A report on the Association of Chartered certified Accountants

The Association of Chartered certified Accountants is a accepted British statutory accounting organic structure responsible in making certified comptrollers worldwide. It is one among the fastest turning accounting organic structures with about 140000 members and 404000 affiliates every bit good as pupils from 170 states. This information is harmonizing to the March 2010 statistics. The caput office is situated in London and the administrative office in Glasgow. Furthermore the institute has a broad web affecting 80 staff offices around the universe. the institute is the laminitis organic structure of the Consultative commission of accounting organic structures and the International federation of comptrollers The term Chartered in the making given by the institute was granted by the Queen in the twelvemonth 1974. Persons who wish to be called certified public comptrollers should keep the grade given by the institute. Furthermore they should follow to and ordinances framed by the inst itute. The Association of authorised public comptrollers is one of the subordinates of the ACCA ( ACCA- The planetary organic structure of professional comptrollers. 2010 ) . The Certified public comptrollers or CPA is the certified organic structure of public comptrollers in the US. In US merely persons holding qualified CPA grade is authorized to certify and scrutinize fiscal statements. How of all time many provinces in the US have a lower grade of comptrollers that are below the normal CPA. The public comptrollers in the US belong to the national society of public comptrollers. As per the jurisprudence prevailing, other individuals who are non CPA ‘s are prohibited from utilizing the appellation of a public comptroller. The chief maps of CPA ‘s includes confidence services, fiscal consultancy services etc. they are besides an of import individual in the income revenue enhancement country ( American institute of CPA ‘s. 2010 ) . In Australia, it is the Institute of hired comptrollers of Australia which performs all the statutory maps of an accounting organic structure. It has more than 50000 members and over 12000 pupils worldwide. The institute is besides the laminitis of the Global accounting confederation. The institute was formed as per the royal charter in 1928 ( Chartered Accountants, The spirit of being figure one. 2010 ) . Breach of misdemeanor instances: The institutes of hired comptrollers across the Earth have stricter regulations for its members for maintaining subject. The institutes expect each and every member to follow these regulations and stick on to professional moralss without any via medias. In malice of these stricter regulations, there have been misdemeanors by its members besides. One major instance of misdemeanor is that of Mr. Stephen Charles Peck, FCA, who is a hired comptroller in Britain. The member was found guilty of conveying disrepute to the institute and profession. He was apt under disciplinary action under the byelaw ( 4 ) ( 1 ) . ( a ) .On July 24th 2008, the Grantham Magistrates tribunal convicted Mr.Peck on the charges that he obtained fiscal aid under the rural endeavor ordinances 2000, on the footing of a false and deceptive statement. After many hearings, it was found that Mr. Peck was guilty in making such an act which polluted his profession. However the tribunal admitted that there were no existent purposeful efforts by the individual to make such Acts of the Apostless, he did that as a consequence of condemnable foolhardiness every bit good as irresponsibleness. Mr Peck was imposed a conditional discharge of 12 months and was besides ordered to pay costs amounting to 10437 lbs. Mr batch was badly reprimanded under the misdemeanor of bylaw ( 4 ) ( 1 ) ( a ) .he was asked to pay a mulct of 2000 lbs and costs amounting to 2300 lbs.Under the Torahs of the British chartered comptrollers institute, if a individual is found to hold committed an act or a default that is likely to convey disrepute on the institute and profession every bit good as if there is breach of ordinances, such individual is apt for penalty. He may be suspended and his pattern certification may be withdrawn ( Disciplinary orders and regulative deciscions.2009 ) ..Breachs of codification of behavior have been reported from US besides. In another dramatic instance, a CPA from Greenwich was barred from carry onin g his professional responsibilities and his certification was withdrawn by the Connecticut province board of Accountancy. This was because the CPA withheld the client ‘s revenue enhancement records. The CPA who committed this offense was John.P. Vancho. He was ordered to give up his certification and to pay 1000 dollars as punishment. It is interesting to observe that AICPA has disciplined 327 instances of breach of behavior by its members during the clip period of 1998- 2008. Out of this bulk of instances are involved with registering false returns with income revenue enhancement section. All these misdemeanors invite rigorous punishments as in the instance of JohnVancho ( Dan.2004 ) . In Australia, the ICAA ( institute of hired comptrollers in Australia ) and the CPA ( certified practising comptrollers ) are the of import organic structures which frame the codification of behavior. They have stricter regulations and ordinances that govern the accounting field of that state. Non conformity with the codification invites disciplinary proceedings including remotion of licenses every bit good as payment of compensation to the client. In a deceitful pattern, an comptroller in a reputed concern house was found guilty of cabaling with others by assisting them to hedge 27.78 million Australian dollars during 1999 and 2006. The accountant Mr. Thomson used false paperss intentionally to conceal existent net incomes generated by his clients through this action, he ensured that his clients need non pay the needed revenue enhancements to the Australian authorities. Harmonizing to the regulations and guidelines framed by the Australian institute of certified comptrollers, those comptrollers who indulge in such unethical patterns are apt for probe and prosecution under the jurisprudence. The comptroller was arrested by the Australian constabulary and revenue enhancement governments ( Accountant jailed over portion in fraud. 2008 ) ..The Australian institute of hired comptrollers is a rigorous legal organic structure which takes all necessary stairss to guarantee that the highest professional ethical criterions are maintained by its members. For implementing this, rigorous legal commissariats are applied by the institute on its members. Those who fail to follow with these criterions will be forced to confront disciplinary actions that may change harmonizing to the grade of misdemeanor committed. The institute is non a regulator or tribunal but has a major function in puting high criterions for its members. The Australian institute ‘s disciplinary procedure is just, strict every bit good as independent. Breachs of behavior are capable to independent hea ring by the professional behavior court. The non-satisfied member besides has the chance to near the appeal court. The results of the court are printed in the institute ‘s magazines and its on-line versions. Different types of countenances that the court is authorized to enforce are cancellation of rank up to a period of five old ages, backdown of the right to public pattern, infliction of mulcts up to 100000. And other countenances such a remedial preparation and extra quality reappraisal of the members pattern. In the above instance, the comptroller was reprimanded by the institute and he was made apt. The liability was in the nature of condemnable liability. Furthermore the institute temporarily cancelled the comptroller ‘s rank besides ( Annual study on professional behavior. 2007 ) . Another predominant accounting establishment in the planetary accounting scenario is the Institute of hired comptrollers of India. The institute was established in the twelvemonth 1949 under the hired accountant act of 1949. It is a statutory organic structure for the ordinance of hired comptrollers in India. It is now the 2nd largest accounting organic structure in the whole universe. Its part ranges from instruction, professional development every bit good as care of high ethical, scrutinizing and accounting criterions. The institute imposes rigorous disciplinary action on its members for non-compliance of its regulations and ordinances. For this intent it has formulated a disciplinary commission which is specially entrusted to look into such instances. For those members who were found guilty, regulations and punishments under subdivision 21 of the hired comptrollers act would be applied. These individuals will be for good disqualified from service harmonizing to order of the high tribunal connected in this respect. The penalty may change harmonizing to the nature of misconduct. It can be a rebuke, impermanent suspension of rank or lasting remotion along with infliction of mulct. In a dramatic instance of misconduct by a practicing chartered comptroller in Pune, Mr. R.D. Pawar, who was found guilty of serious misconduct, the institute applied the subdivision 21 and the hired comptroller was removed for good from the members list. Another member, Mr. L.N.Mittal was removed for 1 twelvemonth for his disciplinary misdemeanors by the institute. He was found guilty of assisting a client in hedging revenue enhancement. The hired comptroller was located in Gujarat. The institute was once more in the intelligence late when a immense corporate cozenage affecting transnational company Satyam computing machines was surfaced. The histories of Satyam computing machines were forged with the aid of their hearers M.S Price H2O Coopers. The cozenage was brought into visible r adiation and the company and their hearer ‘s were found guilty for the misconduct. The institute banned Price H2O Coopers from practising anyplace in India ( List of instances as on 5th May, 2010. 2010 ) . All the planetary accounting organic structures have framed rigorous regulations to cover with disciplinary misdemeanors by its members. Although the regulations and punishments are similar between all these organic structures, there are fluctuations in the strength and processs of convicting among these organic structures. For ACCA and CPA, there is a rigorous codification of behavior. The institute of certified comptrollers in Australia have gone farther by adding the clause of civil and condemnable liability apart from the normal punishments imposed by the institute. As far the Institute of hired comptrollers of India is concerned, it has one of the lengthiest Acts of the Apostless, i.e. the hired accounting act for disposal. Breaches of professional behavior are scanned by the disciplinary commission before the finding of fact is given. The common regulations followed by all these accounting organic structures include lasting remotion from the members list, impermanent suspension , censuring, remedial preparation etc. It is rather clear that all the accounting organic structures are seeking hard for bettering the services and professional behavior worldwide. For their better and enhanced public presentation, the undermentioned suggestions are deserving observing. They are reconstructing unity for all professional comptrollers ; this includes keeping downrightness and truthfulness, and maintaining good concern relationships with clients. It is besides indispensable to keep objectiveness because it creates an duty on all the professional comptrollers ne'er to compromise their judgement on the footing of prejudice, struggle, involvements etc. All professional comptrollers should hold professional competency and due attention. This is really much of import for keeping the professional cognition every bit good as accomplishment at the coveted degrees. Furthermore based on this cognition, the clients and employees should have expert and efficient service. When professional services are provided, it is besides of import to move diligently in conformity with the proficient and professional service. The professional comptrollers should be to the full cognizant of the recent concern developments and proficient alterations taking topographic point across the Earth. They could execute aptly merely if they have the up-to-date cognition. The institutes should besides take necessary stairss to guarantee that the professional comptroller receives proper developing so as to enable himself to present expert and satisfying services. It besides of import to do consciousness among the clients that there are built-in restrictions to the services given by the comptroller. Another of import facet that has to be earnestly considered is the construct of confidentiality. This rule refrains the comptroller from unwraping confidential information outside the house. He should keep secrecy even under societal conditions. The demand of keeping confidentiality should go on even after the dealingss ends with the client. Even when the comptroller changes his profession, the confidentiality should be restored. He can nevertheless unwrap information if the jurisprudence permits him to make so and if the permission is given by the client. Last but non the least, the professional comptrollers should be imposed a codification of professional behaviour to be followed on. This would enable them to follow with different Torahs and processs and avoid any action that would truly discredit their profession ( Professional functions and responsibilitiesof different professional groups 2006 ) .. Decision: Professional organic structures like ACCA, CPA, AICA, ICAI etc have become planetary accounting organic structures. With the growing of the concern environment, the demand for effectual and true accounting merchandises and services is on the big. Furthermore the growings of concern have besides resulted in addition of unethical patterns of profiteering. Men and concern are governed by greed entirely now. To get the better of this inauspicious state of affairs and protect the involvements of investors, authorities and the common adult male universe broad, it is of import to hold a nice jurisprudence and ordinance coupled with lucidity and honestness. All these institutes can fall in together and achieve these aims.

