The Commercialization of Extreme Sports (X Sports) Essays

The Commercialization of Extreme Sports (X Sports) ABSTRACT For years, extreme sports had little to nothing in common with each other except for high risk, and an appeal to women and men from the ages of 12 to 34. Entertainment Sports Programming Network (ESPN), realizing this age group was a prime viewing audience, brought together several extreme sports and created yet another commercialized sporting spectacle. Since 1995, this television network has produced the Summer X Games. After these summer productions proved to be successful television and live spectator events, ESPN expanded into the winter extreme sports. The Winter X Games have been produced since 1997. This paper, which commences with the rise of extreme sports, is†¦show more content†¦The X Generation, considered by some as less mainstream than preceding generations of youth, has been swept away with a relatively new type of non-traditional sporting activity that is referred to as extreme sports (Reitman, 1999). This is a high thrills, dare devil, real life sporting ac tivity for enthusiasts who are willing to go to the edge of athletic participation and sometimes beyond. The creation and evolution of the X Games were a carefully orchestrated chain of events. The purpose of this paper is to highlight the conditions involved in the formation and growth of the X Games. The major factors that have contributed to the biannual successes of the X Games have been the close connection of ESPN with the X Games, the involvement of corporate sponsorship, and the site choices and intense bidding by cities to serve as host sites. This article includes both key factor analyses and a historiographic examination of this extreme sporting phenomenon. HISTORICAL CLIMATE The Summer and Winter ESPN X Games are a commercialization of these extreme sports. With the X Games, ESPN had assessed what it took to be the†¦in-your-face persona of Generation X and assembled a scaffolding of events that made it all marketable (White, 1997)1. As one journalist noted, the X Games present a sporting event for a post-punk audience raised on MTV and moshing†¦This wide world of sports represents a complete inversion of theShow MoreRelatedNissan Corp Swot5421 Words   |  22 Pagesnew markets Government regulations: abroad in other countries as well as US and the US; global warming, CAFÉ standards, safety issues Growth of existing market: widen market New entrants: threat of potential inclusive of generation X,Y and baby boomers new competitors Strong economy: economy not faltering; Changing market tastes: need for consumers still buying continuous innovation to appeal to different segments Nissan’s reputation: leads the industry Shortage ofRead MoreFormula One24819 Words   |  100 Pagesbetween Formula One sponsor- ships, enhanced brand image and increased brand awareness. Thereby exploring the possible connection between Formula One sponsorships and brand equity. 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Chinua Achebe s Things Fall Apart - 1315 Words

Missionaries are a group of Christians whom are on a religious mission. Their sole purpose is to promote their religion in foreign countries. They ‘preach the gospel to all creation. ...and make disciples of all the nations, baptizing them in the name of the Father and the Son and the Holy Spirit’ (Matthew 28:18-20). One of the places the Missionaries had travelled to is Africa. Both The River Between and Things Fall Apart were written during the independence period of Africa. Achebe’s novel, Things Fall Apart, published in 1958 tells the story of Okonkwo whom is a member of the Igbo Tribe in Nigeria and his constant encounters with the Christian missionaries. The River Between written by Ngugi was published in 1965 and tells the story of†¦show more content†¦This is portrayed in The River Between through the practise of female genital mutilation. Achebe however focuses on the Igbo traditions of marriage, children, trade, education and warfare. It is this difference of traditions that cause drifts within the tribes, for the African culture is completely different to that of the Colonies, where Christianity was ‘brought’ from. The River Between is set during the colonial period, a period of transition in which white European settlers were arriving in Kenya bringing with them their Christian values and traditions. However Ngugi focuses on the lost heritage of East Africa and does this through the literary form of storytelling. He sets his novel in the remote highlands of Kenya. This is significant as it relates to the legacies of the Kenyan tribal identities, and is considered the origins of where Ngai, the Kikuyu God had created Gikuyu; the first man and father of the Tribe and Mumbi; the first woman. By using the origins of the Kenyan Tribe as the foundations of his novel, Ngugi portrays that although Christianity and the missionaries have spread their ideologies within Kenya through colonisation, the tales told by each generation of Kenyans remained the same. However Things Fall Apart was set in the 1980’s and was written as a direct response to Joseph Conrad’s Heart of Darkness. He states he wanted to â€Å"help [his] society regain belief in itself and put away the complexes of the

