Arabica Coffee History and Facts

The Arabica coffee bean is the Adam or Eve of all coffees, in that is likely the first type of coffee bean ever consumed. Arabica is by far the dominant bean used today, representing about 70 percent of global production. History of the Bean Its origins date back to about 1,000 BC in the highlands of the Kingdom of Kefa, which is present-day Ethiopia. In Kefa, the Oromo tribe ate the bean, crushed it and mixed it with fat to make spheres the size of ping-pong balls. The spheres were consumed for the same reason that coffee is consumed today, as a stimulant. The plant species Coffea Arabica got its name around the 7th century when the bean crossed the Red Sea from Ethiopia to present-day Yemen and lower Arabia, hence the term arabica. The first written record of coffee made from roasted coffee beans comes from Arab scholars, who wrote that it was useful in prolonging their working hours. The Arab innovation in Yemen of making a brew from roasted beans spread first among the  Egyptians  and  Turks, and later on, found its way around the world. Taste Arabica is considered the merlot of coffee, it has a mild taste, and to coffee drinkers, it can be described  to have a sweetness, that is light and airy, like the mountains it comes from. Well-known Italian coffee grower Ernesto Illy wrote in the June 2002 issue of Scientific American: Arabica is a medium-to low-wielding,  rather delicate  tree from five to six meters tall that  requires  a temperate climate and considerable growing care. Commercially grown coffee bushes are pruned to a height of 1.5 to 2 meters. Coffee made from arabica beans has an intense, intricate aroma that can be reminiscent of flowers, fruit, honey, chocolate, caramel or toasted bread. Its caffeine content never exceeds 1.5 percent by weight. Because of its superior quality and taste, arabica sells for a higher price than its hardy, rougher cousin​ Growing Preferences Arabica takes about seven years to mature fully. It grows best in higher altitudes but can be grown as low as sea level. The plant can tolerate low temperatures, but not frost.  Two to four years after planting, the arabica plant produces small, white, highly fragrant flowers. The sweet fragrance resembles the sweet smell of jasmine flowers. After pruning, berries begin to appear. The berries are dark green like the leaves until they begin to ripen, at first to yellow and then light red and finally darkening to a glossy, deep red. At this point, they are called â€Å"cherry† and are ready for picking. The prize of the berries are the beans inside, usually two per berry. Gourmet Coffee Gourmet coffees are almost exclusively high-quality mild varieties of arabica coffee, and among the best-known arabica coffee beans in the world. The gourmet growing regions include the Jamaican Blue Mountains, Colombian Supremo, Tarrazà º, Costa Rica, Guatemalan, Antigua and Ethiopian Sidamo. Typically, espresso is made from a blend of arabica and robusta beans. The robusta species of coffee of beans make up the 30 percent difference of global coffee bean production.

Kwanzan Cherry Tree Profile and Care Instructions

Kwanzan cherry has double-pink, beautiful flowers and is usually purchased and planted for this reason. The upright-spreading form, reaching 15 to 25 feet tall, is quite attractive in many locations including near a patio or as a specimen away from lawn grass competition. The tree makes beautiful flowers and is planted along with Yoshino cherry in Washington, D.C., and Macon, Georgia for their annual Cherry Blossom Festivals. This cherry provides a strong contrast to lighter-colored cherry blossoms, like Yoshino cherry, by showing a pink flower later in April and May. It becomes a larger part of the cherry show as spring introduces flowering later in the Northeastern United States. Specifics Scientific Name: Prunus serrulata ‘Kwanzan’Pronunciation: PROO-nus sair-yoo-LAY-tuhCommon Name: Kwanzan CherryFamily: RosaceaeUSDA Hardiness Zones: 5B through 9AOrigin: Not native to North AmericaUses: Bonsai; container or above-ground planter; near a deck or patio; trainable as a standard; specimen; residential street tree Cultivars Some cultivars might be locally available including: ‘Amanogawa’(‘Erecta’): Semi-double, light pink, fragrant flowers, narrow columnar habit, about 20 feet tall‘Shirotae’(‘Mt. Fuji’, ‘Kojima’): Flowers double to semi-double, white, ruffled, about 2.5 inches across; ‘Shogetsu’—tree 15 feet tall, broad and flat-topped, flowers double, pale pink, the center may be white, can be two inches across‘Ukon’: Young foliage bronze, flowers pale yellow, semi-double Description Height: 15 to 25 feetSpread: 15 to 25 feetCrown Uniformity: Symmetrical canopy with a regular (or smooth) outline and individuals have more or less identical crown formsCrown Shape: Upright; vase shapeCrown Density: ModerateGrowth Rate: MediumTexture: Medium Trunk and Branches The bark is thin and easily damaged from mechanical impact; the tree grows mostly upright and will not droop; showy trunk; should be grown with a single leader. Pruning Requirement: Needs little pruning to develop a strong structureBreakage: ResistantCurrent Year Twig Color: BrownCurrent Year Twig Thickness: Medium Foliage Leaf Arrangement: AlternateLeaf Type: SimpleLeaf Margin: SerrateLeaf Shape: Lanceolate; ovateLeaf Venation: Banchidodrome; pinnateLeaf Type and Persistence: DeciduousLeaf Blade Length: 4 to 8 inches; 2 to 4 inchesLeaf Color: GreenFall Color: Copper; orange; yellowFall Characteristic: Showy Culture Light Requirement: Tree grows in full sunSoil Tolerances: Clay; loam; sand; acidic; occasionally wet; alkaline; well-drainedDrought Tolerance: ModerateAerosol Salt Tolerance: ModerateSoil Salt Tolerance: Poor In-Depth Neither stress-tolerant or highly drought-tolerant, Kwanzan cherry should be located on a site with loose soil and plenty of moisture. Not for an urban parking lot or exposed street tree planting where borers and other problems normally attack. It has some tolerance to salt  and tolerates clay if well-drained. Kwanzan cherry has good yellow fall color, does not bear fruit, but is somewhat troubled with pests. These pests include aphids which distort new growth, deposits of honeydew, and sooty mold. Bark borers can attack flowering cherries, and scale insects of several types can infest cherries. Spider mites can cause yellowing or stippling of leaves and tent caterpillars make large webbed nests in trees then eat the foliage. Kwanzan cherry prefers full sun, is intolerant of poor drainage, and is easily transplanted. However, the useful life of the species is limited to about 15 to 25 years for Kwanzan when on a good site. But it is an enjoyable tree and worth planting.