Anne Fleche – the Space of Madness and Desire

Tennessee Williams exploits the expressionistic uses of space in the drama, attempting to represent desire from the outside, that is, in its formal challenge to realistic stability and closure, and in its exposure to risk. Loosening both stage and verbal languages from their implicit desire for closure and containment, Streetcar exposes the danger and the violence of this desire, which is always the desire for the end of desire. Writing in a period when U. S. rama was becoming disillusioned with realism, Williams achieves a critical distance from realistic technique through his use of allegory. In Blanche's line about the streetcar, the fact that she is describing real places, cars, and transfers has the surprising effect of enhancing rather than diminishing the metaphorical parallels in her language. Indeed, Streetcar's â€Å"duplicities of expression†(3) are even more striking in the light of criticism's recent renewal of interest in allegory. 4) For allegory establishes the distance â€Å"between the representative and the semantic function of language† (I89), the desire that is in language to unify (with) experience. Streetcar demonstrates the ways in which distance in the drama can be expanded and contracted, and what spatial relativism reveals about the economy of dramatic representation. Tennessee Williams' plays, filled with allegorical language, seem also to have a tentative, unfinished character. The metalanguage of desire seems to preclude development, to deny progress. And yet it seems â€Å"natural† to read A Streetcar Named Desire as an allegorical journey toward Blanche's apocalyptic destruction at the hands of her â€Å"executioner,† Stanley. The play's violence, its baroque images of decadence and lawlessness, promise its audience the thrilling destruction of the aristocratic Southern Poe-esque moth-like neuraesthenic female â€Å"Blanche† by the ape-like brutish male from the American melting-pot. The play is full in fact of realism's developmental language of evolution, â€Å"degeneration,† eugenics. Before deciding that Stanley is merely an â€Å"ape,† Blanche sees him as an asset: â€Å"Oh, I guess he's just not the type that goes for jasmine perfume, but maybe he's what we need to mix with our blood now that we've lost Belle Reve† (285). The surprising thing about this play is that the allegorical reading also seems to be the most â€Å"realistic† one, the reading that imposes a unity of language and experience to make structural sense of the play, that is, to make its events organic, natural, inevitable. And yet this feels false, because allegorical language resists being pinned down by realistic analysis — it is always only half a story. But it is possible to close the gap between the language and the stage image, between the stage image and its â€Å"double† reality, by a double forgetting: first we have to forget that realism is literature, and thus already a metaphor, and then we have to forget the distance between allegory and reality. To say that realism's empiricism is indistinguishable from metaphor is to make it one with a moral, natural ordering of events. Stanley is wrong and Blanche is right, the moralists agree. But the hypocrisy of the â€Å"priggish† reading is soon revealed in its ambivalence toward Blanche/Stanley: to order events sequentially requires a reading that finds Blanche's rape inevitable, a condition of the formal structure: she is the erring woman who gets what she â€Å"asks† for (her realistic antecedents are clear). For the prigs this outcome might not be unthinkable, though it might be — what is worse — distasteful. But Williams seems deliberately to be making interpretation a problem: he doesn't exclude the prigs' reading, he invites it. What makes Streetcar different from Williams' earlier play The Glass Menagerie (I944)(5) is its constant self-betrayal into and out of analytical norms. The realistic set-ups in this play really feel like set-ups, a magician's tricks, inviting readings that leave you hanging from your own schematic noose. Analytically, this play is a trap; it is brilliantly confused; yet without following its leads there is no way to get anywhere at all. Streetcar has a map, but it has changed the street signs, relying on the impulse of desire to take the play past its plots. In a way it is wrong to say Williams does not write endings. He writes elaborate strings of them. Williams has given Streetcar strong ties to the reassuring rhetoric of realism. Several references to Stanley's career as â€Å"A Master Sergeant in the Engineers' Corps† (258) set the action in the â€Å"present,† immediately after the war. The geographical location, as with The Glass Menagerie, is specific, the neighborhood life represented with a greater naturalistic fidelity: â€Å"Above he music of the ‘Blue Piano' the voices of people on the street can be heard overlapping† (243). Lighting and sound effects may give the scene â€Å"a kind of lyricism† (243), but this seems itself a realistic touch for â€Å"The Quarter† (4I2). Even the interior set, when it appears (after a similar wipe-out of the fourth wall), resembles The Glass Menagerie in lay-out and configuration: a ground-floor apartment, with two rooms separated by portieres, occupied by three characters, one of them male. Yet there are also troubling â€Å"realistic† details, to which the play seems to point. The mise en scene seems to be providing too much enclosure to provide for closure: there is no place for anyone to go. There is no fire escape, even though in this play someone does yell â€Å"Fire] Fire] Fire]† (390). In fact, heat and fire and escape are prominent verbal and visual themes. And the flat does not, as it seems to in The Glass Menagerie, extend to other rooms beyond the wings, but ends in a cul-de-sac — a doorway to the bathroom which becomes Blanche's significant place for escape and â€Å"privacy. † Most disturbing, however, is not the increased sense of confinement but this absence of privacy, of analytical, territorial space. No gentleman caller invited for supper invades this time, but an anarchic wilderness of French Quarter hoi polloi who spill onto the set and into the flat as negligently as the piano music from the bar around the corner. There does not seem to be anywhere to go to evade the intrusiveness and the violence: when the flat erupts, as it does on the poker night, Stanley's tirade sends Stella and Blanche upstairs to Steve and Eunice, the landlords with, of course, an unlimited run of the house (â€Å"We own this place so I can let you in† 48 ), whose goings-on are equally violent and uncontained. Stella jokes, â€Å"You know that one upstairs? more laughter One time laughing the plaster — laughing cracked — † (294). The violence is not an isolated climax, but a repetitive pattern of the action, a state of being – it does not resolve anything: BLANCHE I'm not used to such MITCH Naw, it's a shame this had to happen when you just got here. But don't take it serious. BLANCHE Violence] Is so MITCH Set down on the steps and have a cigarette with e. (308) Anxiety and conflict have become permanent and unresolvable, inconclusive. It is not clear what, if anything, they mean. Unlike realistic drama, which produces clashes in order to push the action forward, Streetcar disallows its events a clarity of function, an orderliness. The ordering of events, which constitutes the temporality of realism, is thus no less arbitrary in Streetcar than the ordering of spade: the outside keeps becoming the inside, and vice versa. Williams has done more to relativize space in Streetcar than he did in The Glass Menagerie, where he visualized the fourth wall: here the outer wall appears and disappears more than a half-dozen times, often in the middle of a â€Å"scene,† drawing attention to the spatial illusion rather than making its boundaries absolute. The effect on spatial metaphor is that we are not allowed to forget that it is metaphor and consequently capable of infinite extensions and retractions. As we might expect, then, struggle over territory between Stanley and Blanche (â€Å"Hey, canary bird] Toots] Get OUT of the BATHROOM]† 367 ) — which indeed results in Stanley's reasserting the male as â€Å"King† (37I6 and pushing Blanche offstage, punished and defeated — is utterly unanalytical and unsubtle: â€Å"She'll go] Period. P. S. She'll go Tuesday]† (367). While the expressionistic sequence beginning in Scene Six with Blanche's recollection of â€Å"The Grey oy† (355) relativizes space and time, evoking Blanche's memories, it also seems to drain her expressive power. By the time Stanley is about to rape her she mouths the kinds of things Williams put on screens in The Glass Menagerie: â€Å"In desperate, desperate circumstances] Help me] Caught in a trap† (400). She is establishing her emotions like sign-posts: â€Å"Stay back] †¦ I warn you, don't, I'm in danger]† (40I). What had seemed a way into Blanche's char acter has had the effect of externalizing her feelings so much that they become impersonal. In Streetcar, space does not provide, as it does in realistic drama, an objective mooring for a character's psychology: it keeps turning inside out, obliterating the spatial distinctions that had helped to define the realistic character as someone whose inner life drove the action. Now the driving force of emotion replaces the subtlety of expectation, leaving character out in space, dangling: â€Å"There isn't time to be — † Blanche explains into the phone (399); faced with a threatening proximity, she phones long-distance, and forgets to hang up. The expressionistic techniques of the latter half of he play abstract the individual from the milieu, and emotion begins to dominate the representation of events. In Scene Ten, where Blanche and Stanley have their most violent and erotic confrontation, the play loses all sense of boundary. The front of the house is already transparent; but now Williams also dissolves the rear wall, so that beyond the scene with Blanche and Sta nley we can see what is happening on the next street: A prostitute has rolled a drunkard. He pursues her along the walk, overtakes her and then is a struggle. A policeman's whistle breaks it up. The figures disappear. Some moments later the Negro Woman appears around the corner with a sequined bag which the prostitute had dropped on the walk. She is rooting excitedly through it. (399) The mise en scene exposes more of the realistic world than before, since now we see the outside as well as the inside of the house at once, and yet the effect is one of intense general paranoia: the threat of violence is â€Å"real,† not â€Å"remembered† and it is everywhere. The walls have become â€Å"spaces† along which frightening, â€Å"sinuous† shadows weave — â€Å"lurid,† â€Å"grotesque and menacing† (398-99). The parameters of Blanche's presence are unstable images of threatening â€Å"flames† of desire, and this sense of sexual danger seems to draw the action toward itself. So it is as though Blanche somehow â€Å"suggests† rape to Stanley — it is already in the air, we can see it being given to him as if it were a thought: â€Å"You think I'll interfere with you? Ha-ha] †¦ Come to think of it — maybe you wouldn't be bad to — interfere with†¦ † (40I). The â€Å"inner-outer† distinctions of both realistic and expressionistic representation are shown coming together here. Williams makes no effort to suggest that the â€Å"lurid† expressionistic images in Scene Ten are all in Blanche's mind, as cinematic point-of-view would: the world outside the house is the realistic world of urban poverty and violence. But it is also the domain of the brutes, whose â€Å"inhuman jungle voices rise up† (40I) as Stanley, snakelike, tongue between his teeth, closes in. The play seems to swivel on this moment, when the logic of appearance and essence, the individual and the abstract, turns inside-out, like the set, seeming to occupy for once the same space. It is either the demolition of realistic objectivity or the transition-point at which realism takes over some new territory. At this juncture â€Å"objective† vision becomes an â€Å"outside† seen from inside; for the abstraction that allows realism to represent truth objectively cannot itself be explained as objectivity. The surface in Scene Ten seems to be disclosing, without our having to look too deeply, a static primal moment beneath the immediacy of the action — the sexual taboo underneath realistic discourse: BLANCHE Stay back] Don't you come toward me another tep or I'll STANLEY What? BLANCHE Some awful thing will happen] It