Clifton Strengths Finder free essay sample

In many cases, people find it difficult to label or categorize their natural talent. Because one is unaware of their natural talents, he or she experiences. During Gallup’s research on identifying talents, they discovered Throughout the course of Clifton’s work on studying talents, they discovered that the majority of people do not have careers that purse their natural talents (Rath, 2007). Out of 10 million people they surveyed, 7 million people were not engaged at work. When these individuals were not able to use their strengths they reported to dread going to work, have more negative than positive interactions with colleagues, treat customers poorly, tell friends what a miserable company they work for, achieve less on a daily basis, and have fewer positive, creative moments in the workplace (2007). To fix these problems, Clifton created a measuring tool in 1999 to categorize and identify talents. First, Clifton wanted to base his research on what is right with people instead of one’s weakness. We will write a custom essay sample on Clifton Strengths Finder or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Based upon previous tests, Clifton started studying work environments and how measuring one’s raw talents could be developed into strengths. He states that a talent is a â€Å"naturally recurring patterns of thought, feeling, or behavior that can be productively applied† (Harter, Hodges amp; Lopez, 2005). Next, he states that strength is an extension of a talent. In other words, if one has the gift of communicating well, then with practice, he can develop his talent for talking into a personal strength such as public speaking. Due to Clifton’s belief of studying talents in individuals, he worked with Gallup to start construct the strengths finder. Gallup an organization known for its research on employee selection. To identify these talents, Clifton worked with Gallup to design interviews that were given to people in academic and work settings. The interviewed looked at the roles a person had at their job or academic setting and asked them questions about how successful they felt at work. More than two million people participated during the interview process (Harter, Hodges amp; Lopez, 2005). While identifying common talents and strengths in these settings, Clifton created categories to place them in. These categories are known as themes. Clifton and his team established 34 themes in total. The themes represent a classification of talents. Even though the themes does not capture every aspect of human talent, it is used as an easy way to generate a category. Each theme shares a personalized description based upon the how the respondent answered the questions. For instance, in the futuristic category, a general description reads, â€Å"When the present proves too frustrating and the people around you too pragmatic, you conjure up your visions of the future and they energize you† (Rath, 2007). This is a general sentence that people get who scored high in the futuristic category. When I took the test, I might be the only one who receives the following sentence, â€Å"Its likely that you may intentionally take charge of your future. You might be determined to shape it as you wish (2007). Both the personalized and generalized descriptions are about a paragraph or two in length. The results support the test’s purpose of identifying personal development in work and academic settings, and not for employment selection, placement, or screening for mental health (Schreiner, 2006) The Clifton Strengths Finder is an online assessment that takes about 30 to 45 minutes to complete. There are 180 self-descriptor items that are paired together and participants have to answer at 20-second time intervals (Anderson, Clifton amp; Schreiner, 2006). The items can either be two simple sentences paired together or two complex sentences paired together. One item would appear on the far left side of the screen and the other item will appear on the far right side of the screen. The participant will see five circles on the screen and will have to click on the circle that mostly relates to their talent. For example, one might see an item pair that reads, â€Å"I am Zesty† on the left side and â€Å"I am boring† on the right side. The participant will have to select a circle on the left or right side that relates to his talent. If the participant cannot relate to either of those items, then one has the option of selecting the middle circle which reads as, â€Å"neutral. Gallup and Clifton decided to present the paired items at 20-second time intervals because it generates a, â€Å"first reaction† (Rath, 2007). According to Gallup’s analysts, one’s first reaction to a question is more honest and true. Thinking too much on a question may cause doubt and will alter test scores. The current normed populati on for CSF are college students because identifying one’s talent in college will create a more positive and productive environment in the workforce (2007). To test the current normed population, Gallup’s researchers conducted a national study in 2004-05 to reveal the CSF’s reliability and validity. Students from five community colleges and nine universities participated in the study. The sample consisted of 438 college students and 58% were female while 46% were male. The sample had the following ethnicities represented: 76% Caucasian 13. 