Shakespearian and Spenserian Essay Example for Free

Shakespearian and Spenserian Essay Sonnets are poems about different types of love, they are about, romantic love, were the love is equal, both partners love one another, unrequited love where the love is only one sided, you love someone but they do not desire you in the same way, and then there is bereavement, when you are grieving the death of a loved one. The poets who write these sonnets try to explain the impossible, what is love? By expressing what they feel for their partner on paper, whether it be exaggerated or just honest. But in order for us to recognise what these poets are trying to express, they use similes, images and symbols so the readers can relate to what the poets are trying to say. Sonnets have a rule that they must be fourteen lines long. There are three different types of sonnets, Petrarchan, Shakespearian and Spenserian, and they have different structures, for example Petrarchan sonnets have an Octet Sestet structure with Octet being the first eight lines on the first idea and the Sestet being the last six lines on a variation on the first idea, while Shakespearean and Spenserian sonnets have a Quatrain Quatrain Quatrain Couplet structure, the first four lines on the first idea, four lines on second idea, four lines on development of previous idea and the two line Conclusion. Also the sonnets have a rhyming scheme in which Shakespearean sonnets are written as ABAB CDCD EFEF GG, Spenserian is written ABAB BCBC CDCD EE and Petrarchan has an ABBAABBA CDCDCD, though the Petrarchan rhyming scheme isnt always CDCDCD but can have a regular pattern CDCDEE. The Garden of Beauty is written by Edmund Spenser, in which he compares his lovers beauty to nature, and says that she is far greater than anything he has ever seen. Spenser has compared his lover to flowers like roses and lilies Her ruddy cheeks like unto roses red his telling us that his lovers cheeks are as red as roses, he also goes on to say Her breasts like lilies ere their leaves be shed her breasts are as white as lilies and Her lips did smell like unto gilliflowers that her lips are sweeter than flowers. Spencer then ends his statement that she is more beautiful than nature itself, that she is perfect. However in sonnet Sonnet130 one of Shakespeares is the complete opposite to The Garden of Beauty because Shakespeare does not exaggerate the truth of his lovers beauty, but instead is more honest about her looks but says that he still loves her. Than in the breath that from my mistress reeks If hair be wires, black wires grow on her head he says her breath is not as sweet as any perfume, and her hair is not smooth but is like wire but then he concludes his sonnet to say And yet, by heaven, I think my love as rare As she belied with false compare he is saying he loves her for who she is and that his love is true that he is not blinded by false compare. Surprised by Joy was inspired by the death of William Wordsworths daughters death, he is grieving her death and trying to come to terms with it Knowing my hearts best treasure was no more he calls her his heart, she was his most treasured joy and now she is gone, he is finding it hard to accept, he is finding it impossible to be happy when the thing that makes him happiest most is gone. He feels guilt because he was being happy for once, and he had forgotten his heart, but then he remembers and punishes himself for doing so, in a twisted sort of way he gets pleasure for feeling guilty, a guilty pleasure as if punishing himself is the right thing to do, as if it would be what his daughter would want him to be doing for him to never experience happiness again. In Remember Rossetti says that she would rather people forget and be happy and to enjoy them selves rather than to remember and have a frown upon their face Better by far you should forget and smile Than that you should remember and be sad she just wants everyone to be happy and move on with their lives and not stay in one place and be miserable with sad memories. The sonnet I prefer is Remember for the simple fact that it is true to forget once in a while and have a good time than to punish your self. Unrequited love is when you love someone and they do not love you back. The red and white roses in Red and White Roses by Thomas Carew represent, the passion and the coldness, the red rose for the passion he feels for his love and the white rose represents to coldness his love interest has towards him. The fire and ice in My Love is Like Fire to Ice also represents the passion and coldness, the fire is the passion like the red rose and the coldness is the ice like the white rose. The fire and ice expression is more effective than the red rose and white rose because the fire is not extinguished by the ice not is the ice melted by the fire, in fact it seems the more she rejects Spenser he the more he wants her his fire only grows with the ice. Such is the power of love in gentle mind, That it can alter all the course of kind he is saying his love for her is breaks the laws of nature and is stronger than any science. My favourite sonnet overall is the Sonnet 130 by William Shakespeare because although it is honest, Shakespeare Is too honest in that it becomes kind of comedic in the way that he loves his lover even if she is not perfect in beauty but is perfect in mind.