will] STANLEY What are you putting on now? They are now both inside the bedroom BLANCHE I warn you, don't, I'm in danger] (40I) What â€Å"will happen† in the bedroom does not have a name, or even an agency. The incestuous relation lies beyond the moral and social order of marriage and the family, adaptation and eugenics, not t o mention (as Williams minds us here) the fact that it is unmentionable. Whatever words Blanche uses to describe it scarcely matter. As Stella says, â€Å"I couldn't believe her story and go on living with Stanley† (405). The rape in Streetcar thus seems familiar and inevitable, even to its â€Å"characters,† who lose the shape of characters and become violent antagonists as if on cue: â€Å"Oh] So you want some roughhouse] All right, let's have some roughhouse]† (402). When Blanche sinks to her knees, it is as if the action is an acknowledgment. Stanley holds Blanche, who has become â€Å"inert†; he carries her to the bed. She is not only silent but crumpled, immobile, while he takes over control and agency. He literally places her on the set. But Williams does not suggest that Stanley is conscious and autonomous; on the contrary the scene is constructed so as to make him as unindividuated as Blanche: they seem, at this crucial point, more than ever part of an allegorical landscape. In a way, it is the impersonality of the rape that is most telling: the loss of individuality and the spatial distinctions that allow for â€Å"character† are effected in a scene that expressionistically dissolves character into an overwhelming mise en scene that, itself, seems to make things happen. The â€Å"meaning† of the rape is assigned by the play, denying â€Å"Stanley† and â€Å"Blanche† any emotion. Thus, the rape scene ends without words and without conflict: the scene has become the conflict, and its image the emotion. Perhaps Streetcar — and Williams — present problems for those interested in Pirandellian metatheatre. Metatheatre assumes a self-consciousness of the form; but Williams makes the â€Å"form† everything. It is not arbitrary, or stifling. Stanley and Blanche cannot be reimagined; or, put another way, they cannot be imagined to reimagine themselves as other people, in other circumstances entirely. Character is the expression of the form; it is not accidental, or originary. Like Brecht, Williams does not see character as a humanist impulse raging against fatal abstractions. (In a play like The Good Person of Setzuan, for example, Brecht makes a kind of comedy of this â€Å"tragic† notion — which is of course the notion of â€Å"tragedy. â€Å") Plays are about things other than people: they are about what people think, and feel, and yet they remove these things to a distance, towards the representation of thoughts and feelings, which is something else again. If this seems to suggest that the rape in Streetcar is something other than a rape, and so not a rape, it also suggests that it is as much a rape as it is possible for it to be; it includes the understanding that comes from exposing the essence of appearances, as Williams says, seeing from outside what we cannot see from within. At the same time, and with the same motion, the scene exposes its own scenic limitations for dramatizing that which must inevitably remain outside the scene — namely, the act it represents. Both the surface â€Å"street scene† and the jungle antecedents of social order are visible in the rape scene, thoroughly violating the norms of realism's analytical space. When Stanley â€Å"springs† at Blanche, overturning he table, it is clear that a last barrier has been broken down, and now there is no space outside the jungle. â€Å"We've had this date with each other from the beginning]† We have regressed to some awful zero-point (or hour) of our beginning. (A â€Å"fetid swamp,† Time critic Louis Kronenberger said of Williams' plays, by way of description. (7) We are also back at the heart of civilization, at its root, the incest taboo, and the center of sexuality, which is oddly enough also the center of realism — the family, where â€Å"sexuality is ‘incestuous' from the start. â€Å"(8) At the border of civilization and the swamp is the sexual transgression whose suppression is the source of all coercive order. Through allegory, W illiams makes explicit what realistic discourse obscures, forcing the sexuality that propels discourse into the content of the scene. The destruction of spatial oundaries visualizes the restless discourse of desire, that uncontainable movement between inside and outside. â€Å"Desire,† Williams writes in his short story â€Å"Desire and the Black Masseur† (I942-46), â€Å"is something that is made to occupy a larger space than that which is afforded by the individual being. â€Å"(9) The individual being is only the measure of a measurelessness that goes far out into space. â€Å"Desire† derives from the Latin sidus, â€Å"star† (â€Å"Stella for Star]† 250, 25I ); an archaic sense is â€Å"to feel the loss of†: the ndividual is a sign of incompleteness, not self-sufficiency, whose defining gesture is an indication of the void beyond the visible, not its closure. The consciousness of desire as a void without satisfaction is the rejection o f realism's â€Å"virtual space,† which tried to suggest that its fractured space implied an unseen totality. Realism's objectivity covered up its literariness, as if the play were not created from nothing, but evolved out of a ready-made logic, a reality one had but to look to see. But literature answers the desire for a fullness that remains unfulfilled — it never intersects reality, never completes a trajectory, it remains in orbit. The nothing from which literature springs, whole, cannot be penetrated by a vision, even a hypothetical one, and no time can be found for its beginning. As Paul de Man reasons in his discussion of Levi-Strauss' metaphor of â€Å"virtual focus,† logical sight-lines may be imaginary, but they are not â€Å"fiction,† any more than â€Å"fiction† can be explained as logic: The virtual focus is a quasi-objective structure osited to give rational integrity to a process that exists independently of the self. The subject merely fills in, with the dotted line of geometrical construction, what natural reason had not bothered to make explicit; it has a passive and unproblematic role. The â€Å"virtual focus† is, strictly speaking, a nothing, but its nothingness concerns us very little, since a mere act of r eason suffices to give it a mode of being that leaves the rational order unchallenged. The same is not true of the imaginary source of fiction. Here the human self has experienced the void within itself and the invented fiction, far from tilling the void, asserts itself as pure nothingness, our nothingness stated and restated by a subject that is the agent of its own instability. (I9) Nothingness, then, the impulse of â€Å"fiction,† is not the result of a supposed originary act of transgression, a mere historical lapse at the origin of history that can be traced or filled in by a language of logic and analysis; on the contrary fiction is the liberation of a pure consciousness of desire as unsatisfied yearning, a space without boundaries. Yet we come back to Blanche's rape by her brother-in-law, which seems visibly to re-seal the laws of constraint, to justify that Freudian logic of lost beginnings. Reenacting the traumatic incestuous moment enables history to begin over again, while the suppression of inordinate desire resumes the order of sanity: Stella is silenced; Blanche is incarcerated. And if there is some ambivalence about her madness and her exclusion it is subsumed in an argument for order and a healthy re-direction of desire. In the last stage direction, Stanley's groping fingers discover the opening of Stella's blouse. The final set-up feels inevitable; after all, the game is still â€Å"Seven-card stud,† and aren't we going to have to â€Å"go on† by playing it? The play's turn to realistic logic seems assured, and Williams is still renouncing worlds. He points to the closure of the analytical reading with deft disingenuousness. Closure was always just next door to entrapment: Williams seems to be erasing their boundary-lines. Madness, the brand of exclusion, objectifies Blanche and enables her to be analyzed and confined as the embodiment of non-being, an expression of something beyond us and so structured in language. As Stanley puts it, â€Å"There isn't a goddam thing but imagination] †¦ And lies and conceit and tricks]† (398). Foucault has argued, in Madness and Civilization, that the containment of desire's excess through the exclusion of madness creates a conscience on the perimeters of society, setting up a boundary between inside and outside: â€Å"The madman is put into the interior of the exterior, and inversely† (II). (I0) Blanche is allegorically a reminder that liberty if taken too far can also be captivity, just as her libertinage coincides with her desire for death (her satin robe is a passionate red, she calls Stanley her â€Å"executioner,† etc. . And Blanche senses early on the threat of confinement; she keeps trying perversely) to end the play: â€Å"I have to plan for us both, to get us both — out]† she tells Stella, after the fight with Stanley that seems, to Blanche, so final (320). But in the end the play itself seems to have some troub le letting go of Blanche. Having created its moving boundary line, it no longer knows where to put her: what â€Å"space† does her â€Å"madness† occupy? As the dialogue suggests, she has to go – somewhere; she has become excessive. Yet she keeps coming back: â€Å"I'm not quite ready. â€Å"Yes] Yes, I forgot something]† (4I2 4I4). Again, as in the rape scene, she is chased around the bedroom, this time by the Matron, while â€Å"The ‘Varsouviana' is filtered into a weird distortion, accompanied by the cries and noises of the jungle,† the â€Å"lurid,† â€Å"sinuous† reflections on the walls (4I4). The Matron's lines are echoed by â€Å"other mysterious voices† (4I5) somewhere beyond the scene; she sounds like a â€Å"firebell† (4I5). â€Å"Matron† and â€Å"Doctor† enter the play expressionistically, as functional agents, and Blanche's paranoia is now hers alone: the street is not visible. The walls do not disintegrate, they come alive. Blanche is inside her own madness, self-imprisoned: her madness is precisely her enclosure within the image. (II) In her paranoid state, Blanche really cannot â€Å"get out,† because there no longer is an outside: madness transgresses and transforms boundaries, as Foucault notes, â€Å"forming an act of undetermined content† (94). It thus negates the image while imprisoned within it; the boundaries of the scene are not helping to define Blanche but reflecting her back to herself. Blanche's power is not easy to suppress; she is a eminder that beneath the appearance of order something nameless has been lost: â€Å"What's happened here? I want an explanation of what's happened here. † she says, â€Å"with sudden hysteria† (407-8). It is a reasonable request that cannot be reasonably answered. This was also Williams' problem at the end of The Glass Menagerie: how to escape from the image when it seems to have bee n given too much control, when its reason is absolute? Expressionism threatens the reason of realistic mise en scene by taking it perhaps too far, stretching the imagination beyond limits toward an absoluteness of the image, a desire of desire. The â€Å"mimetic† mirror now becomes the symbol of madness: the image no longer simply reflects desire (desire of, desire for), but subsumes the mirror itself into the language of desire. When Blanche shatters her mirror (39I) she (like Richard II) shows that her identity has already been fractured; what she sees in the mirror is not an image, it is indistinguishable from herself. And she cries out when the lantern is torn off the lightbulb, because there is no longer a space between the violence she experiences and the image of that violence. The inner and the outer worlds fuse, the reflecting power of the image is destroyed as it becomes fully self-reflective. The passion of madness exists somewhere in between determinism and expression, which at this point â€Å"actually form only one and the same movement which cannot be dissociated except after the fact. â€Å"(I2) But realism, that omnivorous discourse, can subsume even the loss of the subjective-objective distinction — when determinism equals expression — and return to some quasi-objective perspective. Thus at the very moment when all space seems to have been conquered, filled in and opened up, there is a need to parcel it out again into clearly distinguishable territories. Analysis imprisons desire. At the end of A Streetcar Named Desire, there is a little drama. Blanche's wild expressionistic images are patronized and pacified by theatricality: â€Å"I — just told her that — we'd made arrangements for her to rest in the country. She's got it mixed in her mind with Shep Huntleigh† (404-5). Her family plays along with Blanche's delusions, even to costuming her in her turquoise seahorse pin and her artificial violets. The Matron tries to subdue her with physical violence, but Blanche is only really overcome by the Doctor's politeness. Formerly an expressionistic â€Å"type,† having â€Å"the unmistakable aura of the state institution with its cynical detachment† (4II), the Doctor †¦ takes off his hat and now he becomes personalized. The unhuman quality goes. His voice is gentle and reassuring s he crosses to Blanche and crouches in front of her. As he speaks her name, her terror subsides a little. The lurid reflections fade from the walls, the inhuman cries and noises die our and her own hoarse crying is calmed. 