The Implementation of a BSC System in Chilquinta Energia

Learn About the Birth Place of William Shakespeare

Learn About the Birth Place of William Shakespeare Its no secret that William Shakespeare was from England, but many of his fans would be hard pressed to name exactly where in the country the writer was born. With this overview, discover where and when the bard was born, and why his birthplace remains a tourist attraction today. Where Was Shakespeare Born? Shakespeare was born in 1564  into a prosperous family in Stratford-upon-Avon in  Warwickshire, England. The town is about 100 miles northwest of London. Although there is no record of his birth, it is presumed that he  was born on April 23 because he was entered into the baptism register of  Holy Trinity Church  shortly after. Shakespeares  father, John, owned a large family house in the town center that is thought to be the bards  birthplace. The public can still visit the very room in which it is believed Shakespeare was born. The house sits on Henley Street - the main road that runs through the middle of this small market town. It is well preserved and is open to the public via the visitor center. Inside, you can see how small the living space was for the young Shakespeare and how the family would have lived, cooked and slept. One room would have been John Shakespeares workroom, where he would have tailored gloves to sell. Shakespeare was expected to take over his fathers business one day himself.   Shakespeare Pilgrimage For centuries, Shakespeare’s birthplace has been a place of pilgrimage for the literary-minded. The tradition started in 1769 when David Garrick, a famous Shakespearean actor, organized the first Shakespeare festival in Stratford-upon-Avon. Since then, the house has been visited by scores of famous writers including: John Keats (1817)Sir Walter Scott (1821)Charles Dickens (1838)Mark Twain (1873)Thomas Hardy (1896) They used diamond rings to scratch their names into the glass window of the birth room. The window has since been replaced, but the original glass panes are still on display. Thousands of people every year continue to follow this tradition and visit Shakespeare’s birthplace, so the house remains one of Stratford-upon-Avon’s busiest attractions. Indeed, the house marks the starting point of the annual parade walked by local officials, celebrities, and community groups each year as part of the Shakespeare Birthday Celebrations. This symbolic walk starts in Henley Street  and ends at Holy Trinity Church, his burial place.  There is no specific recorded date of his death, but the date of the burial indicates  he died April 23. Yes, Shakespeare was born and died on the same day of the year! Participants of the  parade pin a sprig of the herb rosemary to their outfits to commemorate his life. This is a reference to  Ophelias line in Hamlet: Theres rosemary, thats for remembrance. Preserving the Birthplace as a National Memorial When the birthplace’s last private occupant died, money was raised by committee to buy the house at auction and preserve it as a national memorial. The campaign gained momentum when a rumor spread that P. T. Barnum, the American circus owner wanted to buy the house and ship it to New York! The money was raised successfully and the house is in the  hands of the Shakespeare Birthplace Trust. The trust subsequently bought other Shakespeare-related properties in and around Stratford-upon-Avon, including his mothers farm house, his daughters town house and his wifes family home in nearby Shottery. They also own the land where Shakespeares final home in the town once stood. Today, the Shakespeare Birthplace House has been preserved and converted into a museum as part of a larger visitor center complex. It is open to the public all year.

Entrepreneurial Marketing Essay Example | Topics and Well Written Essays - 2000 words - 1

Entrepreneurial Marketing - Essay Example They also strive towards safeguarding the environmental safety by reducing the carbon print of the breweries and introducing various green technologies. These green technologies have earned them both local and international awards. The brewery can maintain a great sense of sustainability, community, and passion for the best ale. The recent industry trends report over the last five years produced by various independent bodies including SIBA indicates that there is a continuing success that is visible in the Ale sector with yearly growth and emerging categories often gaining their market share. One emerging market sector is in the growth of the 330ml packaged beer bottle. This is attracting a younger audience. Since Hobsons is in need of venturing into this market with a sub-brand, it requires ample market research and analysis. This paper seeks to fulfill that by developing a sub-brand that is not detrimental to the other brands of the brewery. It also seeks on the target audience and means of engaging them and marketing the product this new product in the market. The main consideration of this project is to come up with a sub- brand for Hobson brewery, which is not detrimental to the existing brand of the brewery. This is due to the emerging growth of the market for the 300 ml bottle of beer. This beer is attracting a younger audience of above eighteen years and considering that they make a high percentage of the total population in the area, tapping into this market is beneficial for the company. The brewery company has to come up with the best strategies to market and engage their target audience. They also aim at knowing what additional beer styles to create to maintain a competitive advantage. Moreover, they aim at coming up with a communication activity where they would gather the required feedback from the targeted market. The brewery also aims at coming up with promotional activity to ensure that they attract and retain more customers in their targeted