Economic Pursuits of the Jews in the Middle Ages :: essays research papers fc

  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Economic Pursuits of the Jews in the Middle Ages   Ã‚  Ã‚  Ã‚  Ã‚  The Jews in the middle ages progressed economically through various occupations. Their economic status was very volatile for many reasons. No area of Jewish life in Western Europe offers such a perpetual change as the economy does. The Jews most specifically participated in international trade, crafts, slave trade, local trade, and most popularly in money lending.   Ã‚  Ã‚  Ã‚  Ã‚  The Jewish people participated in commerce in the countries of western Mediterranean . However, Jewish roles in commerce were rather limited because Syrian merchants in Gaul who supplied the population with luxury articles imported from the East monopolized the whole commerce scene . There would be a consistent war between Muslim and Christian fleets at sea, which left the Jewish merchants at a neutral status. As a result, Jewish merchants who were kidnapped at sea by pirates had a better chance of getting their ransom paid by their co-religionists . Jewish merchants had become very competitive which supposedly put some fear on others. Consequently, in 945, the Venetian government ordered its ship owners not to carry Jewish passengers .   Ã‚  Ã‚  Ã‚  Ã‚  Jewish merchants traded in amber, textiles, hides, arms, spices, precious stones, and other luxury articles . Their clientele consisted mainly of royal and ducal courts and the aristocracy, both secular and clerical . There were other groups engaged in international trade, and Jewish merchants were not the dominant role in the commerce scene . In the cities re-conquered from the Muslims in Spain, Jews played a decisive role in the revival of commerce and industry, and especially in the production and merchandising of clothing . As well, England’s Jewry had a role in commerce, too .   Ã‚  Ã‚  Ã‚  Ã‚  After the year 1100, The Jewish role in international trade began to decline . The Hansa cities began to replace the Jewish traders. Their ships were heavily armed, and were no match for the Jews .   Ã‚  Ã‚  Ã‚  Ã‚  Some believe that Jews controlled the slave trade . Jews were also accused of kidnapping Christian children and selling them to Muslims in southern Spain. The proportion of Jews among the slave traders was smaller than their proportion in international trade . Jewish participation in trading Christian slaves was limited because a Christian ruler sometimes protected it . The Jewish merchants faced many unfair obstacles because of blunt discrimination. The Christian merchants were not faced with these same obstacles such as not being able to trade other Christian slaves.

The musical strategies of some exemplary ‘titles’ sequences in a way that illuminates the function of music in entertainment cinema

In order to view a variety of techniques used, the title sequences of four films will be analysed: from classic Hollywood cinema Casablanca and Psycho, a modern Hollywood film, Edward Scissorhands, and a recent Russian film, Prisoner of the Mountains (Kavkazky Plennik). In non-musical terms Casablanca, Psycho and Edward Scissorhands all present different versions of the classic Hollywood technique of using a closed, self-contained titles sequence. Meanwhile in Prisoner of the Mountains there is an extended sequence before the titles begin, and this sequence includes music. The following points need to be addressed with regard to each film: how the music in the title sequence coincides with the visuals (i. e. how the sequence works on its own); what kind of role the music plays; how this can be interpreted in terms of its effects on audience expectation and manipulation; and finally how the music of the title sequence relates to that which is used later on, and in what context the title music itself is used. In Casablanca the normal Warner Bros fanfare accompanies the studio's logo at the very opening, and drum music links the picture to the visually static title sequence which uses a map of Africa as its background. This develops into ‘oriental' music for the full orchestra, using several clichis developed from the western perception of the ‘orient', such as the persistent use of the melodic progression tonic/leading note/flattened-submediant/dominant (i. e. C, B, A-flat, G) played predominantly by brass and reed instruments. When the credit for the composer Max Steiner appears, the music shifts and plays La Marseillaise, the French national anthem, but this concludes with an interrupted cadence rather than its normal perfect version. We must also examine the next sequence as it forms a unit with the title sequence, using both music and partly-animated visuals. We see another globe, this time used for the mapping of the physical and causal route to Casablanca, from France and other places. Clips of paradigm journeys are superimposed onto the map as the refugees flee Paris and Marseilles. The music accompanying this follows on from the pessimistic nature of the interrupted cadence of La Marseillaise, building down to low, dissonant and lugubrious chords on brass which begins to be accompanied by a romantic high, intense and chromatic melody for strings in octaves. Finally, as the first scene of the film begins in a market square in Casablanca, the music returns to oriental music, this time, supposedly, diegetically. The role of this sequence is manifold: firstly it establishes Casablanca as the physical and spiritual setting for the film, corresponding to the geographically blatant use of maps. It also adds interest to an otherwise static title sequence, and indeed, is a montage of the musical themes that are to be presented in the film. The first two themes (‘Oriental' and Marseillaise) are so explicit that they do not take on much contextual meaning in this original