6% Asian, 5% Hispanic, 4. 3% African-American, and 1. 2% multiethnic. The majority of sample was comprised of freshmen and sophomore. Freshman represented 46%, with sophomores at 31. 5%, juniors 8. 7%, and seniors 10. 8% (Schreiner, 2006). The students had to complete three online instruments which included the CSF, the California Psychological Inventory and the 16PF. The last two instruments were tested because their content related to the theme categories of the CSF. Both tests are also reliable measures of personality and the 16PF contains Holland’s six vocational types (2006). The study consisted of two phases. After taking the three instruments, students returned a month later in order to complete the CSF again. The results from the two trials determined the reliability and validity of the test. With reliability the researchers used test-retest reliability and internal consistency. Since the students had to come back a second time to take the test, test-retest reliability assessed how stable their responses was over time. A score of 1. 00 would reveal that students who took the CSF responded exactly the same. Across the 34 themes the mean for the test-retest reliability was . 70. The themes with the highest test-retest reliability were Discipline, Deliberative, Intellection, Positivity, and Competition (Schreiner, 2006). Through reliability, research has also found that 52% of the sample had scored the same three themes of the five themes from taking the test twice. Only 35% scored the same two themes over time, while 11% retained only one of their top five themes. A small 2% scored completely different themes from taking the CSF twice (2006). Internal consistency scored ranged from . 63 to . 80 being the highest among the 34 themes. This reliability assessment measured how accurate each theme identified the correct items it was measuring (2006). For example. If a item on the Achievement theme scale measures strong need for achievement, then the internal consistency will be high. The validity used for the CSF was construct validity. Construct validity reveals how well items describe people. Since the CSF does not predict future behavior and responses are not based on accuracy, construct validity was appropriate for this test. Because the themes were based off the California and 16PF, 93. 4% of the themes had significant correlation coefficients (2006). In the end the CSF presented some strengths and weaknesses. Gallup researchers have found that strength-based interventions increased a student’s retention, performance, self-efficacy, confidence, and purpose in academic and work settings. One weaknesses is that the CSF contains over 200,000 unique combinations that represent themes (Rath, 2007). Some items in these combinations are represented more than others, so if someone does not answer a particular amount of item pairs, then he or she will not be in that category. Another weaknesses is that the theme descriptions and the 180 item pairs been the same since 1999 (2007). The statements that participants see to answer about their talents may not be up to date with today’s language. Also, when long statements are given on the online assessment, one may not have enough time to read it and this will alter the result.

The sensuous Chekhov Essay Example For Students

The sensuous Chekhov Essay Anton Chekhov, a doctor, once said, My holy of holies is the human body. And the people in his plays, contrary to the way theyre often viewed, do have bodies. These are humans, in each others company, in a place. Theyre also humans in our company, in a room with us. What Chekhov interpreters make of the much-neglected bodies is, to a great degree, what they make of the plays. In the past weeks Ive seen three major regional productions of The Cherry Orchard: at Clevelands Great Lakes Theater Festival, at American Repertory Theatre in Cambridge, Mass., and at Indiana Repertory Theatre in Indianapolis. They seem to be three completely different plays. OFF WE GO, IN SEARCH OF THE CHEKHOV EXPERIENCE. We will write a custom essay on The sensuous Chekhov specifically for you for only $16.38 $13.9/page Order now Great Lakes mounts its version, directed by Gerald Freedman with set design by John Ezell, in the Ohio Theatre, a vast, ornate, grandly old-fashioned cavern in a lavish three-theatre complex among Clevelands downtown business towers. Theres lots and lots of space, in the house and on the stage, that great, gilded temple of a proscenium stage. As the companys mission statement attests, this is truly a shrine, a monument, a place for cultural