Cold war Research Paper Example | Topics and Well Written Essays - 1250 words

Cold war - Research Paper Example Each tried to spread their ideologies to many countries as possible throughout the world, effectively dividing the free world between capitalism and communism. America was  lending economic and military assistance to the nations that agreed with its Capitalist  ideology, and Russia doing the same on the other side. This lead to division in, Korea which was split into North and South Korea, as well as Germany, which was divided into; East, for Russian and West for The  US and its allies; the extent of the division was embodied in the construction of the Berlin wall. The 25 miles wall was put up to prevent citizens of the East side from escaping to the west side. Hot conflicts also resulted from the war with the effects and losses being escalated by the backing of the superpower for each side i.e. in Korea and Vietnam. The war was hence fought in a variety of ways such as the arms race, with each country trying to acquire the most advanced atomic weaponry, the space race, where e ach of the two countries tried to make the biggest steps in space exploration as well as arming and supporting countries engaged in fighting with the other side’s supporters. ... From this point onwards both countries endeavored to produce as many weapons of mass destruction as possible mainly missiles, fast planes and bombs. New weapons were experimented on and, by 1960, both nations were working on mobile controlled missiles it was estimated that, by 1961, enough bombs had been made to destroy the whole world most of them by the two rival nations. They had bombs that could cause about a hundred times more damage than the catastrophic Hiroshima bomb had caused in Japan. 2 This had considerable financial implications since both spent millions in the development of weapons although America had the edge since it had a stronger economy. This led to the theory of mutual assured destruction  (MAD) which many claimed was the main reason the world saved from war, each of the two rival camps had so many weapons that if one attacked the other and the latter allies reiterated with nuclear weapons, there would be no winner, but both sides would suffer catastrophic los ses. Around 1970, the two nations were cognizant of the need to deal with the issue more flexibly and talks on reduced armaments begun in Ernest. The death or Stalin, a hardliner was also instrumental in ending the war as he was replaced by Goberchev who was more willing to negotiate with America. Russia backed North Korea in its attempt to invade and take over the south, and the United Nations backed the South, China also joined in the war and, for several years, the two sides fought each other with the armies driving each other to and fro, until they agreed to negotiate. This was; however, one of the conflicts between Russia and the USA albeit by proxy. The Vietnam War was

Monetary Theory and Policy Essay Example | Topics and Well Written Essays - 1250 words

Monetary Theory and Policy - Essay Example Currently, there is evidence that changes in the unemployment levels may be either good news or bad news in the Wall Street depending on the circumstances of these changes and the market trends. Importantly, it is worthy to understand the market factors that impacts on employment levels. Besides, whether the market is at expansion or contraction stage is crucial while determining the response of the stock market. On this note, the decrease of the unemployment rates within a country can be good or bad news depending on the market trends. Traditional economic theories have derived a relationship between economic development and the unemployment levels within a country. The argument is that high unemployment levels within a country indicates a slow economic growth and may depict a weak economy. On the other hand, low unemployment rates indicate economic developing and a stronger economy. The implication is that low unemployment rates is good news for the economy and the society must anticipate development in future. However, a number of instances have shown a complete different image of the stock market. As observed, an announcement of low unemployment rates in the US comes before the announcement of a drop in the stock prices in the Wall Street. For instance, in 2015, the US labor department has recorded an increase of 800, 000 jobs in February, which was followed by a 3%, fall in the Dow Jones Industrial average (Cogley 1-2). This situation has raised a controversy as more analysts point this to an anomalous change in the stock price market. This has led to the idea that the decrease in the unemployment rate is a bad omen that indicates a higher level of inflation in future of the economy. This is against the traditional theories that perceived employment as a positive economic factor that can drive market growth. More contemporary theories of economy have shown that there are times when good