The Influence of Oscar Wildes Sexuality

Sample details Pages: 23 Words: 6988 Downloads: 9 Date added: 2017/06/26 Category Literature Essay Level High school Tags: The Importance of Being Earnest Essay Did you like this example? Oscar Wilde (1854-1900) was a writer whose homoerotic texts pushed the social boundaries of the Victorian era. Born to a family of unabashed Irish agnostics, the self-proclaimed dandy valued art, fashion, and all things physically beautiful. After receiving a comprehensive education from Oxford, Wilde made a name for himself in London first as a novelist, penning the now famous The Picture of Dorian Gray. A string of successful plays followed, among them The Importance of Being Earnest and An Ideal Husband. Wilde also published a variety of short stories and essays, but is acclaimed by historians for his pioneering influence over the aesthetic movement, aprogression that opposed the accepted Victorian take on art in everyway, shape, and form. Wilde postulated that art existed solely foritself, only for the sake of being art. His play The Decay of Lyingexemplified this tenet best, personifying his distaste for societys proclivities through a conversation between two people in a park.Though he fathered two sons, Wildes marriage fizzled as his personallife continuously hinted at homosexuality. Wildes inability to keephis private life secret proved to be his downfall; a love affair with aprominent nobleman resulted in Wildes imprisonment and expulsion from British social circles. Victorian Britain became increasingly morally rigid, its period marking a time when Britain was experiencing a growthin imperialism and conservative thought. While serving his term for homosexual acts, Wilde wrote the deeply spiritual De Profund is, inwhich he discussed his aspirations of individuality and freedom from the proprietary values that bound late Victorian society. Don’t waste time! Our writers will create an original "The Influence of Oscar Wildes Sexuality | English Literature Dissertation" essay for you Create order An avant-garde writer and raconteur, Wildes sexuality had a profound effect on his works, influencing imagery and the nature of his characters in both The Picture of Dorian Gray and The Importance of Being Earnest. Wildes sexuality and effeminate nature shaped his relations to aestheticism, which in turn manifested itself in his works moral implications. Wilde frequently employed thinly disguised doubles, representing himself in his work in order to juxtapose anaesthete and a traditionally Victorian society. Wildes aesthetics arestrangely connected to his obsession with Jesus Christ. It is peculiarthat such an unorthodox figure such as Wilde would find so much solaceand inspiration from such a religious source. In De Profundis, Wildes admiration for and comparison with Jesus takes on many levels. Helikens his persecution to Jesus crucifixion, a notion that evokeshubris, especially given Wildes naturally flamboyant disposition.Though not entirely humble, Wildes comparisons are based m ore on parallels drawn between Wildes persecution and the events leading to Jesus martyrdom. Many speculate Wildes eventual baptism and acceptance of Catholicism was a manifestation of imminent deaths madness as the famed author was too radical to accept religion withinthe boundaries of sanity. However, there are critics who contend that Wilde was very much in the mainstream of the intellectual currents of his time, a man clearly aware of what he was trying to achieve in terms of his life and art; in the end, he was willing to accept his newfoundstatus as a pariah, provided he could still create plays and prose. Considered by many to be the most outrageous trial of the century, Wildes fall from grace was so indicative of his progression and the significance of his unique works set in a time between the Victorianera and the modern age (Hoare 4). Wildes persecution reflected aclash of morals and ideals not unlike those faced by the protagonists of his novels. Wildes trial mimicked his imaginative fiction: it was a clash of opposites: of good versus evil, of heterosexualand homosexual, of masculine and feminine, of the safe and thedangerous, of what was seen as morally right or morally wrong (Hoare4). Homosexualitys Influence in The Picture of Dorian Gray and The Importance of Being Earnest Wildes homosexuality had a profound influence over his work. His own experiences and relationships are projected into The Picture of Dorian Gray, and it is widely speculated that the characters Basil, Lord Henry, and Dorian are different aspects of Wilde himself. Wilde wrotethat Basil is how I see myself, Lord Henry how the world sees me, and Dorian how I would like to be (Ericksen 101). The controversy behind The Picture of Dorian Gray was based in the extreme homoeroticism ofthe characters interaction; it is easy to see how Wildes writing elicited such a reaction. The male relationships are surely suggestiveenough to stir even the most open-minded in the Victorian era. Wildessexuality affected the structure of the relationships as well, opening the book with the making of a homosexual love triangle involving Basil,Dorian, and Lord Henry. Basils painting is intimately connected with his adulation of Dorians physical beauty. Dorian, in turn, adores LordHenry, a man of stature who int roduces him into a new coterie. LordHenry, in turn, adores Dorians physical beauty but also his relativeinnocence and the opportunity to mold him into the type of Victoriansocialite everyone will adore. The novel opens with Basils overstated obsession with Dorians goodlooks. Basils sentiments, however, are undeniably romantic. As he paints his masterpiece, Basil is described as looking wistfully at the canvas, a smile of pleasure passing across his face as he lingersover the image he created (Wilde 1962, 20). In the case Basils day dreaming was too speculative a conclusion to make, Wilde provided his readers with interaction between Basil and Lord Henry sufficient enough to establish a romantic attraction for Dorian inside Basil. WhenLord Henry walks into Basils studio, Basil plans on keeping hissubjects identity a secret out of jealousy. Basil immensely likesDorian, and has grown to love secrecy as it ensures that he will nothave to share Dorian with Lord Henry (Wilde 1962, 22). Though it islater discovered that Basil is concerned that Lord Henry will corruptDorian with his cynicism and overdeveloped penchant for amorality, Basil is extremely protective of a man who he has befriend ed solely onthe basis of his physical appearance. He describes to Lord Henry how upon seeing Dorian for the first time his face grew pale, knowing hemet someone whose mere personality was so fascinating that [it could]absorb him if he allowed it (Wilde 1962, 24). Wildes homosexuality is significantly influential not just over thecourse of the plot, but also in the development of characterrelationships. Lord Henrys attraction to Dorian Gray is multi-tiered. Half the attraction to Dorian is on account of his youth, a possiblereflection of Wildes relationship with younger men. The other half o fLord Henrys attraction to Dorian is his ability to mold Dorian into alike-minded socialite, a member of his New Hedonist group. However,Lord Henrys attraction, like Basils is undeniably romantic in nature.Though Lord Henry finds Dorian attractive, Dorians hold over LordHenry does not fully take root until after Basil rambles on and onabout his curious idolatry he has developed, and how he couldnt behappy if he didnt see Dorian everyday; Lord Henry takes seriousnotice of Dorian after Basil confides that he finds the young man to beabsolutely necessary to Basils life (Wilde 1962, 27). Wilde developsLord Henry in this way to stress his association with socie ty at large;most people are not loved by everyone unless they are first loved by afew. Society, Wilde argues, will love whom it is deemed fashionable tolove. Following Basils affirmations and affections, Lord Henryobserves the young Adonis [made out of] ivory as wonderfullyhandsome, with his finely curved, scarlet lips, his frank blue eyes,his crisp gold hair; it comes to no wonder why Basil worshipped him(Wilde 1962, 33). The love triangle develops past Basils death; evenDorian finds himself attracted to Lord Henry. A peculiar observation isDorians loss of composure after observing Lord Henrys romantic,olive-colored face and warm expression; Wilde writes that Dorian is indisbelief at his trepidation upon meeting Lord Henry (Wilde 1962, 38).After all, Dorian is not a schoolboy or a girl (Wilde 1962, 39). As Wildes homosexuality became more apparent, he began leading doublelives. One of his lives was socially acceptable, as society perceived him as a married man with two sons. His other life was one spent amongmale prostitutes, renting houses outside London in which he would haveextramarital, homosexual affairs. The incredible restriction Wildefaced was more because of his homosexuality than his maritalinfidelity. In leading his double lives, Wilde designed four charactersin The Importance of Being Earnest to exude differing degrees ofduality. The multiple personas were a reflection of the masks Wildeused as a means of personal adjustment, a prevailing theme among thefour characters (Ericksen 151). The first character is Jack Worthing, aresponsible man typical of the Victorian era. The legal guardian of ayoung woman, Jack finds it to be increasingly difficult to enjoyhimself through the minor indiscretions that provide the average youngman with such entertainment. As a result of his g uarded nature, Jackcreates his double, an alter ego he claims as his younger brother, whomhe names Ernest. When Jack leaves the country and his responsibilities,he becomes Ernest, a mischievous character in contrast to the composed,model citizen Jack. The second character is Algernon Moncrieff, friendto Jack Worthing and first cousin to the woman Jack intends to wed. Algernon also leads a double life, though his double life involves animaginary friend of sort, a man whom he names Bunbury. The thirdcharacter Wilde incorporates is Gwendolen Fairfax, the object of Jacksaffection. Though she accedes to her mothers will in public, Gwendolenrebels in private, pursuing Ernest without her mothers consent.After Jack plans to wed Gwendolen, she mentions she cannot marry a manwhose name is not Ernest; this creates quite the dilemma for Jack, ashe had originally planned to kill Ernest with another fabrication.The final character, Cecily Cardew, is a ward under her guardian, JackWorthing. Tutore d in the country, Cecily longs for a life outside hercountry estate, falling in love with the deviant Algernon. The doubles are a forward testament to Wildes life as a homosexual inVictorian London. As a Jack among his peers and Ernest among hislovers, Wilde is best personified in Algernon, though is present inboth Jack and Algernon