preservation, a haven for classic drama. For the interior scenes at the Ranyevskaya estate, period furniture is set about the stage without walls to contain it. In the first act Madame Ranyevskayas return from Pans and Lopakhins revelation of the estates jeopardy you can see past free-standing doors right to the back of the space, where an enormous, thick cascade of bright pink blossoms shoots up and across the ceiling to loom, a magnificent oppressive, independent canopy over the action below. As the orchards sale impends and the scene moves outside to the surrounding estate land, blossoms rain down suddenly, apocalyptically, and leave menacing, skeletal branches to claw the firmament, while insistent telephone poles sprout from a barren, rocky landscape. Back inside for Ranyevskayas defiant party, the furniture returns, beset by a luxuriant curtain in a stage-center arch, everything aglow with the rich, heavy hues of mourning -in-advance. Of course, for the final act, once the estate is sold to Lopakhin, things get covered in sheets as everyone leaves. To the side of each interior scene, small, slightly distorted rooms sit aloft and vacant, memories of the home as it used to be, their lines of perspective challenging those of the inhabited space. Things that arent supposed to move, such as absent-but-suggested walls, doors and large, dense pieces of furniture the house itself move easily, carelessly, as if they were windblown scraps, while the mobile stuff the people stay put, mired in sorrow, bewildered by the unexpected ephemeral world around them. All of this, framed and distant from the crowd, is glorious, awesome, classical tragic, Important. Nothing could differ more from the atmosphere of the Festivals lakeside palace than the Loeb Drama Center in studious Harvard Square, where, on American Reps mainstage, The Cherry Orchard is no less important for its being decidedly modern. The theatre is a spacious lecture hall whose seats dive at a severe confrontational rake to the lip of a big, bare proscenium cube. Its an unadorned room in an unadorned academic building, and George Tsypins set is just as stark. The estate house is represented by two dimensional, featureless cut-out walls toward the back of the stage with cut-out doorless doorways. On stage the furniture is scattered widely, all of it painted in bright solid colors, some of it such as the crippled, screaming-yellow bookcase at odd angles or of useless proportions. None of this decor suggests a period or place, but an idea, a hybrid of Van Goghs The Bedroom and a childs sidewalk chalk-drawing. To evoke the out-of-doors world, the stage is stripped bare, save a small backless bench and an enormous dark pole that stretches all the way to the ceiling. Across the entire rear wall hangs a Rothko-like horizon, bars of grey and brown. The orchard is revealed from behind a scrim: a row of vertically aligned fluorescent tubes. The floor, that glacial gray expanse, looks clean enough to eat off. .ufc8429eeca01a058fcf67896fe94bf52 , .ufc8429eeca01a058fcf67896fe94bf52 .postImageUrl , .ufc8429eeca01a058fcf67896fe94bf52 .centered-text-area { min-height: 80px; position: relative; } .ufc8429eeca01a058fcf67896fe94bf52 , .ufc8429eeca01a058fcf67896fe94bf52:hover , .ufc8429eeca01a058fcf67896fe94bf52:visited , .ufc8429eeca01a058fcf67896fe94bf52:active { border:0!important; } .ufc8429eeca01a058fcf67896fe94bf52 .clearfix:after { content: ""; display: table; clear: both; } .ufc8429eeca01a058fcf67896fe94bf52 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufc8429eeca01a058fcf67896fe94bf52:active , .ufc8429eeca01a058fcf67896fe94bf52:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufc8429eeca01a058fcf67896fe94bf52 .centered-text-area { width: 100%; position: relative ; } .ufc8429eeca01a058fcf67896fe94bf52 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufc8429eeca01a058fcf67896fe94bf52 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufc8429eeca01a058fcf67896fe94bf52 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufc8429eeca01a058fcf67896fe94bf52:hover .ctaButton { background-color: #34495E!important; } .ufc8429eeca01a058fcf67896fe94bf52 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufc8429eeca01a058fcf67896fe94bf52 .ufc8429eeca01a058fcf67896fe94bf52-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufc8429eeca01a058fcf67896fe94bf52:after { content: ""; display: block; clear: both; } READ: Theatre and poetry EssayAlmost always separated from each other across yards and yards of bleak and alien terrain the people spin in their own follow orbits, their isolation enhanced and sealed by follow-spots, their angst-frozen gazes scarcely ever meeting. Remote (from us and each other) and static, they look like pieces in an abstract sculpture garden, components of a stunning installation. Under Ron Danielss direction, the play becomes an incisive lecture in existential philosophy, an academic literalization of its latent lonely heart. By contrast yet again, Indiana Reys relatively small, unspectacular house wraps around and cozies up to its apron stage. Every seat