The Aesthetics Of One Cult Film Film Studies Essay

The Aesthetics Of One Cult Film Film Studies Essay This essay will discuss the aesthetics of the cult film, Blade Runner. Firstly we will look at the way in which theorists have set out to define the extensive genre of cult film, looking at in particular, but not limited to, the works of theorists Telotte, Jancovitch and Sconce etc.   We will then analyse the film Blade Runner, dissecting the film and its aesthetics and discuss how, or if, they contribute to making it a cult classic, looking at its appeal to audiences, and what makes it transgressive in its theme and style. Cult film is a diverse and wide-ranging quasi-genre that cannot be attributed to one set of stylistic conventions, as Sconce comments in his study [cult film] would include entries from such seemingly disparate subgenres as bad films, spatterpunk,mondo films, sword and sandal epics, Elvis flicks, governmental hygiene films, Japanese monster moves, beach party musicals, and just about every other historical manifestation of exploitation cinema from juvenile delinquency documentaries to soft core pornography. (Sconce, J (1995)  Cult fictions: Cult Movies, Subcultural Capital and the Production of Cultural Distinctions. p.373). There is one feature that can be attributed to that of all cult films the devout admiration that it receives from its fans, Sconce argues this further it is not defined according to some single, unifying feature shared by all cult movies, but rather through a sub-cultural ideology in filmmaker, films or audiences are seen as existing to the opposition to the mainstream. In other words, cult is largely a matter of the ways in which films are classified in consumption. (ibid p.373).   As there are no clearly defined set of characteristics that define a cult film, I believe it is useful to look at  the etymological root of the word cult, which  comes from the Latin word cultus and means belief and ritual. J.P. Telotte states in his 1991 book Beyond All Reason: The Nature of Cult, that the word  signifies both adherence and mastery and also submission and domination, meaning that the word is steeped in a dual purpose to both worship and control (p.14). Telotte furthers this argument by stating that a film transitions to its cult status by the actions of its fans through a process of reception and conversion a film is transformed into an object of cryptic worship and a supertext is created by the audiences actions with the original text (p.7). Other theorists such as Jancovitch and Sexton also empathise this strong link between cult films and audience appropriation processes. All theorists also argue the process of resurrection is a feature of a lot of cult f ilms that a film takes on cult status when it is resurrected from its critical and / or commercial failures and  takes on a new life through its adoption by this new niche audience. The film is brought back to life within a different cultural context, attracting strong emotional connections from audiences who use it to define themselves in opposition to what is considered as the norm or mainstream at that time (Jancovitch (2003) Defining Cult Movies: The Cultural Politics of Oppositional Taste. p.1). This inference that cult film viewers love their films for aggressively attacking the established quality of cannon cinema  Sconce, J. (1995) Trashing the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style. p.374) and that the text is not always in opposition on its release, is often drawn upon when assessing the cult film. It is this resurrected category of cult films that Ridley Scotts Blade Runner falls into.   Transgression is another feature of many cult films as, as stated, cult fans are often attracted to themes and styles that can clearly be understood as in opposition to the mainstream, ignoring the established conventions and rejoicing in difference. According to theorist Barry Grant, transgression can be understood in terms of content, attitude or style (Grant, B K (1991) Science fiction double feature: Ideology in the Cult Film. p.123). Saturated with cultural visual references and clichà ©s, generic hybridity, collage-like excessiveness, and technical incompetence are all recognised stylistic and aesthetic examples of transgression in cult film. Transgressive subject matter in cult films are the subjects that often are ignored or deemed too taboo for mainstream cinema such as rape, transvestism, social / political critique, incest, dehumanisation, ideas of dystopia and slavery etc. Blade Runner can be seen as transgressive in its style, content and attitude by the way in which is paints a gritty, dystopian vision of the future that explores themes of dehumanisation, slavery, social criticism and crisis and corporate / capitalist greed. The aesthetic aspects of the film present a shadowy, rainy visual style that is indebted to the genre of Film Noir. This helps to reinforce the subversive themes, submerging the audience into a dark, oppressive world that is familiar (through its constant cultural references) but alien at the same time, namely though its captivating special effects. Blade Runner can also be seen as transgressive in its narrative style and pace many viewers criticised the film for its slow-developing storyline and filming style that went against the speedy, action-packed action of sci-fi films of its time. It is also a prime example of generic hybridity, crossing over cinematic styles such as Film Noir, Science-Fiction, Thriller and Romance.   You are no longer simply a fan of Blade Runner: you are part of the world of Blade Runner or even a blade runner yourself. (Brooker, W (1999) Internet Fandom and the Continuing Narratives of Star Wars, Blade Runner and Alien, p.60). Ridleys Scotts Blade Runner, released in 1982 (re-release 1992) by Warner Bros, was adapted from Philip K. Dicks novel Do Androids Dream of Electric Sheep? by Hampton Fancher and David Peoples. Initially it was not well received but went on to achieve cult status with fans dedicating websites and fan conventions to the film. Depicting a dystopian Los Angles in 2019, it is now thought of as the benchmark with which to compare cinematic representations of urban decay. The film has made a lasting impression and long stayed in the minds of countless fans in the 30 years since it was released, justifying its further releases.  