setting, but rather set up purely musical expectation, which can be utilised by transformation or by various possibilities of juxtaposition with visuals. The third ‘suffering, yearning' theme is less familiar and therefore takes meaning from its context and becomes associated with the desire for freedom and liberty. In this sense the themes sum up the plot: as captivity in a wild land (oriental), fettered liberty (La Marseillaise and its cadence), and romantic human yearning for freedom. Generically, the nationalistic music also helps establish the film as a ‘serious' war film as well as a melodrama. The main strategies of the musical sequence, then, are clear: to introduce the main musical themes in a way that makes the introduction understandable and establishes its genre. By its nature the music also manipulates the audience into feeling the setting to be removed from their own settings by the fact that the oriental music is exotic in an Romantic orientalist sense rather than in a Moroccan sense, establishing the film as a western work. The manner in which the title music influences the rest of the film is generally easy to detail. Unlike the manner in which As Time Goes By is used in a proliferating way, the occurrences of the title themes are used to remind us of their original or implied contexts and meanings. The Marseillaise theme is used as a symbol of France (for the flashback sequence) but more generally as a marker of the success or failure of idealism and the Allies in its battle against cynicism and Fascism: its overall movement is from the interruption of the titles to the only full cadence in the final scene as Louis finally gives in to patriotism by throwing away the Vichy water. Oriental music is used more scarcely as the setting has been established, but it is used diegetically in the Blue Parrot scenes to distinguish it from the more homely and American Rick's (‘Cafi Americain'). Thus some of the title music was truly introductory and other parts were to be used for future reference. The fact that As Time Goes By was not used indicates that it did not attempt a full musical accumulation of themes but concentrated on those necessary to understand the first scene. The title sequence of Psycho is more closed and self-contained than that of Casablanca due to the manner in which the music of the titles is separated – both by silence and by change of mood – from the opening scene. The sequence is also far more visually captivating due to the thrusting horizontal lines that shoot across the screen and distort the titles themselves, culminating in a vertical meeting of upwards and downwards-moving lines and a release. Unlike Casablanca there is no aspect of narrative or historical context, but rather the establishing of a mood, as the lines suggest frenetic activity, violence, splitting and then final dying union, as the lines meet and fall away. The music, meanwhile, uses three primary textures in succession, all of which are linked by the modernist language and string scoring of Herrmann's score. The first is a driving ‘motor' rhythm of double-stopped dissonances in the tradition of The Rite of Spring, which develops by superimposing variants of a basic cell onto itself and thus expanding in volume and texture. The second is this rhythmic idea as an accompaniment to a soaring violin theme which is still not entirely Romantic in character due its persistent crotchet motion. Ostinati are thus the key to the sequence. The third texture is the ‘sharp' rhythmic idea used by smaller sections of strings in upwards sequences, dying away with the visual lines, and reaching an extremely high tessitura. The music stops and pauses before the opening scene begins with slow weakly-discordant descending chords in the style of Debussy. ‘The real function of a main title, of course, should be to set the pulse of what is to follow†¦ I am convinced, and so is Hitchcock, that after the main titles you know that something terrible must happen. The main title sequence tells you so, and that is its function: to set the drama. You don't need cymbal crashes or records that never sell'. 1 Thus Bernard Herrmann both states the specific strategy of the musical cue that accompanies the title sequence in Psycho and proposes a general theory of the function of titles sequences. He also justifies his choice of a string orchestra for such dramatic music, and in other places likens the string sound to Hitchcock's anachronistic monochrome. The strategy, then, is to sum up the essence of the film. That essence is surely the surprising ‘primitive' (in the primitivist sense of Stravinsky) violence that describes the title word, and in no way sets the scene for that which immediately follows. The music is fiercely modernist for a cinema audience but still within their understanding so that, along with the visuals and the word ‘psycho', the main element of the titles establishes itself as distinctly inhuman and violent. Just as the straight lines penetrating the screen and the titles can be interpreted as predicting the motion of stabbing and also the split character of Bates, the music is ‘stabbing' in its chords and ends ‘screaming' as Marion will do. The horror genre is thereby indicated, but the music's insistent intensity hints at the obsessively psychological nature of Hitchcock's art. The influence of this titles music on the rest of the film is subtle. The first scene is entirely removed from it by mood, if not completely by musical language, a feature that unifies the entire score and film. The first time the titles music is reused is when Marion realises that her boss has seen her driving her car after she had told him that she was going straight home to bed. The fright she suffers, and the effort with which she suppresses it in order to force a smile at her boss, seem to initiate the return of the violent