4I7) Blanche's expressionistic fit is contained by the Doctor's realistic transformation: he is particularized, he can play the role of gentleman caller. â€Å"Jacket, Doctor? † the Matron asks him. † He smiles †¦ It won't be necessary† (4I7-I8). As they exit, Blanche's visionary excesses have clearly been surrendered to him: â€Å"She allows him to lead her as if she were blind. † Stylistically, he, realism replaces expressionism at the exact moment when expressionism's â€Å"pure subjectivity† seems ready to annihilate the subject, to result in her violent subjugation. At this point the intersubjective dialogue returns, clearly masking indeed blinding — the subjective disorder with a assuring form. If madness is perceived as a kind of â€Å"social failure,†(I3) social success is to be its antidote. Of course theater is a cure for madness: by dramatizing or literalizing the image one destroys it. Such theatricality might risk its own confinement in the image, and for an instant there may be a real struggle in the drama between the image and the effort to contain it. But the power of realism over expressionism makes this a rare occasion. For the â€Å"ruse,† Foucault writes, â€Å"†¦ ceaselessly confirming the delirium , does not bind it to its own truth without at the same time linking it to the necessity for its own suppression† (I89). Using illusion to destroy illusion requires a forgetting of the leap of reason and of the trick it plays on optics. To establish order, the theatrical device repeats the ordering principle it learns from theater, the representational gap between nature and language, a gap it has to deny: â€Å"The artificial reconstitution of delirium constitutes the real distance in which the sufferer recovers his liberty† (I90). In fact there is no return to â€Å"intersubjectivity,† just a kind of formal recognition of it: â€Å"Whoever you are — I have always depended on the kindness of strangers. † Streetcar makes the return to normality gentle and theatrical, while â€Å"revealing† much more explicitly than The Glass Menagerie the violence that is thereby suppressed. This violence is not â€Å"reality,† but yet another theater underneath the theater of ruse; the cure of illusion is ironically â€Å"effected by the suppression of theater† (I9I). The realistic containment at the end of Streetcar hus does not quite make it back all the way to realism's seamlessly objective â€Å"historical† truth. History, structured as it is by â€Å"relations of power, not relations of meaning,†(I4) sometimes assumes the power of reality itself, the platonic Form behind realism, so to speak, When it becomes the language of authority, history also assumes the authorit y of language, rather naively trusting language to be the reality it represents. The bloody wars and strategic battles are soon forgotten into language, the past tense, the fait accompli. Useless to struggle against the truth that is past: history is the waste of time and the corresponding conquest of space, and realism is the already conquered territory, the belated time with the unmistakable stamp of authenticity. It gets applause simply by being plausible; it forgets that it is literature. To read literature, de Man says, we ought to remember what we have learned from it — that the expression and the expressed can never entirely coincide, that no single observation point is trustworthy (I0-II). Streetcar's powerful explosion of allegorical language and expressionistic images keeps its vantage point on the move, at a remove. Every plot is untied. Realism rewards analysis, and Williams invites it, perversely, but any analysis results in dissection. To provide Streetcar with an exegesis seems like gratuitous destruction, â€Å"deliberate cruelty. † Perhaps no other American writer since Dickinson has seemed so easy to crush. And this consideration ought to give the writer who has defined Blanche's â€Å"madness† some pause. Even the critical awareness of her tidy incarceration makes for too tidy a criticism. In Derrida's analysis of Foucault's Madness and Civilization, he questions the possibility of â€Å"historicizing† something that does not exist outside of the imprisonment of history, of speech — madness â€Å"simply says the other of each determined form of the logos. â€Å"(I5) Madness, Derrida proposes, is a â€Å"hyperbole† out of which â€Å"finite-thought, that is to say, history† establishes its â€Å"reign† by the â€Å"disguised internment, humiliation, fettering and mockery of the madman within us, of the madman who can only be a fool of a logos which is father, master and king† (60-6I). Philosophy arises from the â€Å"confessed terror of going mad† (62); it is the â€Å"economic† embrace of madness (6I-62) To me then Williams' play seems to end quite reasonably with a struggle, at the point in the play at which structure and coherence must assert themselves (by seeming to) — that is, the end of the play. The end must look back, regress, so as to sum up and define. It has no other choice. The theatrical ending always becomes, in fact, the real ending. It cannot remain metaphorically an â€Å"end† And what is visible at the end is Blanche in trouble, trapped, mad. She is acting as though she believed in a set of events — Shep Huntleigh's rescue of her — that the other characters, by their very encouragement, show to be unreal. There is a fine but perhaps important line here: Blanche's acting is no more convincing than theirs; but — and this is a point Derrida makes about madness — she is thinking things before they can be historicized, that is, before they have happened or even have been shown to be likely or possible (reasonable). Is not what is called finitude possibility as crisis? † Derrida asks (62). The other characters, who behave as if what Blanche is saying were real, underline her absurdity precisely by invoking reality. Blanche's relations to history and to structural authority are laid bare by this â€Å"forced† ending, in which she repeatedly questions the meaning of meaning: â€Å"What has happened here? † This question implies the relativity of space and moment, and so of â€Å"ev ents† and their meanings, which are at-this point impossible to separate. That is why it is important that the rape suggest an overthrow of meaning, not only through a stylized emphasis on its own representation, but also through its strongly relativized temporality. (Blanche warns against what â€Å"will happen,† while Stanley says the event is the future, the fulfillment of a â€Å"date† or culmination in time promised â€Å"from the beginning. â€Å") Indeed, the problem of madness lies precisely in this gap between past and future, in the structural slippage between the temporal and the ontological. For if madness, as Derrida suggests, can exist at all outside of opposition (to reason), it must exist in â€Å"hyperbole,† in the excess prior to its incarceration in structure, meaning, time, and coherence. A truly â€Å"mad† person would not objectify madness — would not, that is, define and locate it. That is why all discussions of â€Å"madness† tend to essentialize it, by insisting, like Blanche's fellow characters at the end of Streetcar, that it is real, that it exists. And the final stroke of logic, the final absurdity, is that in order to insist that madness exists, to objectify and define and relate to it, it is necessary to deny it any history. Of course â€Å"madness† is not at all amenable to history, to structure, causality, rationality, recognizable â€Å"though† But this denial of the history of madness has to come from within history itself, from within the language of structure and â€Å"meaning. † Blanche's demand to know â€Å"what has happened here† — her insistence that something â€Å"has happened,† however one takes it — has to be unanswerable. It cannot go any further. In theatrical terms, the â€Å"belief† that would make that adventure of meaning possible has to be denied, shut down. But this theatrical release is not purifying; on the contrary, it has got up close to the plague, to the point at which reason and belief contaminate each other: the: possibility of thinking madly. Reason and madness can cohabitate with nothing but a thin curtain between. And curtains are not walls, they do not provide solid protection. (I6) Submitting Williams' allegorical language to ealistic analysis, then, brings you to conclusions: the imprisonment of madness, the loss of desire. The moral meaning smooths things over. Planning to â€Å"open up† Streetcar for the film version with outside scenes and flashbacks, Elia Kazan found it would not work — he ended up making the walls movable so they could actually close in more with every scene. (I7) The sense of entrapment was fundamental: Williams' dramatic language is its elf too free, too wanton, it is a trap, it is asking to be analyzed, it lies down on the couch. Kazan saw this perverse desire in the play — he thought Streetcar was about Williams' cruising for tough customers: The reference to the kind of life Tennessee was leading rear the time was clear. Williams was aware of the dangers he was inviting when he cruised; he knew that sooner or later he'd be beaten up. And he was. (35I) But Kazan undervalues the risk Williams is willing to take. It is not just violence that cruising invites, but death. And that is a desire that cannot be realized. Since there is really no way to get what you want, you have to put yourself in a position where you do not always want what you get. Pursuing desire requires a heroic vulnerability. At the end of â€Å"Desire and the Black Masseur† the little masochistic artist/saint, Anthony Burns, is cannibalized by the masseur, who has already beaten him to a pulp. Burns, who is thus consumed by his desire, makes up for what Williams calls his â€Å"incompletion. † Violence, or submission to violence, is analogous to art, for Williams: both mask the inadequacies of form. Yes, it is perfect,† thinks the masseur, whose manipulations have tortured Bums to death. â€Å"It is now completed]†(I8) NOTBS I Tennessee Williams, A Streetcar Named Desire, in The Theatre of Tennessee Williams, vol. I (New York, I97I), 246. Subsequent references are to this edition and rear nod by page number in the text. 2 See Conversations with Tennessee Williams, ed. Albert J. Devlin (Jackson, Miss . , I986). 3 Paul de Man, Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism, 2nd ed. , revised (Minneapolis, I983), I2. See de Man, Blindness and Insight, I87ff, where he outlines the critical movements in Western Europe and the U. S. that have thus â€Å"openly raise d the question of the intentionality of rhetorical figures† (I88). Among the critics he cites are Walter Benjamin, Roland Barthes, and Michel Foucault (to whose work I will turn later in this essay). Subsequent references to Blindness and Insight are noted by page number in the text. 5 Tennessee Williams, The Gloss Menagerie (New York, I97I). 6 Stanley is quoting Huey Long. 7 See Gore Vidal's â€Å"Introduction† to Tennessee Williams' Collected Short Stories (New York, I985) xxv. 8 Michel Foucault, The History of Sexuality, vol. I: An Introduction, trans. Robert Hurley (New York, I978), I08-9. 9. Tennessee Williams, â€Å"Desire and the Black Masseur,† in Collected Stories (New York, I985), 2I7. I0 Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason, trans. Richard Howard (New York, I965). II. Ibid. , 94. I2 Ibid. , 88. I3 Ibid. , 259-60. Subsequent references are noted by page number in the text. I4 Michel Foucault, Power/Knowledge: Selected