Blade Runner was released during the same year as big blockbuster hits such as E.T. and Star Trek II. Not only did the film have to compete with such big-budget movies, but these films are almost in direct opposition to Blade Runners gritty disposition, and their up-beat attitude. Unsurprisingly the film was not a box-office success, taking only $14.5m in ticket s ales whilst costing an estimated $28m to make. Critical reception was also disappointing with most reviewers failing to fully understand the film in one sitting, and so dismissing the narrative as muddled and inconsistent. Fortunately Blade Runner was produced around the same time as the arrival of home cable and videotapes and was chosen as one of the first films to be released for home video. This ultimately meant that the film was now made available for people who wouldnt normally go to the cinema to watch sci-fi films and enabled the viewer to watch as many times needed in order to fully understand and appreciate the complex narrative, and it was in rental video and cable TV that Blade Runner found its devoted audience. Since this time the film has been released a further two times once ten years on in 1992 as a Directors Cut and again in 2007 as a five-disc Final cut including deleted scenes and commentary the ultimate collectable for the cult fan. Although there were only tw o official releases, there are several different versions of the film. This enables the cult fan to research the details of the other versions, helping them to better understand and identify the film and fulfil their desires for more.   First, the [cult] phenomenal experience is an aesthetic one. It is an experience that is sought for its own sake- as an end in itself. (Mathijis, E Sexton, J (2011) Cult Cinema p.18).   In Blade Runner, cult aesthetic techniques help to articulate the films critique of capitalism. The shadowy visual style is all-encompassing and supports the films transgressive themes. The set design and narrative use of set spaces create an atmosphere of (frightening) splendour and mystery. The high towers are only accessible by futuristic flying crafts (only available to the police) or by controlled access lifts. Blade Runner contrasts an upper city for the authorities and the wealthy, with a dirty and more chaotic lower city for the masses. The continual darkness and absence of natural light constantly remind us of mans destructive greed and is juxtaposed to the bright neon lights of the commercial adverts placed in every possible space. These mesmerising neon billboards and corporate adverts that dominate the city signify capitalist greed and are the only source of light in what would otherwise be a very bleak and depressing environment. The garish pink and red colours also evok e references to Hell. In their stark contrast to the obscure landscape below, the bright neon colours suggest the links in advanced capitalism, with the sparkling promises of consumption and the cruel realities of production and the mundane. These urban scenes manifest our fears about urban decay, and visualise our anxieties of complete corporate dominance of everyday life. The urban images paint a ruined and devastated natural environment with many buildings abandoned and streets overflowing with rubbish. I would argue that the use of the light in the film enhances the themes of social and political critique and thus helps cult fans to understand it as in opposition to the mainstream and thus identify themselves with it. Camera angles, shadows and the use of smoke are also very important aesthetics in conveying the films dark mood. POV camera angles are used to help the audience identify with the characters who are both humans and replicants- highly advanced cyborg slaves, manufactured by the Tyrell Corporation, that are More Human Than Human (The fictional companys marketing slogan) and eventually become hostile to their creator. Wide sweeping shots with high camera angles, looking either up at the tall imposing buildings or down at the dark streets, convey the enormity of the city and its intimidating atmosphere. This atmosphere of fear and intimidation is also created through the use of filming the city through the glass-bottomed police hover-cars that patrol the streets and see al l there is to offer in this dismal landscape. Scott uses shadow to continue the theme of darkness which, of course, lends from the Film Noir style of using shadow to create mood and enhance drama. The darkness continues even with indoor scenes and as in Film Noir movies, blinds are used to separate light and fragment the narrative visually. Shadowing is often used in the film to convey the underlying darkness in the narrative when it may not be apparent this is evident in a scene in JF Sebastians flat where Pris and Ron Batty (replicants) are hiding out (Sebastian is not aware they are Replicants) and although the characters are being nice to Sebastian, the viewer can sense that something more sinister is going on. Smoke is another feature used heavily in the film to create mystery and fear. Most characters smoke, expressing their paranoia and anxiousness. Smoke also emits from the industrial buildings, polluting the city and again, adding to the sinister tone.   Blade Runners generic hybridity is a recognised transgressive aesthetic within Cult film, with Telotte arguing that the generic mish-mash is a defining element (Telotte (1991) Beyond All Reason: The Nature of Cult  ). As discussed, Blade Runner embodies the visual style and aesthetics of many different film genres, such as Film Noir, Thriller, Romance, and of course Science-Fiction. Sci-Fi as a generic style is displayed in many cult films the groundbreaking special effects and visuals present the possibilities of new worlds with strange creatures and previously unimagined landscapes. This becomes the perfect breeding ground to explore the transgressive and subversive themes mentioned above.  If generic hybridity and collage-like excessiveness are recognised cult film aesthetics, then Film Noir and Thriller are perfect genres to lend from, for their roots in formal complexity are articulated through aesthetic and ideological ambiguity. According to Nicole Rafter Film Noir and cr ime films provide ways for viewers to enjoy fantasies of violence and law-breaking by offering forbidden pleasure and its chastisement, they offer viewers both transgression and the return to conformity, thus alleviating their anxiety about social norms (Rafter, N (2000) Shots in the Mirror: Crime Films and Society  p.153-154). This can easily be related to Telottes ideas on transgression in cult films that they allow the viewer to embrace the other within them and that this is a gesture or a feeling of being transgressive without actually being transgressive (Telotte, J P (1991) Beyond All Reason: The Nature of Cult  ). As mentioned above, the themes and narrative structure of Blade Runner are complex and the average viewer may find they need to watch the film many times in order to fully appreciate and understand it (which in itself encourages cult viewing). In conclusion I cannot deny that Blade Runners aesthetics are what set it aside from the popular movies of its time and so encouraging fans to read it as in opposition to the norm, and identify / align themselves with it. There is also no denying that the aesthetics and mis en scene come together to help narrate the story and support the films transgressive themes, again helping it to achieve its cult status. Fans can surround themselves in this strange but magical world and rejoice in its difference. Ultimately I believe that it is not solely a films cult aesthetics that establish it as cult film or encourage a cult following. Instead they support and encourage the cult themes and subject matter helping to visualise the films sub-cultural ideology (Sconce, J (1995).  