double-stopped ostinati of the titles. Here there is a meaning attached to a mood which we understand to be the essence of the film: the music is in some way linked to the Marion's subjectivity and also the insistent technology of the car. Marion is shown to be a transgressive woman, and this raises the expectation that Marion herself may be the psycho: she has a headache; she hears voices in her head; she has stolen money; she drives – a masculine pastime in most films; and accordingly her fright is expressed not through Romantic scherzo music but by this horror music. This expectation is, of course, entirely false. Meanwhile the explicit violin theme of the titles is used to fill the screen just as Marion's face does as we watch her watching the road, amounting to a nullification of any reluctance we might have towards voyeurism. The most powerful influence the titles music has over the film is its various ways of presenting ostinati. We learn to decode this new musical language in stages, so that the deep ostinati heard as the dying Marion falls to the floor in the shower is distinguished from the niggling four-note repeated figure associated with Marion's decision to run away with the money. They mean different things but are united by technique and by the world they draw for the audience. Edward Scissorhands toys with genre: it is a both a genuine horror film and a parody of one (of the Frankenstein and Beauty and the Beast traditions); it is also a fantasy, a comedy and a melodrama. This is recognised in the titles sequence and the music that accompanies it. The studio logo is accompanied by snow and then there follows a title sequence that is ambiguous as to whether it is animated or real. In fact, it turns out that much of the sequence is real and is taken from later scenes involving Vincent Price that are vital to the plot, such as the brief view we have of him dead and the hands that could have been Edward's. However, this is all crafted with elements of Gothic fantasy, using discrete images from the house/castle, beginning with dark shadows and an old door opening, moving to what we later realise was the inventor's laboratory, and this culminates in the purely fantastic animation of hearts and other ‘shapes' falling like snow, with which the title sequence concludes. Danny Elfman's music for this sequence is remarkable mainly for its orchestration: it begins with solo celesta, then strings are added, accompanying a plaintive cor anglais, and then a full (and massive) orchestra plays the main theme, to which is added a celestial and voiceless choir, which sings to ‘oooh'. The chord sequence that is most prominent is a major tonic triad moving to a minor triad of the submediant. In effect, the sequence is akin to an amalgamation of Casablanca and Psycho, for it uses the technique of joining the titles to a ‘false' first scene, whilst dissociating it from the first ‘real' flashback scene, which begins in prosaic silence. Elfman's music is fairly uniform here but multivalent. The magical nature of the film is set by the celesta and the harp/flute-oriented nature of the full orchestration and finally by the angelic voices. The magical interpretation of this combination of instruments is accepted by way of Chaikovsky, Debussy and John Williams, from whom the harmonic progressions are also borrowed. The element of horror is marginalized but represented by low strings and the melancholy of the cor. The voices add a layer of naive wonder that is rather over the top, something that is a major part of the film. The audience is led to expect a fairy tale with an element of horror to it, but also the clues to the somewhat tongue-in-cheek nature of the film are also present in the music. Importantly, from the very beginning this affective music is associated with the house and Edward. The element of falling in this film is highly significant: many of the moments of greatest significance revolve around the falling of snow, which is finally associated by the old woman of the present with Edward's very existence, and thus the existence of the film and of magical naivety and goodness, with the falling of snow; in the studio's very logo before the titles there had been no fanfare but silence accompanying the falling of snow; in the titles the ‘shapes' are shown to fall like snow: these shapes include hearts, which provide a link to humans and human emotions: the inventor falls when he dies and his fall is emphasised by the way in which we view his face as he realises he is to die. The sequence leading up to the inventor's death is the key to the explanation for Edward's condition, which is half the mystery of the film (the other half is how it will end), and it is drawn out by its progression being interrupted and alternated with scenes of the ‘present' (wi thin the entire flashback of the film). During this we realise the significance of what we had seen in the titles, and to emphasise this the titles music is brought back, and the tragic nature of the story is shown by the fact that we were ignorant of its intended significance until now. The other scenes in which the titles music features prominently are when Edward sees the picture of Peggy's daughter for the first time (choir ‘ooohs') and when snow is falling and Edward magically (for it would not be possible) creates beautiful ice sculptures with the girl as his enraptured audience (full statement of the main theme). Thus the titles music is used to indicate the presence of the picturesque, the naive will to do good and the tragic nature of fate. Those things not privileged by this music are, by implication, marginalized. However, the titles theme also proliferates the film as Elfman develops it by distortion (quarter-tone glissandi in the main theme) during moments of anguish. This is similar to Steiner's use of La Marseillaise in Casablanca. Finally, by