in the design process. The Construction Contractor The construction contractor must develop a schedule for all construction activities in accordance with the contract documents. It should include procurement and delivery of materials to the job, coordination of labor and equipment on the job, and interface the work of all sub-contractors. The objective of the construction schedule should be to effectively manage the work to procedure the best quality project for the owner. The purpose of construction scheduling should not be to settle disputes related to project work but to manage the project in the most efficient manner. Project Manager The role of the project manager is the monitoring and controlling the all aspects of a project and the motivation of all those involved to achieve the project objectives on time and to cost, performance and quality. He also acts on behalf of the Client to direct the Design Team and ensure that they have the appropriate information and understanding to effectively execute the project. Besides, he manages the construction team performance of project tasks according to the Project Plan. Architect The responsibility of an architect is to prepare construction drawings and specifications. Sometimes, he lodges the planning application and building warrants in co-ordination with the rest of the team. He acts as the leader of the rest of the design team to the client’s requirements design. In addition, he will define client’s requirements, arrange site investigations, establish the preferred solution, develop the design, prepare room data sheets and advice on materials selection, etc. Structural Engineer The responsibility of the Structural Engineer is to design the building structure, including the drainage installation. SE must co-ordinate their design to meet the architect’s design and give advice to client on the most appropriate form of structure for the building. Besides, he also supports cost advice to the Quantity Surveyor involving to all aspects of the building structure. Services Engineer (Mechanical and Electrical Services) The responsibility of the services engineer is to specify and design all the services for mechanical and electrical according to the client requirements. He has to co-ordinate with the Architect and the Structural Engineer to meet the client requirements. Besides, he also supports the cost advice to the Quantity Surveyor as required to allow cost planning and monitoring. In addition, he provides the advice the client to make best decisions in terms of energy use, sustainability, lifecycle costs and relevant â€Å"Green Issues†. The CDM Coordinator (Health and Safety Adviser) The role of the CDM Coordinator is to advise the implementation of the CDM regulations to the client for the project. Health and Safety Adviser co-ordinates the Health Safety aspects of the design work, and co-operate with the other consultants employed on the project. He prepares the Pre-Contract Health and Safety Plan and work with all the other consultants to ensure that Safety is high on the project agenda. Ref > Guide to Procuring Construction Project Task 4. Explain the modern technology(computer system) available to designers, planners and builders Project management Software Project management software assists the group project in planning their routine job easier by taking over from the main team members the drudgery of manual calculation, insertion, modification, tracking, controlling, and change management. All of the project management software provides the complex nature of dependency of events and activities and scheduling of manpower for optimum utilization. Besides, it determines the dispensability for the sake of granting vacation and milestones and deadlines with the maintenance ways. Moreover, it keeps the track of critical path and shifting of criticality and generates the reports on project status for circulation automatically. Photorealistic Rendering 3D/4D model technology can be used for marketing purposes by builder, developer and designer on private projects or to involve in community on public project. Specialist in this technology can offer clear pictures for their customers by wing 3D walkthrough short movie clip. This kind of technology is used to clemonstrate complex geometic that cannot be demonstrated by two dimension technologies. IT plays important role to improve the quality of meeting between owner and project team because it helps the designer to convey their idea very well. Cost Estimating The cost can be estimated by using 3D to generate the quality bills. Moreover, it is possible to make a connection automatically between 3D and cost estimation. Cost Estimating Software needs to update by the user. Analyzing Construction Operations In this process, 4D and 3D can be used by project manager to monitor the progress of work at particular time. This technology makes the sequence and schedule of project construction clear. Moreover, it increases the accuracy of construction operations and reduces the errors. 3D and 4D Model Applications 3D and 4D model is one of the useful technologies that is used in construction as per researchers evaluation within educational or industrial settings. Moreover, these technologies play important role in project construction administration. The starting point for construction is to understand how to use 3D/4D model technologies respectively. Task 5(a) Describe the effect of technological advances on the various phases of construction projects. Nowadays, technologies stand an important rule to facilitate the project in construction projects. The impact of technologies supports to complete the project with low cost, avoid disputes between contractor and owner and without mistakes. It also leads to enhance the performance of worker, increase the productivity and improve safety. The impact of technologies on communication system will be covered in the research that effects on the successful of completing projects. The technology has no limit to stop and day to day new technology adds value to the word in different aspects. It helps to communication between the people in construction, make the decision with increasing speed and automating functions. (b) Analyze the usage of computer system and the development of new materials in the construction projects. Computer Systems Computer systems stand as an incidental tool for the construction. It supports the design and project management to have emphasized numerical calculations and the use of computers will rapidly move towards the more prevalent and difficult problems of planning, communication, design and management. Besides, computerized transfer of information supports to avoid laborious and error-prone transcription of project information. In addition, CAD develops the drawings of the construction project by automating in drawings. It gives accurate the drawing to the point and saves the designers time. Global Positioning Systems GPS surveying instruments measures in 3D (X, Y, and Z planes) that make it easy for the surveyor to take accurate measurements for any point of the area. It receives signals from GPS satellites in terms of longitude, latitude, and elevation (from sea level) along with some other information to give exact measurements. By using the GPS, labor intensive can be reduced in terms of field procedures. GPS is not only useful in surveying but also in setting up of the equipment blades and buckets for the right angel to cut and fill the operations. Total Station A Total Station is a light-weight instrument, integrating the technology of an electronic or digital theodolite, an electronic distance measuring device and a microprocessor in the same unit. It is used for distance and angular measurement, data processing, digital display of point details and data storage in an electronic field book. The digital panel displays the distances, angles, heights and the coordinates of the observed area. A microprocessor applies corrections for the Earths curvature and refraction automatically.