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The Great Gatsby by F. Scott Fitzgerald Essay Fitzgerald condemns his readers to the knowledge that the American dream is not the key to eudemonia but rather the stair way which once started upon leads inescapably to destruction. When we refuse to accept reality, we lose it completely. The notion of the American dream is a primary concern in the novel. Coincidentally Fitzgerald shows it to be just that. A dream. The frequent, yet subtle references to theatre, fantasy and ideals throughout the novel reinforce this. Like any ideal, it is flawed through human conception and action. It is Nick who describes Gatsbys transformation from young Gatz to Jay Gatsby, likening it to Platonic conception. It is in this sense that Gatsby has ultimately doomed himself. Platos beings were perfect, ideals of human aspirations, formed by the infallible sculptor, in contrast, the vague contour of Jay Gatsby had filled out with the help of a singularly appropriate education by a man who embodied the savage violence of the frontier brothel. Regardless of the fact that this ideal Gatsby is fundamentally flawed, Gatsbys inability to truly become the ideal also hinders him. He is neither one thing nor the other, instead he dances along the precipice, unable to bear being young Gatz but also unable to transform completely into Jay Gatsby, this is evident both through his conspicuous absence from his own elaborate parties, he was not there; and in the flaws of his props, eg. the absolutely real books which adorn the library but have never been read. Every thing about the created character of Jay Gatsby is extravagant, as though young Gatz feels the need to over compensate lest someone see through his charade. Like the books, the parties, the clothes and the elaborate formality of speech Daisy is yet another prop, similar to the medal from Montenegro, to add to the collection of the convincing artefacts which confirm Jay Gatsbys life. Nick describes how the fact that men had previously loved Daisy increased her value in the eyes of Gatz. This reinforces her position as an object but more importantly she was a convincing object, an appropriate object for glorious future of Jay Gatsby.  Daisy was an object to strive towards, as utterly unattainable as the American dream but something which never-the-less lingers on the peripheral of Gatsbys consciousness yet will remain insubstantial because of Gatsbys lack of substance. It is in the final stages of the novel where battle between idealist fantasy and reality is finally ended for Gatsby. His invisible cloak of illusion slips from his shoulders, the contour of Jay Gatsby is shattered, broken up like glass against Toms hard Malice but with it is also broken the remaining fragments of Gatz, for he was both and neither, living in constant illusion which was decimated by the harsh light of reality. Without the barrier of that last hope, the commitment to the following of a grail, Gatsby was gone. The fact that he was shot by Wilson is irrelevant for in truth he was already dead the moment that shimmering green light faded. Instead of attaining happiness in the pursuit of the dream Gatsby is destroyed by it. Like his elaborate library, with absence of one book, or one hope, the entire thing was liable to collapse.