as they are constructed on similar principlesand ideas (Ericksen 151). Both Jack and Algernon lead double lives,hence the similar principles and ideas. However, where Jack andAlgernon differ is the nature of their double lives. Jacks alter ego,Ernest, is someone whom he actually becomes upon entering town.Algernon, on the other hand, claims to be visiting Bunbury, hisimaginary ego. Algernon remains the same; the only thing that changesis his behavior. While both Algernon and Jack are sophisticated men ofthe world, only Jack finds the need to change his identity and life ashe shifts social circles (Ericksen 152). Like the socially accepted individuals in Victorian society, Jack isrigid, morally sound, and never deviant. Initially known to Algernon asErnest, Jacks transformation is almost instant as Algernon reveals hisknowledge of Ernest/Jacks deviance with names. Ernest is wistful andmadly in love with Gwendolen until his true ego, Jack, is revealed. Assoon as Algernon shows Jack/Ernest the cigarette case, Jack showshimself, pointing out how ungentlemanly [a thing it is] to read aprivate cigarette case (Wilde 2005, 12). Algernon, now Jacks foilfollowing Ernests departure, retorts with an epigram truly reminiscentof a dandy, stating the [absurdity in] having hard and fast rules(Wilde 2005, 12). The two characters play off each other from the verybeginning, revealing their intentions. Algernon remains the deviant,bored with his surroundings and endless cucumber sandwiches (Wilde2005, 4). Jack leaves to indulge in the sort of behavior from which heis restricted as he is responsible for Cecily. Like Wilde, who has afamily of his own, Jack cannot overindulge without risking social harmto his family. Ernest, then, is a double play on words; in indulgingones earnest, or true self, one escapes the constrictive Victoriansociety of moral and social obligations. Wildes aim here is to escapethe Victorian moral code, returning to the Hellenistic antiquity ofmale relationships. Strangely, most everyone except Jack longs to see or meet Ernest.Algernon himself assumes the identity of Earnest in his quest to meetCecily. Much to Jacks chagrin, Algernon decides to assume the identityof Algernon simply out of curiosity. Algernon has no ulterior motives;he wants to be Ernest just to be Ernest, a reflection of Wildespredisposition toward universal simplicity. Cecily also longs to meetErnest, as she has heard of his antics and looks forward to a relativeseveral degrees less rigid than her estranged guardian. Gwendolen ismadly in love with Ernest partly due to her empathy for Jacksupbringing, and partly because of her obsession with his name. ThroughErnest, Wilde reveals his wishes of acceptance; he wants people todesire his homosexual identity and accept him not in spite of it, butbecause of it. Victorian values were imposed on every part of culture. Because of thegreat successes and advances felt by the 1860s, it was assumed that thethrone had arrived at something new and worth keeping. An increasinglyprudish era, the Victorian, puritanical movement required that all arthave purpose. Whether to emulate a person, place, or event, art neededa reason to exist. It could be veneration of the object, veneration ofthe genre, or even veneration of the artist, but all art, including thewritten word, was subject to the Victorian standard if it was to beaccepted by the general public. Like so many other movements, theVictorians were faced with the concept that art existed for art, thatits sole end is itself and nothing more. While many mistakenly attribute this movement to Wilde, he in fact didnot create aestheticism, he was merely its vehicle (Gaunt 119). As anIrishman, it was only natural that Wilde would be the catalyst for sucha movement. Ireland was still relatively free of the imperialistexpansion, allowing for a medium of trade most of England could notmatch. Wilde, after all, was not from the industrial wastelands ofLiverpool, Manchester, or London. He was from the dingy magnificenceof Dublin (Gaunt 119). Wildes aesthetics are rooted in his education, primarily hispreoccupation with Hellenistic Greece and the old texts involving malerelationships. When searching for the concept of beauty, he might havegotten his ideas from the great 6th century Hellas, where Wildeperceived the triumph of Greece and great civilization was itscreation and representation of a supreme form of beauty (Gaunt 120).The ancient Greeks may have appealed most to Wilde because of the highpremium they put on male-male relationships. Viewed as the most pure ofall loves, homosexual male love was venerated by great leaders as wellas scholars. The king of the gods and Mount Olympus, Zeus, was known tohave a male lover, a young shepherd by the name of Ganymede. Contrary to the Victorians, who had inherited a set of religiousbeliefs based on faith rather than reason, Wilde had no concretereligious beliefs at all (Ericksen 19). The Aesthetic Movement, ofwhich Wilde was soon to become the representative figure, wasessentially a reaction against the ascendance of Philistinism in artand life (Ericksen 19). Wilde was determined to cultivate his ownindividual impressions of the world (Ericksen 19). Though he quicklybecame the most prominent aesthete, Wildes views were not unique. Hehad previously traveled to France, where he met with names such as deGoncourt, Flaubert, and Huysman, who showed him the depth of sufferingas beauty. After Wilde settled in London in the 80s, he began toshowcase his aestheticism, sporting garb such as plum-coloredvelveteen knickerbockers with perhaps a soft loose shirt and a wideturned-down collar (Ericksen 21). Wilde advocated art as having intrinsic, immeasurable value. Unlike theVictorian stance, art did not have to feature a moral code, teach alesson, or exist as a monument to an ideal supporting morals. Art isart, and exists only to exist for itself. For example, paintings of theLast Supper, though beautiful, existed to be a testament to Jesus orChristianity. Wildes Aestheticism would interpret the Last Supper toexist solely for the purpose of being a beautiful painting. The colors,shapes, and figures would be the central focus as they would representbeauty; the connotation behind twelve disciples sitting around asolitary figure would be dismissible. Wildes sexuality ties indirectlyto the concept of art; one of the reasons Wilde advocated theaforementioned moral system was his relation of the system toantiquity. Homosexual union was not a defiled perversion; Wilde arguedthat it was a sign of progress, like aestheticism. Aestheticism andhomosexuality would be placed in the same context a s other time periodssuch as Hellenistic Greece, Classical Italy (Michelangelo), andShakespearean England. The aforementioned periods involve theperfection of the male form; Wilde believed himself to be in line withthe traditions of old because of his Oxford rearing. Hellenisticaesthetic coincided with Wildes sexuality and his aesthetic movementin the shared view that the male form was the most beautiful.Homosexual relationships were therefore considered an act of beauty,the most revered form of affection possible. Wildes The Decay of Lying is a multi-page testament to his belief inarts greater purpose as having no such purpose. Essentially anextended metaphor for the ill consequences of turning art into amathematical measure, The Decay of Lying describes lying and poetryas arts (Wilde 1997, 7). The metaphor continues, equating art with anexaggeration of reality. True art, Wilde argues through theprotagonists Cyril and Vivian, is so abstract that the real becomesunreadable (Wilde 1997, 13). The nature of art and beauty is soabstract that nature and life are meant to imitate it. The dangers of regarding art as a moral calculus are detailed in ThePicture of Dorian Gray. The strange stasis in which Dorian findshimself—the state where his self-portrait shows his aging and thenegative effects of his actions—is a wonderful example of Wildesaesthetics in motion. The story unfolds as Dorian is sitting in frontof Basil; Basil is seen pondering the sheer physical beauty of thescene in front of him. The true aesthetic, Basil seeks out thebeautiful solely because it is beautiful. He becomes enamored withDorian only because of his beauty. On the other hand, Lord Henry findsDorian irresistible because of the potential socialite he sees in amind that has yet to be molded. Basil the aesthete warns Lord Henry,imploring him not to make a cynic out of something beautiful; in thiscase, Basil is ultimately requesting Lord Henry to take caution in hisapproach to Dorian. Basil wants to preserve Dorian the way he isbecause he finds him beautiful, where Lord Henry wan ts access toDorians private time so he can mold something new and different.Dorian becomes a work of art, manipulated by Lord Henry, killing Basil,the aesthete. Later in the novel, Lord Henry gives Dorian a yellow book, one with notitle that is presumably about art and philosophy (Ericksen 115).Dorian becomes obsessed, using it as a Bible with which he leads hiswhole life. In the end, Dorian dies, having gone mad. This is anunequivocal warning from Wilde to those who would pervert the course ofart (Victorians). Wilde shows the reader what happens when art is takenout of context and into a completely inappropriate light. Moreover, itshows how damaging the Victorian approach is; Dorian is unable tochange his ways. Shortly after his inhuman treatment of Sibyl, heattempts to reform, only to find the painting smirking back at him.This is a reflection of the unyielding nature of Victorian society; itis a reflection of Wildes suffocation and inability to move freely,creatively, or inspirationally in the context of British society at theclose of the 19th century. Just like Dorian, Wilde cannot expresshimself freely; though he had a chance in the beg inning of the novel,Dorian did not follow the poor artist Basil. He instead opted toconform to the higher-ranking Lord Henry, whose coterie led Dorian tohis death. Once in the clutches of Lord Henry, Dorian was fullysupplicated to the mercy of his manipulator. Lord Henry almostimmediately changes in his affections for Dorian, the extremedifferences being Dorians perception as an Adonis in the beginningand as an unrecognizable, withered, man who is unidentifiable untilthey check his rings. Wildes third play, An Ideal Husband makes use of the witty banterknown as epigrams to reveal the darker side of Victorian values in atongue-and-cheek fashion. The whole play is an epigram of sorts,exemplifying the imperfections of the Victorian bourgeois by mockinglyportraying the inefficacy of their incorporation into Wildes idealsociety. The traditional Victorian values Wilde mocks in An IdealHusband are devotion, forgiveness, sacrifice, loyalty, moralintegrity, and a composed disposition, all traits that Wilde subvertsin his character portrayals. Though