The Destructive Power of Pain Essay -- Expository Essays

The Destructive Power of Pain There are two types of pain that we all experience, physical and emotional (or mental). Physical pain is a signal of the nerves; therefore it is something that is tangible, something that we can prove is there and something that we can feel. Emotional pain is hurt on the inside of one's soul. It cannot be expressed; it is only a feeling in the soul. According to the Christian view, pain makes someone a better person. However, some people disagree with this because they believe that pain destroys a human being's self-worth. Physical pain is a signal given by nerves that an organism is in a potentially hurtful environment. This is the type of pain that hospital in-patients experience, and it often incites a negative reaction when it is in an extreme form. Constant pain can distort the patient's view of the world and surroundings and can make him/her self-absorbed with alleviating the pain. To others, the patient may appear selfish, impatient, quarrelsome, and greedy, but his actions are merely a result of the pain that they are suffering. Jim Jones, a hard working construction worker, was severely injured one day when a sheet of metal fell on him and severed his leg. While in the hospital, he became withdrawn and very short -tempered with the nurses, and he was angry if he was not cared for immediately. He was in so much pain that he lived from one dose of morphine to the next and if the nurses were even one minute late he became impatient. It was as if he thought that there were no more patients in the hospital besides him. When his family came for daily visits he became very quarrelsome and didn't want to accept any help from them, because he felt that he was useless and could no longer contri... ...ng, such as pain. An example of this is to try and describe the color blue to somebody. One can say it is like the color of the sky, or the ocean, but he can't really say what it is. If he could, he could describe blue to a blind person. Even though we don't know how to talk about pain, we can treat it. Medicine is able to stop the nerves from sending a message to the brain. Psychiatrists are able to find the root of a problem and alleviate it. There are some who would say that God is the only one able to take away pain (both physical and emotional). However, others would say that pain can never truly be taken away, just subsided. And still others say that pain really isn't a thing, it is an illusion that can be overcome. Anybody who has hit their thumb with a hammer would swear that this isn't true. If one were to ask them why, they would say "because it hurts."