Review Answers On Contemporary Drama Essay Example for Free

Review Answers On Contemporary Drama Essay With the many plays present and available, the tile of this particular contemporary play caught me since it was very unusual, and I wanted to know whether it was alluding to a deeper metaphorical meaning or just a play with a different contextual meaning—like a satire of some sort as to what George Orwell did in Animal Farm. Moreover, the title seems intriguing—this is brought on by the visual impact of the Dead Rats since it is both gory and gruesome. 2) Review the playwright’s literary elements: a. Provide a plot summary. The summary of the play is unusual since it itself does not seem to follow a normal plot pattern or any plot at all. The play instead is in the format of a â€Å"stream of consciousness† wherein there is a jumping of characters, themes, and motif. Just as the plot was making sense or beginning to make a point, it shifts to different characters and stories. But I believe that that is mainly the point or summary of the plot—the voices or the many characters in the mind of a person which shifts immediately and suddenly without warning. There seem to be so many characters, but they have no common factor, and yet they are connected somehow. b. Identify the genre. How do you know? It is hard to identify the genre of the play, but it can be considered as a psychological contemporary play. This is for the reason that the play seems to happen inside the mind and yet not entirely in it. There are allusions of the psychological treatment from the very start of the play—from the voices which the man is hearing to the presence of Dr. Green or School Master Green who is treating a patient by the name of Mary or Marie with multiple personalities or multiple interpretations of reality and fantasy. The entire play itself is confusing since it keeps shifting and turning with the characters and the mention of either the mentally disturbed or the dead. c. What is the theme? The theme is most exemplified at the end of the play wherein the dead character by the name of Ann tells the audience that â€Å"she continues†: Everything continues, and I will continue. I can see right through your silence, right through into your mind, deep inside behind your face, way back, where you really think, and I know just how hard it is, how hard the pain hits you, but look at me, hear me. I continue. After the lights go down, I continue. (Knag, 2009, n. p. ) The whole play is about the inner realms of thinking and of the mind; that is to say, just because someone is dead or not there anymore does not mean they cease to exist—because everyone continues. d. Is there spectacle present in the play? If so, how did it affect your reading of the play? There are a lot of spectacles present in the play, like the outbursts of the emotions of the characters or the killing of the Little Waif character also known as Marie or Mary. These so-called spectacles made me more interested with the play and made me want to find out what is happening and what was going on. 3) If you could change any part of the plot in your selected play, what would you amend? I think the author, Paul Knag, already did a fine job with the play. Even if the play is very confusing, startling, and gruesome, it was very well-written and intriguing to the point that the reader is made breathless with the drama and action going on. However, there are some points which I would want to change. For instance, it seems that are too many scene changes and props needed. The practicality of producing such contemporary play should be considered since the play itself is quite simple. Hence, there is no need for theatrical displays of props and settings since in my opinion, the psychological beauty and seriousness of the play can still come out if there are simpler props and settings included. For example, instead of traveling from one place to another to determine the shift from train station to the actual destination, there can be a play with light, darkness, and space as to pertain to the shift. Reference

Regions and Regionalism in Global Politics

Regions and Regionalism in Global Politics Introduction – One View The concept of Regionalism has continued to grow, we can now unite and unify regions together to improve their political and economic agreements, the overall effect of this is to strengthen and stabilize globalization. The revival of old regionalists and the creation of new ones allows us to divide a state into smaller nations, this then gives us a better picture and greater transparency. Not everyone has the same ideology, views, values and beliefs and if we were to leave a state as a whole nation it could give rise to allegations of misconduct and corruption, but unity also isn’t guaranteed if you were to split the state into smaller sections. But there is the increased likelihood of unequal parity and rising tensions as there are so many smaller states within the nation that want to be heard and they all have different views and opinions on how they would like things to be handled. It is a fine balancing act to bring together so many people with different views and needs to be handled sensitively and diplomatically. Africa – Regional Economic Organization The African Economic Community (AEC) As a regional organization the AEC wants to enhance their economic development, based on their own rules, standards and principles, but they need to be capable of making their regionalism globalized if they wish to be successful and seen as a major contender in global politics, although the AEC is pivotal part of Africa’s regional integration; global progress has been slow as continued issues in Egypt, Libya and Tunisia have made democratic consolidation and sustained communications globally very fragile. Africa’s international economic trade agreements remain steady but they are pushing for better internal integration over global integration; their governments are backing more and more regional organizations with the aim to first better the country, their democratic roots and institutions from within before branching out internationally. Africa – Regional Security Organization The Eastern Africa Standby Force By 2015 EASF aims to have finalized the operations for an integrated regional and continental security standby force that will be able to respond to a wide range of crisis within African continent. As a regional organization they have the member states best interests at heart and can work closely with them to gain a better understanding of any situation that arises. With them only being regionalized they will only respond to the African nations conflicts and issues, African leaders felt it necessary to regionalize this African organization as they felt that there were complex challenges threatening the stability and security of their continent, and they didn’t want outside nations challenging their decisions and operations and risking the security and safety of their people. Their impact on global politics is a positive move towards cohesive crisis management not only in Africa but across the other continents. This is one of many regional organizations unlike the AEC that I think should remain regional as it will work with greater effect rather than globalizing the organization and spreading its resources to thinly that they can’t do what they were conceived to do, and in retaining their regionalism it means that they don’t figure on the global political scale, but the other continents can see what they are doing and achieving and work with them to develop their own security task force. Asia – Regional Economic Organization The Economic Cooperation Organization (ECO) The success of the ECO is dependent on their member states, whilst the status and power of the ECO is improving their member states are struggling economically as they lack the basic and correct geographical factors like appropriate infrastructures, sustainable land, and economic factors like poor intra-regional trade agreements and the full cooperation of some regional and international organizations which they need to be able to make greater use of the resources and materials they have, and promote better regional and international relations. To allow political and economic integration of this regional organization to a global scale they need to be able to be able to show that they have good governance, improved education reform, investing in social improvements, and extensive knowledge of the economy, but the ECO has some very powerful member states, Turkmenistan possess the worlds fourth-largest reserves of natural gas and substantial oil resources (About Turkmenistan, ) and Uzbekistan and Kazakhstan have gas fields and a pipe line that connects with China. Continued issues with Afghanistan and the Wests mistrust of Iran has prevented outside people investing in economically struggling areas. Political tension with nations states outside of the ECO are causing strained relations within the political field, this doesn’t necessarily have to impact on the ECO but improving those relations could lead to more members joining the ECO and forging better international relations. Asia – Regional Security Organization ASEAN Regional Forum(ARF) The ARF uses a process of official and non-official diplomacy, this make it unique as an international organization because they then have a two pronged approach to the regional political issues and the security issues and their developments. The associated members have the resources via a forum to discuss current security concerns and work together to enhance the overall security and peace within the region. This organization has a massive impact on global politics and the overall unity of the world; in participating its members have the opportunity to discuss ways to resolve situations without unwanted interference, armed or otherwise, from others, this allows for a greater chance of resolving any security issues through political dialogue and without force being used. To date no armed confrontation has occurred since the ARF was established over 30 years ago. If security issues can be resolved through medication and without the need for conflict management then that country will have increased power within the political world as they will show that they are willing to discuss and negotiate for a peaceful solution. Positive or Negative Regionalism can segregate nations and regions, and can cause unhealthy corrupt alliances, but by allowing the unilateral presence of nation state organizations to prosper they can create a positive and productive playing field that will raise their affectivity in Global politics field. In my opinion, the ever changing and expending world of politics means that, the more regions that are integrated into regional organization then the greater the chance we have of globally and politically effecting change. The more alliances a country can have the more prospects and opportunities it will gain. I see regionalism as neither positive or negative as there are aspects to regionalism that can fall into both categories and most out way the others. International politics is a finely balanced game of whom you can win as allies and who you can succeed as enemies. Our world is constantly changing and unlikely nations are forming alliances in the hope of achieving global sustenance within the international community, only time will tell if these alliances will be able to work effectively or whether new groups will form and break away from our current international field and attempt to create their own One World Government. References About Turkmenistan. (n.d.). Retrieved from http://www.dragonoil.com/our-operations/turkmenistan/about-turkmenistan/