aims at the center of the stage, and the center of the stage speaks to every seat. Simon Pastukhs set, behind the exposed outward-reaching and sparsely furnished lobe, uses a series of scrims hung with small family portraits that leave unfaded spots when theyre packed away for the final departure. Doorways arent aligned with each other, so that entering and leaving sends actors racing through a convoluted fun-house labyrinth. With light hitting the scrims in various ways, this set effortlessly serves as both indoor and outdoor realms. On the floor of the stage are strewn thousands of light pink petals that whisper and lift and fly whenever people move. And people do move and move and move in an exuberant, buoyant dance, striding, tumbling, running, swirling and everywhere they go the petals celebrate. People touch each other, grab, hug, hit, kiss, caress they actually touch! This Cherry Orchard, directed by Libby Appel, is sensual, enthusiastic, swift, immediate, brash and near. In the title story of The Man Who Mistook His Wife for a Hat, Oliver Sacks interviews a man whose progressive neuro-psychological disorder has robbed him of the connection between seeing and feeling, made the world into a collection of pattern lifeless shapes to be deciphered. Sacks hands the man an extravagant, fresh red rose: He took it like a botanist or morphologist given a specimen, not like a person given a flower. About six inches in length, he commented. A convoluted red form with a linear green attachment. Yes, I said encouragingly, and what do you think it is, Dr. P.? Not easy to say. He seemed perplexed. It lacks the simple symmetry of the Platonic solids, although it may have a higher symmetry of its own . . . I think this could be an inflorescence or flower. Could be? I queried. Could be, he confirmed. Smell it, I suggested, and he again looked somewhat puzzled as if I had asked him to smell a higher symmetry .But he complied courteously and took it to his nose. Now, suddenly, he came to life. Beautiful! he exclaimed. An early rose. Great Lakes and American Rep (their buildings unwittingly complying with each approach) displayed two brilliant higher symmetries; Indianapolis offered the rose. As tragedy or philosophy, The Cherry Orchard is sliced to but a small part of what it can be: a sensory evocation of life on earth, a thing that exists fully as what it is, not as code for something else. The plays not Important It can matter a lot to a lot of people, but it doesnt have some massive, weighty thing to dump in your lap. Jean-Louis Barrault once described the plot of The Cherry Orchard as follows: Act I: The cherry orchard is in danger of being sold. Act II: The cherry orchard is going to be sold. Act III: The cherry orchard is sold. Act IV: The cherry orchard has been sold. As for the rest: life. The play is a living network of hungry desire. Anya Petya; Lopakhin Varya; Yepikhodov Dunyasha Yasha Ranyevskaya life; they want one another, in the most eager and unsparing way. Richard Gilman writes that Chekhov creates a dramatic field. Two phrase evokes a complex, nonlinear dramatic strategy, one that depends for its success on relationships among people. If the people arent allowed to communicate, the field breaks apart. And communication is not always the same thing as speech. Thats why its so vital, when characters are conceived as living beings, to bring them together, and to believe in their life. When little things can mean so much, when lips and fingers really matter, should actors be exiled from each other, divided across wide platforms far, far away from the audience and from each other and denied even the opportunity to move, to use their own bodies? Feelings of loneliness and loss are all the more powerful when you really attempt to connect. .u20a5dd99c462a9f7162a131e36ed370e , .u20a5dd99c462a9f7162a131e36ed370e .postImageUrl , .u20a5dd99c462a9f7162a131e36ed370e .centered-text-area { min-height: 80px; position: relative; } .u20a5dd99c462a9f7162a131e36ed370e , .u20a5dd99c462a9f7162a131e36ed370e:hover , .u20a5dd99c462a9f7162a131e36ed370e:visited , .u20a5dd99c462a9f7162a131e36ed370e:active { border:0!important; } .u20a5dd99c462a9f7162a131e36ed370e .clearfix:after { content: ""; display: table; clear: both; } .u20a5dd99c462a9f7162a131e36ed370e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u20a5dd99c462a9f7162a131e36ed370e:active , .u20a5dd99c462a9f7162a131e36ed370e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u20a5dd99c462a9f7162a131e36ed370e .centered-text-area { width: 100%; position: relative ; } .u20a5dd99c462a9f7162a131e36ed370e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u20a5dd99c462a9f7162a131e36ed370e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u20a5dd99c462a9f7162a131e36ed370e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u20a5dd99c462a9f7162a131e36ed370e:hover .ctaButton { background-color: #34495E!important; } .u20a5dd99c462a9f7162a131e36ed370e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u20a5dd99c462a9f7162a131e36ed370e .u20a5dd99c462a9f7162a131e36ed370e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u20a5dd99c462a9f7162a131e36ed370e:after { content: ""; display: block; clear: both; } READ: Prose Study of Dracula by Bram Stoker EssayBut stasis and turf arent the only impediments to intimate human contact, Ideas, too, can be dangerous. Mark Twain, in his essay How to Tell a Story, advocates what he calls the humorous story, which he contrasts to the schematic witty story: The humorous story may be spun out to great length, and may wander around as much as it pleases, and arrive nowhere in particular; but the witty story must be brief and end with a point. When you decide ahead of time that one of Chekhovs plays aims to make a point its about tragic loss, its about isolation the humor disappears, the rich irrelevancies must give way to the cause, to whatever that point is meant to be. The thing becomes streamlined, efficient, aimed and, ultimately, adversarial toward its audience. Chekhovs plays certainly arent without something to say, but they say it like a rose reveals itself: whole. The expression on someones face, some specific gesture, a way of walking or talking, a teardrop or a stolen glance these are the things that go straight to the heart, bypass the strict geometry of critical thought, communicate a total reality. The Thesis is deadly poison to the dramatic field, an inorganic invasion that wrenches our attention from the actors as people, be it a Damaclean cherry-bough suspended doomlike above, or electric trees that alienate-alienate-alienate, or an enormous sterile space that wont let you forget for a second that this is Art, not life; to be admired, not experienced. When metaphor crowds out the people on stage, youre in serious trouble-if your audience is human and your playwright writes human characters. Indiana Reps evocation of The Cherry Orchard is not all smiles and light and prettiness, but it is brave and present and lusty. Behaviors the thing. Lots of human behavior. Life loves life and wants as much as it can get. I want to experience human behavior, up close, experience humans experiencing each other. Why? Because Im a member of the species, and because theatre makes it possible, and because Chekhov is one of the most vibrant teeming sources of human behavior ever. George Orwell, enjoying Shakespeares countless loose ends, junk and trinkets and useless details, said, he loved the surface of the earth and the process of life. The same was true of Chekhov, who, I feel sure, would love the way his creations can, despite sorrow and failure and ugliness and death and wrong, still stride joyfully through fallen petals, unafraid of these layers of life at their feet, these playful things that bum with the pink possibility of spring and rustle with the sweet regret of autumn, that revel in Ranyevskayas spontaneous embraces and play banana peel to Yepikhodovs fearless pratfalls. The ambiguous, complex yet simple presence of these petals speaks volumes about the way Chekhovs people live in the place they live, because that presence draws its force from them and them alone, and means nothing without them.

The Only Person You Have to Please is You

The Only Person You Have to Please is You Yeah, thats hard for us to swallow sometimes. We write to be read. Eager to please, were like kids asking what are the rules so we can play the game well enough to win. We want people on the sidelines to root for us and tell us how well we did. We want the prize. Along the way, when times are rough, we remind ourselves that we are our best and worst critic. We might even say we only have to please ourselves, but we dont mean it. We get sad. Sometimes we cry. A few get mad and bash the publishing world as an evil, heartless machine that gobbles up the good and spits on the rest, stomping out the soul of art. But in the end, when were alone in our room staring at a screen that wont produce the right words, we have to face the fact we write for ourselves first, foremost, and last. Without our own love infused into our stories, they read dry. And to give love to something means to sacrifice and take risks. Remember, love can be unrequited. Many things we do in our lives we do for self-pleasure. While its a joy to be complimented for our efforts, the bottom line is we shouldnt perform without enjoying the experience of the performance. When you do, you shortchange the audience. Write a story that makes you smile, cry, or feel proud. Be truthful with yourself when trying to make it your best. Be thrilled when others enjoy the experience you worked so hard to produce, but try not to measure your success on the judgment of others. While its tempting to beg for the judgment, and shoved in our faces that success comes in terms of sales to others, nothing we do gets off the ground written in a vacuum with only an Amazon ranking representing the goal. Its like finding a friend. Not everyone likes you, and you dont like everyone. Only certain people connect with who you are. You have to be the best you to be the best for someone else. Without pleasing yourself first, you lose all hope of pleasing others. Have fun writing.