Sir Robert, the ideal husband,finds himself at the disadvantageous end of blackmail, his past doesnot warrant Wilde to present him as vile or duplicitous, as Lord Goringpostulates to Lady Chiltern that every man of every nature [has]elements of weakness (Wilde 2004, 27). The play, however, becomescentered around a conflict caused by [Lady Chilterns] unyieldingmoral rigidity (Ericksen 142). Sir Robert faces a moral dilemma in hiscop ing with Mrs. Cheveleys blackmail. Wilde makes a useful point inthe Sir Roberts circumstances; on one hand, Sir Robert is faced withmaking public his dark and relatively shameful past, thereineffectively nullifying Mrs. Cheveleys threats. On the other, he mustdeal with a Puritanical wife who cannot forgive anyone who has done awicked or shameful deed, including Sir Roberts possible complicity(Ericksen 141). Would an ideal husband accede to the blackmail, thereindenying his wifes request to challenge Mrs. Cheveley? In either event,Sir Roberts relationship is put in jeopardy. He can either lie to hiswife, giving in to Mrs. Cheveley and compromising his marriage, or hecan make his past public domain, marring the perfect public image hiswife so treasures. Ironically, the couples social coterie perceivesSir Robert as the ideal mate, a man who, until his blackmail, was knownfor his impeccable reputation. Even his private life with Lady Chilternwas blissfully free of blemishes. Sir Roberts reputation andrelationship with his wife, however, could have been saved by a simplelie. Had he never revealed the truth to his wife and given in to Mrs.Cheveley, giving in to her will, Lady Chiltern wouldnt have been oneto know the better. An ideal husband in this case would therefore lie;for Wilde, the Victorian moral impetus lies not with adhering to thetraditional values, but rather in maintaining the facade of keepingvalues in general. Ironically, Lady Chiltern learns of her husbandspast all the same, [castigating] him and [rejecting] his please forforgiveness (Ericksen 141). No amount of marital maneuvering can spareSir Robert. In the end, it is Lord Goring who confronts Mrs. Cheveleyabout Sir Roberts blackmail; he is the only empowered character as hespeaks and acts under no false pretenses. While he is far from perfect,chastised by his father for dancing until four oclock in themorning, Lord Goring is Wildes idealist—he is an art lover, whosewitty repartee is surpass ed only by his willingness to fight Mrs.Cheveley. One of Wildes most effective comic devices is his employment ofepigrams, and more comical still is his utilization of Vicomte deNanjacs malapropisms. The French Attachà © in London, Nanjac representsWildes interpretation of those not fortunate enough to be born elite;Nanjac is easily recognized by his adoration of society and hisAnglomania (Wilde 2004, 4). His malapropisms are a reflection of thesad attempts of many to engage in epigramic banter, the object of LordGorings successful use of epigram. A ridiculing character, WildesNanjac is one whose blind aspiration to join a society hampers hisvision and taste, therein earning him the scorn of the more capableLord Goring. Wildes assault on the Victorian bourgeois is personified best by theduality of his characters. Sir Robert, for example, presents a publicmask of absolute personal integrity but has actually built his fortuneand career upon a deception (Ericksen 144). An almost hero, Sir Robertis a manifestation of Wildes implications regarding a relativelyinnocent mans subjugation under society. Lord Arnheim, Sir Robertsformer co-conspirator, first seduces Sir Robert with his doctrine ofwealth, elucidating his view that controlling others is lifesgreatest attribute (Ericksen 142). Mrs. Cheveley displays this best asLord Arnheims theoretical protà ©gà ©e; the two are almost Machiavellianin their manipulation (Ericksen 145). Where Lord Arnheim seduced SirRobert by playing to the discrepancy between his noble birth and modestfinancial holdings, Mrs. Cheveley is absolutely ruthless in herwillingness to wreak havoc on all aspects of Sir Roberts married lifein order to secure her investments. In his surr ender to the wills ofthe two manipulators, Sir Robert becomes an ideal human, one whoseproclivity to err alienates him from society. By succumbing to the twoprominent materialists, Sir Robert embodies Wildes disdain for thefinancial drive of Victorian social coteries; contrary to theart-collecting Sir Robert, the female villain has no pleasures outsidecontrol and exploitation. Wilde addresses the lack of humanity in Victorian society, personifiedby the promulgation of perfection among the social elite. In the firstAct, Mrs. Marchmont and Lady Basildon discuss their unfortunate maritalsituation. Lord Goring notes they are married to the most admirablehusbands in London, to which Mrs. Marchmont responds that theirhusbands perfection is exactly what [they cant stand]; there isnot the smallest element of excitement in knowing [them] (Wilde 2004,10). In this sense, the true Sir Robert, the one susceptible tosuggestion and whose past compromises his future, becomes the idealhusband. Wilde suggests all Victorians wear masks, alternate identitiesthat shield them from being human and enjoying existence. The idealmarriage is manifested best by the speculative union of Mabel Chilternand Lord Goring, who at the plays close reject the common Victorianroles and morals previously discussed. Wildes Victorian surroundings were instrumental in his development ofaesthetics, but were unfortunately not tolerant of his private life. Acontroversial figure, Wilde was homosexual, and had an ongoing affairwith a younger nobleman by the name of Lord Alfred Douglas. LordDouglas father, enraged at his sons homosexual relationship withWilde, accused Wilde of being a sodomite, a grave offense in GreatBritain at the time. Though acquitted in his first of two trials, Wildewas later sentenced to serve two years hard labor on theaforementioned charges. First imprisoned in Londons Wandsworth prison,Wilde was denied pen and paper until his transfer to Reading Gaol,where he eventually wrote De Profundis. While Wilde revealed hisfascination with the figure of Christ [throughout] his literary career,only in De Profundis did he actually make [Christ] a part of hisaesthetic system (Ericksen 156). A dramatic monologue on spiritualityand society, De Profundis features several metaphors likening Wil de toChrist. Wilde felt his unjust imprisonment made him a martyr; uponinitial circulation of rumors regarding his sexuality, Wilde could haveleft London for France, therein spared persecution. Unlike Hamlet, whobecame a spectator to his own tragedy, Wilde the Christ-figureactively sought out what he perceived as his end (Wilde 2003, 28).Where Christ accepted his fate for the benefit of mankind, Wilde was aself-convinced saint and martyr for art and what he perceived to be thethreatened aesthetic movement. Having passed through every mode ofsuffering, Wilde was convinced that his redemption would be realizedthrough his incarceration and subsequent release, upon which his newfound humility would help him rise again (Wilde 2003, 4). Just asmankind would redeem itself through the trial and crucifixion of Jesus,Wilde felt society would be redeemed through his incarceration. Hecontinued, developing his incarceration to salvation, likeninggreatness to requisite sorrow. Wilde admired Jesus for having realizedhis calling as being completed, reaching fulfillment upon its end(Wilde 2003, 19). Marveling at his situation, Wilde mused on theincredulity of a young Galilean peasant imagining that he could bearon his shoulders the weight of the world, including all the worldspast sins as well as what had yet to be done and suffered (Wilde2003, 13). Jesus death and resurrection was that toward which Wildeaspired, conceding that imprisonment was most likely an act ofretribution for the fanciful and carefree life he led previously.Incarceration, then, was Wildes means of atoning for the errant lifehe might possibly have led upon his release. He hoped his relationshipwith Lord Douglas would be forgiven, and longed for societysacceptance. Wilde could claim on [his] side that if [he realized] what[he had] suffered, society should realize what it [had] in turninflicted; with a mutual cognizance shared between Wilde and society,he hoped there would be no bitterness or hate on either side (Wilde2003, 7). Just as Jesus attempted to win over his captors andaggressors through his death and resurrection, Wilde hoped to pacifysocietys enmity by paying his social dues in prison. Wilde evenlikened the course of his lifes events to those leading up to Jesusmartyrdom. For example, Jesus was given direction by God the Father andcondemned by Man. Wilde, in turn, ascribes the two great turningpoints in [his] life as when his father sent [him] to Oxford, andwhen society sent [him] to jail (Wilde 2003, 6). Wildes foreknowledgeof an impending criminal proceeding did not dissuade him, just as thedisciples could not sway Jesus acceptance and willingness to die onthe cross. Neither Wilde nor Jesus could ignore their calling, nomatter the grisly end. As a sinner, Wilde conceded that he had toaccept the fact that martyrs were equally persecuted for the good aswell as for the evil committed (Wilde 2003, 7). However similar to Jesus Wilde would assert himself to be, there weredefinite discrepancies in De Profundis that could testify to Wilde asan admirer of Jesus rather than his attempted emulator. Wildepostulated that Jesus saw Man in the same fashion as the aestheticmovement saw art; Man existed simply to exist. Wilde wrote that Christregarded sin and suffering as being [beautiful] in and of themselves,that such a notion was the dangerous idea that led Christ to hisdemise (Ericksen 157). Just like Christ, Wildes own dangerous ideathat ran against the Victorian grain was what led to his downfall.Wilde also saw his imprisonment as a period of transition. Hisindictment of the Greek gods as deities emulating humans indicatedhislife prior to imprisonment; Wilde labeled the Olympian gods as ableto reach greater heights (Wilde 2003, 17). Each Olympian representeddifferent aspects of humanity that, when indulged by Wilde, resulted inincarceration. In his simile, Wilde indirectly likens himself to eachgods moral flaws. He lauds Zeus for not being able to resist mortalmans daughters and Hera for her pride and peacocks, a catharticevaluation of the Victorian bourgeois who imprisoned him (Wilde 2003,17). Wilde also attributes his former peers to Apollo and Athena, eachof whom failed to forgive. Apollo slaughtered the mortal Niobes sons,leaving Niobe childless for her hubris in claiming her childrenrivaled the offspring of Leto (the mother of Apollo and Artemis);Athena turned Arachne into a spider for having claimed to be moreskilled with the loom than the goddess of wisdom and crafts (Wilde2003, 17). In