Shakespeares Othello - There Would be No Othello Without Iago Essay

There would be No Othello without Iago Though the name of the play written by William Shakespeare is called "Othello," the character Othello is not the main character, but rather Iago is. Iago is the character who drives the play, he is the one who makes things happen. Without his greed and hated, there would be no play at all. The whole play is centered around Iago's revenge and in doing so, he is willing to make other people's lives miserable. Through "Othello," Iago uses the other characters to avenge the wrong doings which Othello has inflicted upon him, and will go to any means to do so. The play starts out with Iago not attaining the position he wanted from Othello, but rather the position was given to Cassio, who in Iago's mind is unqualified for the job. This is where Iago starts to spin his web of destruction. Iago hates Othello with a passion, and in his heart he truly believes that Othello has slept with his wife Emilia. "I hate the Moor, and it is abroad that 'twixt my sheets 'has done my office" Othello. Act I. iii. 429-431. Being placed aside for the lieutenant position made him even more mad. He then decided on a plan and took full action upon it "to abuse Othello's ear that he (Cassio) is too familiar with his (Othello's) wife" Othello. Act I. iii. 438-439. Roderigo was Iago's puppet. He believed everything that Iago told him and always did as he said, which in the end got him killed. Through the play one wonders often why Roderigo keeps following Iago's demands, and it was because he truly loved Desdemona. He was willing to kill himself if he couldn't have her "i... ...sp; Every person that came in contact with Iago ended up dead or wounded in some way. Iago manipulated everyone he knew for his own means. In the end he got everything he wanted. He got revenge on Othello and ended up killing three people and seriously wounding one person in the process. One of the people who died was his own wife, but he could have cared less about that as long as he succeeded. If Iago was not around and did not carry with him the animosity, hatred, greed, and selfishness, none of those inimical things would have happened, but then, there wouldn't be a play either. Bad characters are needed in plays and in life. If we always got what we wanted and bad things never happened, then life would be very boring. Iago tormented and played around with Othello's mind, and he enjoyed this immensely, it was his goal and he achieved it.

Vegetarian Diets Essay examples -- Healthy Lifestyle Essay

Growing up in India, I have heard much about vegan diets. Many people take on vegetarian diets due to religious beliefs, personal interest, ethical issues, and many other reasons. So what exactly is a vegetarian diet? Is it better for the body? Vegetarian diets can provide the necessary nutrients; as well, as reduce the likelihood of chronic diseases caused by unhealthful diet; however, if the food intake is not closely monitored it can lead to deficiencies. Then the question becomes, if vegetarian diets are better, then why exactly do we need meat products in our diet? In this research paper, I want explore the pro and cons of vegetarian diet and its implications. The vegetarian society defines a vegetarian as one who consumes predominantly fruits, vegetables, grains and plant products without eating animal products such as meat, fish, poultry (â€Å"Vegetarian society†). Although vegetarians are defined as those who do not consume animal products, there are different levels of vegetarianism: semi-vegetarian, pescovegetarian, lacto-ovo-vegetarian, lacto vegetarian, ovovegetarian, strict vegetarian, macrobiotic diet, and fruitarian. The level of strictness in food intake varies with each type of diet that it becomes harder for the person to acquire the daily requirements of nutrients. Semi-vegetarian is also known as Flexitarian. This type of vegetarian consumes a large amount of plant products, eggs, dairy items and from time to time eat red meat, poultry, at times even fish (Thompson, Manore, Vaughan, 2011 pg. 223). A flexitarian as the name sounds does not give up meat completely but they take on this diet because they have become more conscientious of their health and the ecology. Since they are not completely limiting an... ...Based on research, it seems that all vegetarian diets other than strict vegetarian, macrobiotic diets and fruitarian diet provide the body with essential proteins derived from animal products. In any type of diet, the individual must follow the requirements in order for it to have good benefits to health. References Becoming a vegetarian. (2009). Harvard Women's Health Watch, 17(2), 4-6. "Lacto Ovo Vegetarian Diets." Lacto Diets, Lacto-Ovo-Vegetarian Diet. Retrieved on March 25, 2012. http://www.dentedafrique.org/diets_lacto.html. MacMunn, A., & O'Malley, R. (2009). Eat right. Retrieved March 25, 2012 from http://www.eatright.org/Media/content.aspx?id=1233 Thompson, Manore, Vaughan, 2011. The Science of Nutrition. Benjamin Cumming, San Francisco. Vegetarian society. (n.d.). Retrieved March 25, 2012 from http://www.vegsoc.org/page.aspx?pid=508