The differing notions of power and freedom explored in the Gorgias Essay Example

The differing notions of power and freedom explored in the Gorgias Essay Example The differing notions of power and freedom explored in the Gorgias Paper The differing notions of power and freedom explored in the Gorgias Paper What starts off as a discussion surrounding rhetoric, within the Gorgias, quickly but unsurprisingly transcends into a dialogue concerning the nature of virtuex of which the notions of freedom and power are intrinsically linked. Plato has the dialogue played out between Socrates and four others. Gorgias a famous Sophist and rhetorician, Polus his eager student, Callicles x and Chairephon a friend of Plato who plays little part in the dialogue. This essay shall split the dialogue into three parts, with each part considering Socrates debate with each of the three main protagonists. In each instance, the ideas of each individual regarding power and freedom will be expressed, Socrates response examined and the resulting implications surrounding his personal ideas explored. From this analysis, any overriding ideas throughout the dialogue may then be distinguished. Throughout the dialogues, power is usually the focus of discussion as opposed to freedom but it is fair to conclude that the concepts of power and freedom are so deeply intertwined that it often becomes difficult to disentangle them. Certainly Socrates and the three others seem to have similarly conflicting viewpoints regarding freedom and power. Usually in disproving his opponents views on power, he also, in conjunction, shows their idea of freedom to be faulty. The dialogue first introduces the notion of power via Gorgias, whom when questioned by Socrates declares rhetoric to be the greatest and noblest of affairs. Upon being asked by Socrates why this and not other professions such as medicine are not as noble, Gorgias retorts that a rhetorician can persuade a crowd to their personal line of thought through their oratory skills. In this lies power since they can dictate the desires of the population and bend them to their own device. Gorgias uses an instance of him competing against a real doctor to outline his point, he states that it would for him, as a skilled person in rhetoric, be easy to persuade an assembly or equivalent that it is he who is the expert in medicine and not the doctor. He could then get profit from this by being selected for posts above the real doctor. This is the notion of power that Gorgias believes an orator possesses. Power for Gorgias is the main goal in life and since, through persuasion, he believes he can achieve power, rhetoric becomes the supreme art for him. Gorgias does not dispute Socrates attack on his ideas, in that there is no truth in what a rhetorician can state i. e no real medical knowledge is necessary in order for the orator to convince a crowd that he is the expert. Socrates points out that there is no worth in convincing a crowd ignorant of medicine that you are knowledgeable in the subject. No good will come from this, there is no benefit here for society, nor is there any good for the individual. The orator does not further themselves by continuing on with such flattery, they are merely guessing at true knowledge. Gorgias also claims to be able to last web page Polus enters the conversation on the side of his teacher Gorgias and in particular is shocked when Socrates dismisses rhetoric as being equivalent to cooking in worth and the idea of Despite talk of flattery, Polus maintains that the orator is the most powerful person in a community because he can do whatever he pleases, like tyrants, put to death any man they will is the example he offers. Socrates response to this is simply No, if by power you mean something good for its posessor the ability to do whatever one pleases is not actually power. Wielding power is not good in its own right, there also needs to be some benefit coupled with the power. Plato uses the idea that rhetoricians are not intelligent in their own right to comment that if power is the ability to get what you want then a rhetorician, without any intelligence nor rational expertise lacks power. Platos argument here is not as convincing since he redefines want continually throughout this section. He appears to restrict wanting to cases where it is actual and not just apparent. Some commentators argue that Plato is deepening our understanding of want and not just changing his definition to suit his argument or alternatively highlighting the spurious nature of oratory, there is no real knowledge at the base of rhetoric could be the subtle point he is making. This line of thought though probably affords Plato too much credit in this instance. Polus continues to claim that political speakers have power, to which Socrates paradoxically replies that they have the least power of any in the state. In order to back this up Socrates claims that, although you may be able to do what is best, it is not necessarily true that you can do what you actually want. This is because of the fact that what you want is going to be good for you, while politicians always aim for their own personal good but if they do not appreciate what this good is they will end up doing what they do not. If they are doing what they do not want then they surely have no power. To complete the paradox, the philosopher claims that politicians especially are likely to be led away by others in order to gain approval rather than pursuing there own personal good which would be beneficial for them. The conclusion is that those who apparently have the most power turn out to infact have the very least. More potential chat on Polus Socrates brings up the issue of freedom by insisting on a distinction between doing as one sees fit and doing what one wants i. e negative and positve freedom. Polus has showed that the orator can do as he sees fit, but that doesnt automatically mean that he can do what he wants. Socrates argues, and Polus agrees, that some things are good, some things are bad, and some things are in themselves indifferent but can be either good or bad depending on how theyre used. What we want are the good things, but sometimes we must do the indifferent things (some of which may be very disagreeable, like taking medicine or going on a sea voyage) in order to get the good things. We dont want the indifferent things for their own sake, though; we want them for the sake of the good things. So strictly speaking, its the good things we want. However Socrates in many ways is not really justified in drawing a distinction between freedoms since If, however, we are mistaken about the connection between what were doing and that for the sake of which were doing it, we wont in fact be doing what we want. If I willingly take a