describing the society that bore him, Wilde becomesimperfect, as his reformation requires penance as a medium of change.By attributing himself and his society to the Greek gods, Wildedifferentiates himself from Jesus. Jesus never required crucifixion toattain perfection—he was born perfect and lived without sin. Wilde, onthe other hand, is punished not on behalf of ano ther (though it can besurmised that his imprisonment kept the young, impressionable LordDouglas out of jail), but for his own social transgressions. Wilde alsoheld great contempt for Lord Douglas, as De Profundis was more ascathing letter from a jilted lover than a philosophical testament toWildes self-improvement. Wilde often lamented his situation, spitefulthat for him, the beautiful world of color and motion [had] been takenaway, while Bosie (Lord Douglas) walked free among the flowers(Gardiner 145). De Profundis becomes conciliatory towards its end,however, as Wilde follows through with his original assessment thatterrible was what the world did to [him], but worse still was what[he] did to [himself] (Wilde 2003, 3). Unlike Jesus, Wilde is somewhatself-hating, embittered by his social persecution despite his greatcontributions in the aesthetic movement. His imprisonment wasultimately brought on by his own charges; following his falling outwith the Marquess of Queensbury (Lord Do uglas father), Wilde pressedlibel charges and lost, opening himself up to legal scrutiny. In theend, it was his own defense that cost him his freedom, unlike Jesus wholived to die, fully cognizant of an inescapable fate. Though heexperienced a form of martyrdom, Wildes self-comparisons to Jesus arelimited, and he shifts from indirectly likening his life and its recentevents to those of Jesus to aspiring to become Jesus-like (in essence,more Christian). Rather than claim to follow in Jesus footsteps, Wildepurports that he has suffered just as Jesus suffered, and in doing sobecame a better man just as Jesus did. Wilde claims to have become adeeper man is the privilege of those who have suffered (Wilde 2003,21). Despite Wildes De Profundis presentation of himself as Jesus,there are a great number of instances that involve his own supplicationbefore and admiration of Jesus as opposed to his presumption ofequality with Jesus. Wilde admires Christ for his refusal to stone MaryMagdalene, b ringing shame on her persecutorsin his statement suggesting that those without sin cast the stones tocondemn her. In his tirade against the Victorian bourgeois, Wilde alsovenerates Christ for advocating the poor; Wilde described prison assomething that earns sympathy from the poor and earns the rich thestatus of pariah (Wilde 2003, 2). The poor, Wilde argued, were asimpler people who were closer to perfection. Jesus, after all, was notborn rich, but the son of a poor carpenter. In the waning years of hisimprisonment, Wilde began to consider his incarcerated state as areturn to simplicity, and in simplicity becoming closer to perfection. Wildes comparison to Christ was perhaps overtaken by the method inwhich he transformed Christ, reinterpreting him as an artisticpersonality (Ericksen 156). It is odd that Wilde would place Jesus onsuch a pedestal, as he remained an avowed agnostic until the twilightof his life. In fact, Wilde goes out of his way to denigrate theChristian faithful to a degree, describing his faith as somethingsuperior because it is tangible, that his gods dwell in temples madewith hands; Wilde asserts that only within [actual] experience is[his] life complete (Wilde 2003, 5). Wildes adulation could also beconstrued as a comparison of himself with Christ as a purely literaryfigure; his assertions were not hubris, but merely the lamentations ofa writer recognizing a universally acclaimed protagonist in the worldsmost renowned tragedy. By placing Jesus in the context of a literaryfigure rather than reading Wildes comparisons from a religiousperspective, the reader is further able to understand the contex t inwhich Wilde worked. Wilde never deified himself, though he did perceivehimself as a defiant artist intensely conscious of his cultural roleas an innovator of art (Erickson 13). De Profundis waivers between theveneration of Christ and the open advocating of agnostics, with Wildeoften professing that agnosticism has its martyrs and should reap itssaints just as Christianity has (Wilde 2003, 5). In this respect,Wilde transcends the figure of Jesus in his simplicity; Jesus deathand the events of his life were a leap of faith, whereas Wildes beliefsystem and his life, cultural contributions, scandals, and downfallwere historically documented. His actual experiences previouslydiscussed were in themselves defined as real in their sorrow. For a manwhose fop and dandy were all encompassing, Wildes redemption wouldnot be nearly as invigorating as that of Christ (Gardiner 15). WhereChrist was promised a seat at the right hand of God Himself, Wildesfuture upon release was one of almost guar anteed estrangement. Wildes homoerotic imagery and context are unique; they served as aneffective device in the establishment of Dorian as both an evilcharacter and one manipulated by another. The homoeroticism, forexample, first serves to establish Dorian in a protective love affairwith Basil, where Dorian is portrayed as innocent, his face bright withthe naà ¯vetà © that can only be attributed to youth. That Dorian is drawnto Lord Henry in a sexual manner makes his fall from grace all the moredecadent, giving the reader the impression that Dorian was stolenaway from the clutches of youthful exuberance. Without the homoeroticsubtext, there would be no logical explanation for Lord Henrysattraction to Dorian, or Dorians willingness to follow Lord Henry.Though Dorian could be portrayed as having left Basil behind so as toaspire to greater social heights, the manner in which Wilde useshomosexual tensions prompts the reader to make different conclusions,ones that are steeped in suspicion and communicated i n whispers. Thetaboo of same-sex relationships is cast aside with the introduction ofSybil, but it remains in the back of the readers mind, solidified byseveral characters effeminate preoccupation with physical beauty.Wildes own sexuality manifests itself in three stages among the threemale characters; first, the image of Basil, the affirmed homosexual wholives a detached life. Second is the image of Lord Henry, the privatehomosexual who is an irrevocable face in the local coterie. Third isthe image of Dorian, who begins innocently, but upon realization of hishomosexuality and his attempt to become assimilated into societyperishes against his own will. Wildes sexuality is thereforeinstrumental in The Picture of Dorian Gray. The Importance of Being Earnest is a reflection of Wildes duality;contrary to Dorian, who cannot exist detached from or assimilated intosociety, Jack is an amalgamation of Basil and Lord Henry. His dual lifeis revealed, but only by another who also wishes to take part in socialduplicity. In The Importance of Being Earnest, Wilde communicates theimpetus of self-truth as a panacea for unhappiness. Both Algernon andJack are happiest as Ernest as they are free to act as they wish.Unhampered by the Victorian society that constricts them, the twoerstwhile-Ernests move, speak, and do as they please. The elaboratelengths to which Jack resorts is a reflection of the life Wilde musthave led behind his familys back; when Jack assumes the role ofErnest, he risks crossing his stories, getting his two livesintertwined in the form of Cecily and Gwendolen meeting. Here, Wildessexuality affects both Algernon, the representation of the dandy andfop, and Jack, whose secret life is a metaphor for homose xualityrepressed. Both are hampered by Victorian restrictions; Algernon facedthe shirking of his familial duties, whereas Jack had to remain a modelindividual for his supposedly sheltered ward to follow. Only Jack is inperil of being discovered, however; Wilde attempts to communicate theimportance of being true to ones self, as Jack is the only characterof the two men to assume an entirely new identity. As Algernon uses hisfabricated person as an excuse to leave his surroundings, he is neverput into the same dilemmas as Jack. In the case of The Importance of Being Earnest, Wildes sexual constraint was an important factor inanalyzing the play. Wildes aestheticism was highly influenced by his sexuality. Heapproached aestheticism the same way he approached his male relations,perceiving art simply to observe beauty. Beauty to Wilde is exactlywhat Dorian was to Basil; beauty was a necessity, something Wilde couldnot do without. In his attempts to articulate aesthetics, Wilde mayhave gotten lost in his purpose. Victorian thought was the standardagainst which to rebel, begging the question of Wildes motives. Washis aesthetic perspective a manifestation of a new dimension of hisanti-Victorian sentiment? Wilde often satirized other aesthetics,claiming that he would only attack the unmanly oddities whichmasquerade in its likeness (Gardiner 43). The irony behind Wildessatirizing contention is that determining those who are unmanlyoddities requires the same logical selection process as mandated byVictorian interpretation. For example, a Victorian observing art wouldemploy criterion to evaluate the piece as a decent work of art.Simila rly, Wildes decision as to what constitutes aesthetic thoughtwould require criterion to evaluate the thought or work purported to bepart of the aesthetic movement. While Wildes sexuality was onlyeffectively used to correlate Hellenistic antiquity, it still wasuseful in understanding the shift in perception. Whether or not Wildecame to the conclusion that the Victorian system was inferior,subsequently adopting aestheticism is a different instance than Wildeadopting aestheticism solely to oppose the Victorian system. Moral implications are much more concrete than art interpretation; inAn Ideal Husband, Wilde does not attempt to spoon-feed his audiencehomoerotic suggestion. Instead, Wilde focuses on Victorian society as awhole, portraying it in the superficial light he felt appropriate. ThePuritanical attitudes relayed by Lady Chiltern are portrayed asimpossible standards. The ideal husband is then the imperfect,unpredictable man who concedes to his own weaknesses. This is bestevidenced by Wildes warmer tone toward Lady Basildon and Mrs.Marchmont, an almost sympathetic tone to their plight of drab husbandsand perfect marriages. Wildes sexuality does not traditionally comeinto play. However, when perceiving homosexuality as an imperfectionPuritan society shuns, Wildes sexuality fits well but lacks thecreative outlet to fully present itself as a viable factor. Thoughsexuality was an important part of Wildes works, it was notinstrumental in the proprietary An Ideal Husband. However, Wilde didsuccessf ully present himself in the form of Lord Goring, the