way of contrast, we will look at Prisoner of the Mountains, a strong piece of anti-war propaganda made during, and based on, the ongoing Russo-Chechen conflict. The film begins with a long sequence before the titles, showing the recruitment process of a young man drafted in as a reserve soldier into the Russian army. We see him given a medical examination naked, which has an element of humour to it. Then we see an older soldier go to play pool outdoors with a friend and they drink in a relaxed, late-evening atmosphere. The contrast between the young and innocent and the hardened cynic is reinforced as the soldier, Sasha, responds to other soldiers being rowdy by firing off rounds of his machine gun in mock attack. As he shoots we see his tensed, macho face, there is a freeze frame and a song begins, the first music of the film. The song is an old one and is obviously recognisable as a popular song of the type popularised during the Second World War, a period that is a subject of great nostalgia for Russians. We then see a military manoeuvre operated by the Russians with both the old and the young soldier aboard a Russian tank. The song ends and we are brought out of nostalgia for the army to the harsh reality as we hear a solo plucked string instrument play an ‘oriental' snippet of melody. This alerts the audience to the possibility of danger from Russia's ethnic ‘others' and to the placement of the scene in the Caucasus mountain range. Suddenly the tank is ambushed and our two soldiers are severely wounded and left unconscious and seemingly dead by their comrades and are captured by the Chechens. Finally the titles begin with an endless panorama of the mountains and dramatic orchestral music in an orientalist style. Here it is difficult to determine what constitutes the essential title sequence if one accepts Herrmann's definition. The music that accompanies the titles certainly does more to emphasise the setting and the drama of the film, but we cannot forget what has already happened. The freeze-frame on Sasha's face as he fires in connection with the ultra-popular song is so strong a device so difficult to interpret on first viewing that it dominates the opening. Moreover, whilst the opening music is hardly reused before the end of the film, there is another sequence which is crucial to the film's anti-war message: the two Russians are kept hostage, chained together, for a long period and it becomes increasingly likely that they will be killed. As they sit together, back to back, Sasha begins to sing another old WWII song in a triumphant, brave voice, something that is obviously escapist. Suddenly his voice is multiplied and the song is taken over by a huge chorus and the shot moves from the two men to the vast expanse of the mountains, so that he can be seen to become the might of the Russian army. As the song is still being bellowed out, the shot changes back to the men, and Sasha is crying frantically. The false expectation of escape in patriotism that had been set up by the song is revealed, and this makes sense of the opening song in addition. In a sense, then the titles sequence constructs a conventional colonialist Russian audience led to be wary of foreign subjects, whilst its other musical material works against this. It is possible to generalise our observations to note that for every film here the titles operate as a kind of first subject of a sonata-form movement: they establish certain information about the film's essence which can be developed in a linear way, as in the thematic references in Casablanca and the thematic distortions of Edward Scissorhands, or in a more accumulative way, as with the manner in which the music for the titles sequences in Psycho, Edward Scisssorhands and Prisoner of the Mountains gains in meaning as we acquire more information. As an audience we are led to believe that the titles have meaning and, like the subject of a sonata, will be recapitulated.

Case Study Business Process Reengineering General Motors...

Case study: Business Process Reengineering General Motors Corporation â€Å"General Motors is one of three leading automotive manufacturing companies in the United States. Based in Michigan in 1903 by Henry ford and grew to reach revenue of $150 billion and more than 370,000 employees by 1996. In the 1970s, the automobile market for the major auto makers - General Motors (GM), Ford, and Chrysler- was crunched by competition from foreign manufactures such as Toyota and Honda. In 1999, Ford acquired the Swedish Volvo model in an attempt to compete in the foreign market and expand to other regions.† General Motors needs to use the business process reengineering for the information systems infrastructure to cut redundancies and requiring†¦show more content†¦This helped Ford save millions on recalls and warranty repairs. Ford has accomplished this goal by incorporating barcodes on all their parts and scanners to scan for any missing parts in a completed car coming off of the assembly line. This helped them guarantee a safe and quality car. They have also implemented Voice-over-IP (VoIP) to reduce the cost of having meetings between the branches. From this case study, I understood the level of commitment large firms have to maintaining their position in the market. These companies know the revolving nature of business in the sense of how easy it is to fall back if they did not keep up with the change. The Ford process also shows the need for quick and resourceful thinking when faced with situations that might seem to be unfavorable. The way Ford ventured into the foreign market by acquiring local manufacturers was a strategic decision that did not only enabled Ford to merge with different technologies, but it also saved it the additional cost of establishing production centers in Japan and Europe. 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