The Wizard Who Flew Through Biology

___24. In which population is the frequency of the allele for brown feathers highest? a. A b. B c. C d. D e. E ____25. In which population would it be least likely that an accident would significantly alter the frequency of the brown allele? a. A b. B c. C d. D e. E ____26. The probability of a mutation at a particular gene locus is ____, and the probability of a mutation in the genome of a particular individual is ____. a. high; low b. low; high c. low; low d. high; high e. moderate; moderate ____27. Which factor is the most important in producing the variability that occurs in each generation of humans? a. mutation b. sexual recombination c. genetic drift d. nonrandom mating e. natural selection ____28. In a large, sexually reproducing population, the frequency of an allele changes from 0. 6 to 0. 2. From this change, one can most logically assume that, in this environment, a. the allele is neutral. b. the allele mutates readily. c. random processes have changed allelic frequencies. d. there is no sexual selection. e. the allele reduces fitness. ____29. You are maintaining a small population of fruit flies in the laboratory by transferring the flies to a new culture bottle after each generation. After several generations, you notice that the viability of the flies has decreased greatly. Recognizing that small population size is likely to be linked to decreased viability, the best way to reverse this trend is to a. cross your flies with flies from another lab. b. reduce the number of flies that you transfer at each generation. c. transfer only the largest flies. d. change the temperature at which you rear the flies. e. hock the flies with a brief treatment of heat or cold to make them more hardy. ____30. If the frequency of a particular allele that is present in a small, isolated population of alpine plants should change due to a landslide that leaves an even smaller remnant of surviving plants, then what has occurred? a. a bottleneck b. genetic drift c. microevolution d. A and B only e. A, B, and C ____31. Through time, the movement of people on Earth has steadily increased. This has altered the course of human evolution by increasing a. nonrandom reproduction. b. geographic isolation. c. enetic drift. d. mutations. e. gene flow. ____32. Gene flow is a concept best used to describe an exchange between a. species. b. males and females. c. populations. d. individuals. e. chromosomes. Use the information below to answer the following questions. In the year 2500, five male space colonists and five female space colonists (all unrelated to each other) settle on an uninhabited Earthlike planet in the Andromeda galaxy. The colonists and their offspring randomly mate for generations. All ten of the original colonists had free earlobes, and two were heterozygous for that trait. The allele for free earlobes is dominant to the allele for attached earlobes. ____33. If four of the original colonists died before they produced offspring, the ratios of genotypes could be quite different in the subsequent generations. This is an example of a. diploidy. b. gene flow. c. genetic drift. d. disruptive selection. e. stabilizing selection. ____34. The higher the proportion of loci that are â€Å"fixed† in a population, the lower is that population's a. nucleotide variability. b. genetic polymorphism. c. average heterozygosity. d. A, B, and C e. A and B only Choose among these options to answer the following questions. Each option may be used once, more than once, or not at all. A. random selection B. directional selection C. stabilizing selection D. disruptive selection E. sexual selection ____35. A certain species of land snail exists as either a cream color or a solid brown color. Intermediate individuals are relatively rare. a. A b. B c. C d. D e. E ____36. Pathogenic bacteria found in many hospitals are antibiotic resistant. a. A b. B c. C d. D e. E ____37. Heterozygote advantage should be most closely linked to which of the following? . sexual selection b. stabilizing selection c. random selection d. directional selection e. disruptive selection In a very large population, a quantitative trait has the following distribution pattern: ____38. If the curve shifts to the left or to the right, there is no gene flow, and the population size consequently increases over successive generations, then which of these is (are) probably occurrin g? 1. immigration or emigration 2. directional selection 3. adaptation 4. genetic drift 5. disruptive selection a. 1 only b. 4 only c. 2 and 3 d. 4 and 5 e. 1, 2, and 3 ____39. Male satin bowerbirds adorn structures that they build, called â€Å"bowers,† with parrot feathers, flowers, and other bizarre ornaments in order to attract females. Females inspect the bowers and, if suitably impressed, allow males to mate with them, after which they go off to nest by themselves. The evolution of this behavior is best described as due to a. survival of the fittest. b. artificial selection. c. sexual selection. d. natural selection. e. disruptive selection. ____40. In many animal species, mature males are much larger than mature females. This size difference can be attributed to a. ale hormones having a more positive effect on body size than female hormones do. b. the operation of intrasexual selection. c. females preferentially selecting larger males as mates. d. A and B only e. A, B, and C ____41. Adult male vervet monkeys have red penises and blue scrotums. Males use their colorful genitalia in dominance displays wherein they compete with each other for acc ess to females. The coloration of the male genitalia is best explained as the result of ____, and specifically of ____. a. natural selection; stabilizing selection b. disruptive selection; intrasexual selection . sexual selection; intrasexual selection d. natural selection; intersexual selection e. sexual selection; disruptive selection ____42. When imbalances occur in the sex ratio of sexual species that have two sexes (i. e. , other than a 50:50 ratio), the members of the minority sex often receive a greater proportion of care and resources from parents than do the offspring of the majority sex. This is most clearly an example of a. sexual selection. b. disruptive selection. c. balancing selection. d. stabilizing selection. e. frequency-dependent selection. ____43. Which of the following statements about species, as defined by the biological species concept, is (are) correct? I. Biological species are defined by reproductive isolation. II. Biological species are the model used for grouping extinct forms of life. III. The biological species is the largest unit of population in which successful reproduction is possible. a. I only b. II only c. I and III d. II and III e. I, II, and III ____44. Which of the following is not considered an intrinsic isolating mechanism? a. sterile offspring b. ecological isolation c. geographic isolation . gametic incompatibility e. timing of courtship display ____45. Dog breeders maintain the purity of breeds by keeping dogs of different breeds apart when they are fertile. This kind of isolation is most similar to which of the following reproductive isolating mechanisms? a. reduced hybrid fertility b. hybrid breakdown c. mechanical isolation d. habitat isolation e. gametic isolation ____46. Two species of frogs belo nging to the same genus occasionally mate, but the offspring do not complete development. What is the mechanism for keeping the two frog species separate? a. he postzygotic barrier called hybrid inviability b. the postzygotic barrier called hybrid breakdown c. the prezygotic barrier called hybrid sterility d. gametic isolation e. adaptation ____47. A defining characteristic of allopatric speciation is a. the appearance of new species in the midst of old ones. b. asexually reproducing populations. c. geographic isolation. d. artificial selection. e. large populations. ____48. According to the concept of punctuated equilibrium, the â€Å"sudden† appearance of a new species in the fossil record means that a. the species is now extinct. b. peciation occurred instantaneously. c. speciation occurred in one generation. d. speciation occurred rapidly in geologic time. e. the species will consequently have a relatively short existence, compared with other species. ____49. Which of the following would be a position held by an adherent of the punctuated equilibrium theory? a. A new species forms most of its unique features as it comes into existence and then changes little for the duration of its existence. b. One should expect to find many transitional fossils left by organisms in the process of forming new species. . Given enough time, most existing species will gradually evolve into new species. d. Natural selection is unimportant as a mechanism of evolution. e. Most speciation is anagenetic. ____50. Which of the following statements about speciation is correct? a. The goal of natural selection is speciation. b. When reunited, two allopatric populations will not interbreed. c. Natural selection chooses the reproductive barriers for populations. d. Prezygotic reproductive barriers usually evolve before postzygotic barriers. e. Speciation is included within the concept of macroevolution.

Multimedia

Report on Holiday Resort Introduction of Multimedia â€Å"Multimedia can be defined as the technology engaging a variety of media, including text, audio, video, graphics and animation either separately or in combination, using computer to communicate ideas or to disseminate information. † Multimedia programming or multimedia authoring is the final stage of multimedia project production.The most Important phase of multimedia project design and development because the out put of the phase will be the finally render title that will reconsideration and redesigning ends with this phase. Creatures of Jurassic period though their time frame is unimaginable, are coming alive on the sliver screen with their huge roars and fusses. The Jet fighters seen to fly right above the heads in the new CD games and professional quality music is issuing out of the serious business.Multimedia is no more a fancy, but a mandatory. Multimedia Programming VISA Multimedia Authoring Multimedia authoring r efers to that process of developing a multimedia project, using specialized packages and utilities exclusively meant for this purpose. The developing of a multimedia project title, using PVC++ or developing a graphics editing footwear package like Paint Shop Pro can be called as multimedia programming. Developing a multimedia project title using Asymmetry's â€Å"Multimedia Tool box† can be Multimedia Authoring.Multimedia software project, using any typical programming environment/ Language or tool (mostly GU') and making use of various media files and integrate them. It doesn't demand expert programming skills or knowledge for project development. Step that precede Multimedia Authoring Process The final form of story board containing all interface designs, Nava Map structures and all the details-approved by the project leader should be ready. The media contents to be used in the Initial screens or frames like the background Graphics/ Digital Audio etc†¦ Just be ready. A s the Authoring process proceeds rest of the media contents can be developed. Decisions on which authoring environment / package to use have been finalized after all considerations. Authoring Methodologies Authoring tool, package, environment or platform uses some fundamental methodology, for developing the multimedia project. Some tools, even offer the flexibility to switch over from one methodology to another whenever the need arises. Frame or Page based Authoring Tools.Data Verification. The general content sequence developed in the earlier phase of multimedia project design, must now be rearranged to suit the multimedia application development environment. This process, specifically called ‘Mapping' or ‘Navigation Mapping result in what's called a â€Å"Navigation Map' or ‘Nava Map'. Linear Structure, Hierarchal Structure, Non- Linear Structure and Composite Media Content Design and Development Audio Eclipses, Graphics, Animation and Video Eclipses developed f or a particular project, can be called as media content.Audio vs.. Graphics, Animation vs.. Graphics, Video vs.. Animation and Video vs.. Graphics. Interface Design and Development Process The multimedia information, that's available in various forms, has to be presented in a amicable manner to the user. It's only with the help of interface design, that, one producer distinguishes his title from others because the nature of media content are almost the same – a few ‘. Wave audio files, ‘. Aviva' video files and many other bitmap graphics?the way in which they are presented, does the magic.Back Drops Buttons and Icons Story Boarding Techniques Story Boarding technique for developing animations, even during the Story Boarding stage itself, he may have the opportunity to express his authoring or programming problems, if any. Sometimes, a design or display methodology that seems to be the best option, may invite some troubles in programming, and in other case, the med ia overhead may well exceed the permissible limit.Delivery Design and Development The media, in which the project is going to be delivered, also forms a part of project design. Though, in most of the cases, the choice is limited to CD-ROOMS because of the sheer volume of the project material. In some rare cases wherein the size of the reject is small – without complicated video, animation etc. Even floppy disk can be used. Concerning Project â€Å"Holiday Resort† A resort is a place used for relaxation or recreation, attracting visitors for holidays or vacations.Resorts are places, towns such as Newport, Rhode Island or Switzerland, or larger regions, like the Adirondack Mountains or the Jersey Shore. A resort is not merely a commercial establishment operated by a single company, although in the late twentieth century this sort of facility became more common. Such a self- contained resort attempts to provide for all or most of a vacationers wants while engaging on the premises, such as food, drink, lodging, sports, entertainment, and shopping.Intend of project Resort is managed by Holiday Resort, an India based company whose head office is in Gujarat. Company started its operation in March 31, 2000. Our company provides all types facilities such as Casino, Games, Health & Beauty, Swimming, Golf, Restaurant, Meeting & Conference for attracting the visitors and entertainment them. Project Classification Holiday Resort multimedia project is a project that gives entertainment to the visitor's, they can enjoy there holidays by various types of motion provide by us.