dandy ofthe play. Moral implications in An Ideal Husband had little do withsexuality, but had everything to do with Wildes disdain of theVictorian bourgeois social circles. Wilde as a Christ figure is a notion that draws several conclusions.First, it is not Wildes sexuality that likens him to Jesus. Wildessexuality comes into play only as the factor of his persona that earnedhim persecution and eventual prison time. Simultaneously, Wilde as aChrist figure was a feasible notion only in his martyrdom for art;where Christ was nailed to a cross, died, and was reborn, Wilde wasimprisoned, was released, and reborn. Wildes speculation on his newlifestyle post prison-release was one of humility, much in the samemanner as Jesus humility throughout the history of his encounters withhis disciples. A somewhat wanton display of hubris, Wildes Christcomparisons are a bit lofty and overly ambitious. Wilde perceivesChrist from an agnostic point of view, evidenced by his relativeflexibility in putting himself in the same contact as the Son of God.However, both Jesus and Wilde shared parallels, such as the eventsleading up to their incarcerations. Oscar Wildes homoerotic texts, aesthetics, Christ comparisons andmoral implications were largely the result of his sexuality, though itcan be argued equally as effectively that Wildes writing was affectedby anti-Victorian sentiment. Had he been alive now, in an age wherehomosexuality is often as accepted as racial differences, it isunlikely that he would have gained the notoriety that he did while inprison and following his release. Though he died a pauper, Wildesworks were revolutionary in their latent content, the dandy style, andthe fact that they addressed issues such as homosexuality in a timewhere society was becoming steadily more conservative. As with anyauthor, Wildes works are best understood when taking intoconsideration his biography and history, including his sexuality. Ericksen, Donald H. Oscar Wilde. Boston: G.K. Hall Co., 1977. Gardiner, Juliet. Oscar Wilde: A Life in Letters, Writings, and Wit. Collins Brown, Ltd., 1995. Gaunt, William. The Aesthetic Adventure. New York: Harcourt, Brace, and Co., 1945. Hoare, Philip. Oscar Wildes Last Stand: Decadence, Conspiracy, and theMost Outrageous Trial of the Century. New York, Arcade Publishing,Inc., 1997. Wilde, Oscar. An Ideal Husband. Champaign: Project Gutenberg Press,2004. Wilde, Oscar. De Profundis. Champaign: Project Gutenberg Press,2003. Wilde, Oscar. The Decay of Lying. [online] Available at:www.ucc.ie/celt/published/E800003-009/text002.html Cork: Corpus ofElectronic Texts, 1997. Wilde, Oscar. The Importance of Being Earnest. Champaign: Project Gutenberg Press, 2005.

Essay on The Dystopia in Margaret Atwoods The Handmaids...

The Dystopia in Margaret Atwoods The Handmaids Tale Offred is a Handmaid in what used to be the United States, now the theocratic Republic of Gilead. In order to create Gileads idea of a more perfect society, they have reverted to taking the Book of Genesis at its word. Women no longer have any privileges; they cannot work, have their own bank accounts, or own anything. The also are not allowed to read or even chose who they want to marry. Women are taught that they should be subservient to men and should only be concerned with bearing children. Margaret Atwood writes The Handmaids Tale (1986) as to create a dystopia. A dystopia is an imaginary place where the condition of life is extremely bad, from deprivation, oppression, or†¦show more content†¦The Commanders characters show the reader how even men who do get privileges, such as ownership and the ability to read, are unhappy with the society. Another example is Ofglen. Ofglen is Offreds shopping partner who is a member of Mayday, which is an underground organization dedicated to overthrowing Gilead. Although Ofglen and Offred are shopping partners, they hardly know anything about each other. Ofglen doesnt know if Offred is part of the resistance and asks her during one of their shopping trips. This is the conversation, I thought you were a true believer, [Ofglen] says. I thought you were, I say. You were always so stinking pious. So were you, I reply. You can join us, she says (page 168). This is the conversation where Ofglen tells about her part in the resistance. Ofglen is an important character in Awoods creation of dystopia because she is the one who adds the idea that there are multitudes of people who hate the way the republic is handling things. She is the one who says that there is an underground resistance and that by trying to make a better world, Gilead has actually made things a whole lot worse. 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MP3 Player Industry Analysis Free Essays

Electronic gadgets are very much popular nowadays. Both teens and adults alike are caught up in this technology wave of the present and future. Almost everyone in the US and other first-world countries have mobile phones. We will write a custom essay sample on MP3 Player Industry Analysis or any similar topic only for you Order Now Even little kids have one for practical reasons, according to some parents. Yet another electronic gadget that is as popular as a mobile phone is the MP3 player. Since everyone seems to like music a lot, this little electronic device easily captured the hearts of many people around the world. Apple was the company that had big risks yet big hopes in this market when it released its own version of MP3 player called the Apple iPod in 2001. Some were not convinced of Apple’s strategy entering this line of business as the industry was not quite promising that time (Guglielmo, 2001). But even with its price tag on the upper bracket, Apple reportedly has the highest share in the market at about 80% (Skee, 2006). But with the increasing number of competitors in the market offering much more affordable digital audio players, this huge amount of market share will most likely decrease in the years to come. As all knows, technology is something that does not really stagnate at all. MP3 players would not only remain as simple music playing device forever. With continuous engineering and innovation, a third of the MP3 players currently available in the market now have video playing capability. This means that users will not only be able to listen to their favorite music wherever they want, but watch some cool music videos as well. This made a huge impact in the sales of MP3 players since the feature was introduced. Wargo, director of Consumer Electronics Association, (as cited in Slocombe, 2006) stated that, â€Å"MP3 technology helped boost the audio and accessories markets in 2005. With the introduction of video playback capability, MP3 player sales surged 200 percent in 2005 to $3 billion.[†¦]† The figures concerning this industry are really huge considering that this only talks about the US consumers alone. At present, MP3 players still do not lose their charm. Just for the past holiday season, MP3 players topped the survey of 1,000 US adults for their most wanted gift (Ogg, 2006). The device had outdone other popular consumer electronic devices such as digital cameras and portable DVD players. According to CEA (2007), â€Å"MP3 players continue to drive the audio market. [†¦] Thirty-four million MP3 players shipped in 2006 and an additional 41 million are expected to ship in 2007.† The toughest competitor of Apple iPod now is Microsoft’s own Zune which was just introduced in the market late 2006, just in time for the holidays. The two products have been compared by a lot of analysts. Most of the reviews and comparison reports made still think that Apple will be the leading brand in this industry for the next years to come. However, Apple is still in stand by because Microsoft is still Microsoft. Although there are not enough information yet as to how many people already own the new Microsoft Zune nor their current market share, it is well-known that the brand Microsoft itself owns about 90% of the market when it comes to operating systems which is about 300 million people. On the other hand, there are about 30 million people who have an iPod, which is about 70% of the MP3 player industry. (Elgan, 2006) In a nutshell, the MP3 player industry is still a promising and flourishing industry and will continue to increase sales in the coming years. With all the different companies trying to compete and outdo the market starter, Apple iPod still is the leading player in the market since its introduction despite the quite expensive price tag it has. References Elgan, M. (2006). Opinion: Why Microsoft’s Zune Scares Apple to the Core. Retrieved February 22, 2007 from http://www.computerworld.com/action/article.do?command=viewArticleBasicarticleId=9003718pageNumber=1 Guglielmo, C. (2001). Apple Has Big Hopes for iPod. Retrieved February 22, 2007 from http://www.eweek.com/article2/0,1759,1242682,00.asp Ogg, E. (2006). MP3 Players Top Holiday Wish Lists, CEA Survey Finds. Retrieved February 22, 2007 from http://news.com.com/MP3+players+top+holiday+wish+lists,+CEA+survey+finds/2100-1041_3-6126358.html Skee, G. (2006). US MP3 Player Sales Will Reach $4.5 Billion in 2006. Retrieved February 22, 2007 from http://www.anythingbutipod.com/archives/2006/01/us-mp3-player-sales-will-reach-45-billion-in-2006.php Slocombe, M. (2006). CES 2006 Starts: MP3 Player Sales to Soar 200%. Retrieved February 22, 2007 from http://digital-lifestyles.info/2006/01/05/ces-2006-starts-mp3-player-sales-to-soar-200/ How to cite MP3 Player Industry Analysis, Essay examples

Conrads Obsession with Voice in Conrads Heart of Essay Example For Students