bitter medicine in order to attain health, but in fact the medicine wont cure me, Im not doing what I want, even though Im doing as I see fit. In the same way, if I put someone to death or confiscate his property, but doing these things wont actually be for good, then Im not doing what I want, even though Im doing as I see fit. Following Polus acception of Socrates ideas Callicles enters the fray, in this the last section of the book. His arguments go beyond that of Polus, he approves of power over others in order that one can indulge their whims. His philosophy on how one should live is that of might is right citing nature as his justification a very similar line that was ultimately to be taken up by Neit zsche. Socrates points out though that his ideas may leave one vulnerable to an aggressor. Can a man avoid being wronged if it be his will to avoid it is posed as a question by Socrates, intuitively and for Callicles this would appear to be false. To avoid being wronged and hence to have real freedom you need power to protect yourself be it political or otherwise. Since doing wrong is involuntary, a consequence of error, you especially need power to protect yourself from this seemingly inevitable occurance. For Socrates, the problem this idea of power being necessary brings is that it assumes life at any cost is desirable even at a cost of moral corruption. Socrates replies that if life is infact the highest good, then even if rhetoric lead to power and hence the ability to survive one should also consider other examples such as swimming which has the potential to save lives. Even more so the mechanic who may save an entire community through the machines he builds. If mere life is viewed as the highest good, then these are equally as important as power in this respect. This goes a long way in showing that power is not necessay for freedom. It goes against Callicles definition of power being the freedom to do what you wish. In essence we find that Socrates is arguing that power is not an external force but an internal one, power over oneself i. e. self control is more important than power over others. It is this critical idea that seperates Socrates from Gorgias, Polus and Callicles. Socrates links true power inherently to having an ordered, controlled body and soul. Since rhetoric, as shown by Socrates, contains no real knowledge and is simply false knowledge, no agathon or beneficial good is derived for the body or soul and hence this flattery does not provide you with any true power. The use of a dialogue on rhetoric to explore notions of power can be seen as clever on the part of Plato, since the common but false view of power, power over others, like rhetoric, gives out an impressive image but ultimately does little to advance the good and has little real worth. the discipline to act justly, live virtuously, and not need anything. Additional pertinence is carried, when one considers the recent events surrounding the historical Socrates death. Socrates was willing to die if it be the will of the government even though he had the means to escape. This treatment of power becomes all the more significant in light of the events surrounding Socrates actual trial and death. The philosopher was accused of corrupting through false instruction and treason, and convicted and executed because of his refusal to admit having acted wrongly. In light of this event and its close proximity to Gorgias creation, then, the nature of power for Plato takes on crucial importance in that he must prove his teacher died in strength rather than weakness. For Socrates contemporaries, the rampant view of power is the ability to rule over others and to satisfy ones own desires. This position is best expressed by Polus (466-69) and Callicles (490-492). Plato takes great care to debunk this formulation. On the one hand, Socrates argues, those who rule others often must perform actions they do not will in order to benefit the state of which they are in charge. In this sense then, apparently powerful tyrants are often unable to act as they will, and true power is shown to consist of something other than ruling over others. At the same time, those who repeatedly satisfy their desires do not possess real power because this gratification further fuels rather than extinguishes the appetites. A person capable of always satisfying desire is in constant need of more satisfaction, and as such possesses no true power. This point is illustrated in 493b by the metaphor of the leaky jar. Mention of probable proximity of Socrates execution to book and themes this may have inspired. Socrates views freedom for the most part, whether there is anything within that has any element of control. This would include not having any addictions or other strong needs. Ideally reducing ones needs until one is content with what is to hand is best.

Organizational Communication about internship Essay

Organizational Communication about internship - Essay Example The modern economy is moving from manufacturing to service orientation. In essence, service production is crucial to human life because it relates directly to human social activities (Downs & Adrian, 2012). Therefore, there are a lot of personal contacts with people. This is seen mostly in hospitality industries like hotels and restaurants. In such places, where business success is dependent on customer satisfaction, effective communication should be enhanced. A good communication strategy enhances customer satisfaction and attainment of organizational goals. Furthermore, because too much engagement with customers, communication helps to clear up misunderstanding and promote straightforward business deals free from inaccurate information, sarcasm, and personal attacks. Usually, customers are ‘right’ and they should be treated with utmost good faith to feel appreciated. This can be achieved by effective communication. According to Miller, (2014), there is no employee who wants to be a faceless cog. Irrespective of how small or big the organization is, workers who are not appreciated and accommodated will drain the moral of other workers leading to low productivity and high turnover. Before the voiceless employees drain others, the company can conduct regular employee surveys to ascertain issues affecting them. This is the most recommended method of getting their input clearly examined. Employee survey is paramount because the organization can identify the loopholes and take corrective measures. Surveys bring on board all the parties to understand what each one is expected to. As a result, productivity levels will be maintained. Written communication is formally accepted and removes doubts. Once words have been put on paper, it can easily be authenticated as opposed to written. Also, it cannot be easily altered and