Conrads Obsession with Voice in Conrads Heart of Essay Darkness Heart Darkness essaysConrads Obsession with Voice in Heart of Darkness For the moment that was the dominant thought. There was a sense of extreme disappointment, as though I had found out I had been striving after something altogether without a substance. I couldnt have been more disgusted if I had travelled all the way for the sole purpose of talking to Mr. Kurtz. Talking with . . . I flung one shoe overboard, and became aware that that was exactly what I had been looking forward toa talk with Mr. Kurtz. I made the strange discovery that I had never imagined him as doing, you know, but as discoursing. Marlow in Conrads Heart of Darkness The above quotation suggests what has been noted frequently in recent years as damning evidence of the literary racism in Conrads Heart of Darkness. We will write a custom essay on Conrads Obsession with Voice in Conrads Heart of specifically for you for only $16.38 $13.9/page Order now That is, like his character Marlow, Conrad seems more interested in discourse than in its effects; more eager to write a story about story-telling than to consider directly the ugly realities of a brutal imperial regime contained (and deferred as unfathomable mysteries) in the story being told. Rather, readers are invited here and elsewhere to consider a series of clever doublings and treblings in the telling itself: the story told by the outside narrator (I) is quickly overtaken by the voice of Marlow, who at times gives over his voice to the Russian sailor and finally to Kurtz, who is himself described from beginning to end as pure voice. Each of these shifts draws us further into Conrads novella, and certainly these voices seem in some sense to carry us deeper and deeper into Africa, but in the end we find we have never leftand never been asked to leavethe deck of the Nellie, which sits waiting idly for the tide to turn. (Now theres a metaphor). Yet even as our attention is drawn to a series of narrative voices forecasting, echoing and reflecting one another in a coherent formal pattern of nested narrative frames, we must remember that there are other voices hereless coherent perhaps, but identifiable: the mournful cry from the jungle in the fog, the broken English of the natives on Marlows steamer, the voices of drums in the distance. It is difficult, of course, to integrate these voices with the various narrators, but in the very difficulty formal-minded critics may have in making them cohere in an overall pattern of narrative doublings, they should suggest to us a larger frame of reference to consider of which they are a part, and it is in this larger frame of reference where we find not only voices other than European, but also signs of those more-than-speaking acts of brutality from which Conrads formal obsessions with story-telling seem to divert our eyes. To illustrate this point in the quotation with which we began, lets reduce for a moment Marlow/Conrads obsession with voice in the novel as a whole to Marlows speaking voice in this series of sentences. A thought here is dominant (not an action), and that thought (of disappointment and disgust) is one that also leads away from ideas of action (rescuing Kurtz?) to ideas of talk. Even so, what triggers Marlows desire to talk (and not to act) is both one of the few acts in this passage (featuring mostly verbs of being and becoming)throwing overboard a shoean act which is itself the sign of the more brutal act which precedes it: a native speared through the chest filling that shoe with blood shed ultimately as a direct result of the Companys incursions upriver. Significantly, the murdered African is thrown overboard (and forgotten) like the shoe as Marlow moves ahead upriver and into his story, yet even as we continue the thought Marlow has momentarily left for an act, the reader is left to read in the momentary but unmistakeable breakdown of both Marlows story and the syntax of the superior stylist Conrads sentence a recognition of all that is missing here.

Globalisation Strategies Changing the Organizational Culture

Question: Describe about the Globalisation Strategies for Changing the Organizational Culture. Answer: Introduction To get an idea how strategy is related to success of an organisation, we have taken the cases of Honda and Toyota to compare and see the tangible results in form of globalisation, organisational interface, marketing strategies, and manufacturing practices. Both of them are the biggest achievers in the field of automotive technologies and have proven their worth fr the same. Globalisation Strategies Hondas globalisation strategy As per Rothfeder, Honda has searched externally from its home shores well before different makers considered making or notwithstanding offering items manages. Its originator Soichiro Honda dependably had confidence in worldwide extension and broadly moaned about the restricted development opportunities in "little Japan". At the point when the organization was just a couple of years old, he announced that it must "keep up a universal impression" and see whatever remains of the world as its potential client base. His main goal was soon acknowledged, and by 1959 Honda was offering bikes in the U.S. what's more, autos not long after that. In 1974, Honda propelled the Civic, which was the primary auto to meet stringent U.S. Clean Air Act discharges principles despite the fact that other key players guaranteed it was not monetarily reasonable. It was additionally the main non-household automaker to effectively fabricate autos in the U.S. when it opened its Anna office in 1982. "Honda's forceful early globalization methodology in the U.S. was trailed by comparable fruitful invasions in different parts of the world: It was the main Japanese organization to deliver autos in China and its profit record in India and Southeast Asia and other far-flung districts is the jealousy of the car business," says Rothfeder. Because of its worldwide viewpoint, Honda has accomplished an extraordinary arrangement amid its lifespan. Honda is the main motor creator on the planet with a yield of more than 20 million inner ignition engines every year; it has never posted a misfortune in its history, and its vehicles working benefit proportions of around five percent reliably best the business. Honda's stock cost has almost multiplied since September 2008, when the worldwide economy crumpled; and its vehicles are the most sturdy and dependable of any automaker, with 75 percent of its autos and trucks sold in the most recent 25 years still out and about. Toyotas globalisation strategies The vital geographic area of TMMTX gives the organization direct access to the ease south Texas work market for get together specialists while guaranteeing without a moment to spare conveyance of cut-rate parts made in the Far East and Mexico and subassemblies from other southern U.S. plants and giving advantageous access to the U.S. auto market. The creation end of the chain solidly shows the main impetus of globalization - to augment benefits by bringing down work costs. The relative expense of work is the essential determinant in the area of each connection in the chain. However many assembling operations as could be expected under the circumstances are finished in seaward work markets, while the last get together of the vehicles is led utilizing a portion of the least expensive work accessible in the U.S. Moreover, the broad utilization of computerization innovation in the TMMTX plant keeps the utilization of nearby work to a base. Promoters of globalization tout the Tundra generation chain as a worldview of effectiveness and a convincing contention for this most recent sign of super free enterprise. In any case, the effectiveness of worldwide assembling, similar to some other entrepreneur endeavour, is measured by a solitary standard - the income it produces for stockholders. Any investigation which considers the general effect of globalization prompts a far various conclusion. The effect of globalization on the organization itself is a decent beginning stage for such an examination. Manufacturing Strategies Hondas manufacturing strategies: The Hondas producing offices which is given to workers is more adaptable and modern. In the event that we consider Toyota, after presentation of in the nick of time strategy additionally Honda is surviving as a result of its assembling adaptability and quality what it served till now. Honda producing manufacturing plant are as per idea of "Green Factory". Fabricating units are all the more agreeable and productive. However, it is as yet advancing to make it more proficienta, less time and less practical generation of their assembling plants. As we probably am aware clients dependably needs new item and subjective one, to achieve this needs of client it's generally do examine on it. Honda is the one of the organization which refined and executed Japanese associations administration methods. By the assembling adaptability and portability what it has made is to move one assembling unit to other unit, one plant to another plant or in the middle of plant, too locally and universally. This progressions and moving Honda do as indicated by the business sector interest and necessity of the plant. Toyotas operational strategy Lessened Setup Times All setup practices are inefficient in light of the fact that they include no quality and they tie up work and hardware. By sorting out methods, utilizing trucks, and preparing specialists to do their own particular setups, Toyota figured out how to slice setup times from months to hours and in some cases even minutes. Little Lot Production Delivering things in substantial clusters results in tremendous setup costs, high capital expense of rapid devoted hardware, bigger inventories, broadened lead times, and bigger deformity costs. Since Toyota has found the best approach to make setups short and reasonable, it got to be workable for them to financially deliver an assortment of things in little amounts. Worker Involvement and Empowerment Toyota composed their laborers by framing group and gave them the obligation and preparing to do numerous particular undertakings. Groups are additionally given obligation regarding housekeeping and minor hardware repair. Every group has a pioneer who additionally fills in as one of them at stake. Quality at the Source To dispose of item absconds, they should be found and redressed as quickly as time permits. Since specialists are at the best position to find a deformity and to quickly settle it, they are doled out this obligation. In the event that an imperfection can't be promptly settled, any specialist can end the whole line by pulling a string (called Jidoka). Hardware Maintenance Toyota administrators are appointed essential obligation regarding fundamental upkeep since they are in the best position to desert indications of breakdowns. Upkeep pros analyze and alter just complex issues, enhance the execution of hardware, and train specialists in support. Pull Production To lessen stock holding expenses and lead times, Toyota built up the draw creation strategy wherein the amount of work performed at every phase of the procedure is managed exclusively by interest for materials from the prompt next stage. The Kamban plan organizes the stream of little holders of materials between stages. This is the place the term Just-in-Time(JIT) began. Supplier Involvement Toyota regards its suppliers as accomplices, as necessary components of Toyota Production System (TPS). Suppliers are prepared in approaches to lessen setup times, inventories, deformities, machine breakdowns and so on., and assume liability to convey their most ideal parts. Organisational Interfaces Hondas Organisation interface Presently Hondas operational procedures bury connected with the corporate and business system. The best operational methodology ought to be at the same level with the hierarchical technique. Hondas operational system is buried related and strong to the business technique and this procedure is having consistency with the corporate methodology. Ass before said, corporate procedure is only identified with vision and mission of the organization. By the development of the organization and the business sector limit we can say that Honda executed compatible and adaptable operational methodology. The Honda having adaptability in their operations. Typically operation of an association relies on upon the other association which we call as operational arranging. Subsequent to repairing a business sector and their interest on it operation methodology needs to make for accomplishing and satisfying corporate procedure. Honda has the same. It has adaptability in operations, once they settle with in terest and generation precisely they begin adjusting technique on it. In Honda case they secured all-inclusive by finding producing plants in six spots. Furthermore they have fuelled, broad, world number one prepared lab to do innovative work (Norman Gaither 1987). By this we can see effortlessly that operational procedure of Honda is steady to business system, this technique is additionally lined up with corporate methodology. By supporting each other Honda is accomplishing progressive development. It says operation perfection or execution need in cost, quality, velocity, reliability and adaptability. Fetched astute organization having intense and world best robotized machines to make items. For the Quality Honda having quality measures, testing, RD, quality types of gear with apparatus to give number one quality. Pace and constancy shrewd it is keeping up conveyance plans as indicated by the business sector need too arrange. To make accessibility Honda has producing unit in better places. It has more extensive spread system to conveyance items and administrations to the client. Its taking care of clients dream and demand, key purpose of Honda. In adaptability, Honda enhancing and fabricating new item with quality to its customer. It likewise has extensive variety of items and sub brand also Honda giving better support of the clients. Honda keeping up limited ability to focus long traverse life cycle, the time circle of the item is relies on upon the sort of item what Honda fab ricating. So all these execution in operations prompts low cost and high calibre in item. It likewise prompts quick and auspicious conveyance to the client. Adaptability contends on regular and extensive variety of item and administration. It likewise affecting on changing volume and timing on item and administrations of the Honda. Proposals all focuses as of now talked about in technique entomb related figures yet here adjusted short to know the connection and finish of the association. Toyotas Organisational Strategies Toyota Motor Corporation's non-specific procedure is a blend of the cost authority bland technique and the wide separation non-specific methodology. Taken a toll administration involves minimizing expense of operations and offering costs. Then again, the expansive separation non-specific technique requires creating business and item uniqueness to guarantee Toyota's upper hand. The blend of these non-specific techniques backings Toyota's worldwide range in all business sector fragments. A key objective comparing to Toyota's non-specific procedure is to minimize generation expenses to achieve cost initiative. The organization does as such through the without a moment to spare (JIT) fabricating strategy, which is otherwise called the Toyota Production System (TPS). This technique addresses Toyota's bland procedure by minimizing waste, stock expense, and reaction time. Accordingly, the firm accomplishes most extreme business effectiveness. Then again, Toyota has the vital objective of development to address the expansive separation part of its non-specific procedure. Development prompts one of a kind and appealing items for all business sector fragments. Subsequently, Toyota satisfies its non-specific methodology. Marketing Strategies Hondas Marketing Strategies Honda is a brand known for its quality and development. Honda was never into a forceful limited time exercises however the organization constantly attempted to keep up the quality and made a brand picture by giving better client administration. Honda auto like Honda city is the biggest vender in the section and positioned fourth position in traveler auto portion. Considering the ad, Honda has been extremely cautious and exact in their notices. Honda constantly anticipated their picture as most solid brand, propelled innovation, eco amicable autos. Notwithstanding considering the TV plugs, Honda advanced their half breed auto that keeps running without gas and emanates water as the bye item instead of publicizing the particular brands existing in the business sector. The promotion was more thought to the organization's innovative headways and eco amicable picture which separated Honda from the contenders. Honda advanced their items in greater part print media (Majority ads come in magazines and national news papers). The clients were constantly mindful of the organization approaches of giving most recent innovation and redesigning at whatever point fundamental furthermore rebuilding the whole model after certain timeframe. Considering the pilot model in India, Honda City the organization had redesigned it thrice till the initiation. Honda constantly attempted to make an amazement component amid the dispatch of each model.The organization arrangements to stage street appears, to show vehicles in the structures amid different school celebrations and presentation. 12 January 2009 Honda Motors rose a champ at the second release of the India Best Brand Survey Awards, stowing eight prizes three in the four wheeler portion including Very Reliable Brand, Good Advertising and Environment Friendly. Toyotas marketing strategies Toyota's Promotion (Promotional Mix) Toyota's advancement system covers every one of the strategies of showcasing correspondences. This component of the showcasing blend relates to how the firm speaks with the objective business sector. Toyota utilizes the accompanying advancement exercises, masterminded by: Individual offering Promoting Advertising Deals advancement Direct offering Toyota utilizes individual offering through dealerships' business work force, who by and by elevate items to potential purchasers. The organization likewise utilizes promoting on different media, for example, TV, daily papers, and sites. Furthermore, the firm advances its items through advertising, for example, the Toyota Together Green program that backings natural activities, and the Meal Per Hour program that gives sustenance to Food Bank. These advertising exercises make a positive brand picture for Toyota. Then again, rare deals advancement is utilized through uncommon arrangements. Likewise, the organization once in a while utilizes direct offering for corporate customers. This a player in Toyota's advertising blend demonstrates that the organization has a far reaching methodology for advancing its business and items. Toyota's Prices and Pricing Strategy Toyota's costs change generally, contingent upon the product offering and the item sort or model. This component of the advertising blend distinguishes how the firm sets the costs of its items. Toyota utilizes a mix of the accompanying estimating methodologies: Market-arranged evaluating Esteem based valuing Toyota utilizes the business sector arranged evaluating methodology to decide costs taking into account economic situations and the costs of contenders. This evaluating procedure is eminent in by far most of Toyota items, for example, cars and trucks. Be that as it may, the firm additionally utilizes the quality based estimating technique, which sets costs taking into account the genuine and saw estimation of the item. The organization utilizes esteem based estimating for top of the line or more costly items, for example, the Prius and Lexus autos. This a player in Toyota's showcasing blend demonstrates that the organization decides value levels taking into account economic situations and clients' discernments. Comparison Hondas five principles differs it from many other big shots: No Globalisation much, Localization more Pradoxes to be embraced Have the lean way Putting the engineer in the hot seat Focus on flexibilities Toyotas differentiation strategies are focussed on its Lean management system and the famous TPS i.e. Toyota Production System. References: Organizational culture - Wikipedia, the free encyclopediaChanging the Organizational Culture (Updated) (SWJ Blog)Schein's Organizational Culture LeadershipEffectiveness and Impact of Corporate Average Fuel Economy (CAFE) StandardsThe Maturing Domestic Market (1975-1985). Japan's Auto Industry. About JAMAAn Overview. Japan's Auto Industry. About JAMACorporate social responsibility - Wikipedia, the free encyclopediaHonda ranks top in UK for Corporate Social ResponsibilityFree Market Research Resource for the Market ResearchIndustry available from the MRP.CNW Group | HONDA CANADA INC. | Honda ranked high by publications for environmental andcorporate responsibility Honda, Tesco, Goldman Sachs Among Top 10à ¢Ã¢â€š ¬Ã¢â‚¬â€Green Giants Environmental Leader Green Business and Corporate Sustainability NewsHonda Worldwide | April 21, 2003 "Honda to Establish New Corporate Governance System"Honda Worldwide - Visit the official Honda global web site and find information on all HondaMotor and its subsidiaries and affiliates.Honda MPE - About MPE - Corporate GovernanceSSRN-Japanese Corporate Governance Practices in the Post-Bubble Era:Implications of Institutional andLegal Reforms in the 1990s and Early2000s by Masao NakamuraSSRN-Japanese Corporate Governance Practices in the Post-Bubble Era: Implications ofInstitutional and Legal Reforms in the 1990s and Early2000s by Masao NakamuraHonda Worldwide | April 21, 2003 "Honda to Establish New Corporate Governance System"Honda Worldwide - Visit the official Honda global web site and find information on all HondaMotor and its subsidiaries and affiliates.Honda Worldwide | Corporate GovernanceHonda Worldwide - Visit the official Honda global web site and find information on all HondaMotor and its subsidiaries and a ffiliates. https://www.articlesbase.com/cars-articles/competition-drives-honda-and-toyota-forward-116006.html https://tu-do.com/content/view/468/177/ https://panmore.com/toyota-marketing-mix-4ps-analysis https://manufacturing-strategy.blogspot.in/2009/09/7-principles-of-toyota-production.html https://panmore.com/toyota-generic-strategy-intensive-growth-strategies https://www.axisoflogic.com/artman/publish/Article_58411.shtml https://www.scribd.com/doc/51898429/Honda-marketing-Strategy https://www.businessinsider.in/5-Brilliant-Strategies-That-Make-Honda-One-Of-The-Worlds-Most-Innovative-Companies/articleshow/39248379.cms https://www.ukessays.com/essays/management/operational-strategy-of-honda-company.php https://www.manufacturingglobal.com/leadership/122/How-Honda-Became-One-of-the-Worlds-Most-Innovative-Car-Companies