Oscar Mayer Case Study

1. ) At first, Marcus McGraw found the challenge so complex and saw it a difficult task because he had not sat down to put down the ideas on paper and evaluate the situation carefully. He was just thinking of the difficult task ahead and not how to assail the problem. He was missing parts of the puzzle, he was not evaluating anything as yet or trying to formulate or implement any strategy. He had no option, no solution immediately after he read the McTiernan report. He had not done any ‘strategic planning’ thus, his perspective was different than after he had read the memos.After reading the memos from his colleagues, he realized that he could count on them since they had great ideas and were persons with great capability for these types of concerns and issues, especially when he read the one of his long time colleague and friend. McGraw pursues that decision making process of gathering information, generating ideas, looking at the ‘pros and cons’ of the sit uation that Oscar Mayer faces through his associates. He follows them and his mind guides him knowing that he can trust on his department managers. Marcus McGraw purses a decision making that is unbiased.He does not go for just one department; he follows all four managers. He was unbiased in this way and was a good strategy as well since the managers have that market-driven strategy which is healthy for the firm. They are well market-oriented and are able to distinguish the capabilities of Oscar Mayer just as they are able to match the customer value requirements to capabilities. They were cognizant that the market is more competitive, they also pointed out that introducing new lines of product could bring prosperity to Oscar Mayer, which is one of the suggestions that McTiernan had brought up.Therefore, McGraw’s decision making process of taking the ideas of all four managers was a wise one. 2. ) If McGraw chooses the favors of only one department then he is risking all othe r departments. In a business you cannot only favor and invest in one department only. All departments are important components for success of the business. If you only focus on one department, then the other departments will eventually collapse thus the company is losing on other areas in the market where profits can be made.This also means that the firm no longer has that diversity in products which reflects negatively on the company. McGraw can mitigate the damage by improving each of the departments so that they become more competitive in the market. He could also diversify in products just as was recommended by a couple of his managers thus making him a tough competitor on the market if adequately and carefully strategized. He will surely need to invest quite a lot on advertising and promotion which will reduce their profits in the short term; however, they will experience growth and profits in the long-term.As mentioned, once each department is improved and with the right strat egy, Oscar Mayer will benefit and improve the sectors of quality, quantity and price. They have done it before and the can only be better and will concentrate in satisfying consumers’ needs and wants. 3. ) First of all, let’s list the Strengths and Weaknesses. Strengths: Well-known Brand, Technology Skills in R&D, Strong Distribution Channels, Relatively High Market Share, High Profit Margin, Successful History and Product Diversification. Weaknesses: Relatively High Price, Not Healthy (High fat content).Oscar Mayer has a relatively high market share already, and a relatively low market growth. Due to its strengths, it already has a high market share and due to its weakness and the new trend in the market which is looking for products with lower fat (healthier), and lower prices, Oscar Mayer is losing its market growth. This is obviously a great threat to Oscar Mayer in terms of competition since the consumers are now looking for lower prices in those products, as well as healthier meats. This is detrimental to the firm on its entirety as fewer products sold would mean fewer sales which mean less profit.The competition also affects the â€Å"second brand† since the decrease in sale of the Oscar Mayer products also affects Louis Rich as it is looked as a total, thus Louis Rich revenues are compensating for the loss in Oscar Mayer. The investment decision then will change. The objectives are to increase annual production growth over the next three years by 4% in volume. Products will need to be reduced due to the competition so this affects how much to invest in quality and on the outstanding strength on Louis Rich in order to keep up the good record.There is much advertising and promotion to do; therefore they might have to lower the budget figures for this expense if sales decrease. They need to advertise on the already existing products, such as the health aspect of it, as well as on new products that will be produced. Therefore Oscar May er needs to ensure that they can prosper in the competition with all the expense that waits. 4. ) From the four departmental options, Jim Longstreet’s advice seems more viable. Not only was Jim’s advice an effective one, but his ideas also passed McTiernan’s wish for improved convenience.What Jim is doing by this is what is called ‘Differentiation Strategy’. The firm will provide a superior performance product uniquely designed to provide value to their target audience and is well appreciated by them. Oscar Mayer will also use their strengths to make this strategy a successful one. Having used their strong ability of R&D, they are already aware of who the target audience is and what that are looking for. Two products have been designed for their needs which are â€Å"Zappetites† and â€Å"Lunchables. † With this innovation, Oscar Mayer has all the potential and resources to remain the leader.The second best strategy I would say is Jane Morely’s idea. To obtain smaller companies that are competent and provide something Oscar Mayer does not provide is indeed a good strategy. The only disadvantage is that OM would have to increase their debt to acquire these companies not being completely sure if these companies would succeed. Advertising and packaging would also have its cost, however it doesn’t mean it won’t benefit in the longer run. Thos have their benefits; they hold great value when you count on consumer convenience and brand growth.If the companies succeed then automatically there are great sales increases which bring about profit. The least viable would be Rob’s idea of backing Louis Rich. Having all the strengths and the brand name of Oscar Mayer and just letting it go would be not just a waste but a huge loss. OM has had the majority of the company’s profits for a long time and has been the leading brand. For one, LR is increasing but at a slow pace. Then advertisements w ill be a huge expense which of course does not mean that it will increase the volume of sales.Therefore centralizing in just one brand, LR would not be a good idea for Oscar Mayer. 5. ) With the statistics given we can observe that McGraw wants a 15% increase on operating income while the managers are projecting a decrease of 5. 2% from the current year. If McGraw were to keep his A&P budget the same as last years, he would save $32MM over the managers' projections. Therefore,  one solution could be to effectively use the strengths of the product lines and the A;P dollars by consolidating his sub-divisions.The Division Performance table demonstrates exactly where the successes and failures of each sub-division are, and also shows their strengths and weaknesses. We can see that A ; P for Oscar Mayer has been decreasing and operating income increasing slowly. On the other hand, Louis Rich’s A ; P expense has been increasing while operating income has also been increasing by a great difference. This is also a key factor in the success of LR and partly, although not much, why OM has had a decrease in sales.Another factor in the decrease of Oscar Mayer brand is due to consumer trend as well as increased competition in the market. Oscar Mayer has so far opted to lose market share rather than lower its price. Based on the analysis, there is more to lose if  the Oscar Mayer brand is allowed to wilt over the Louis Rich Brand. Giving up on Oscar Mayer would mean losing its well established, well recognized OM brand name and its equity. May be even future profitability may be lost if the trend towards white meat is only a temporary one.This can be seen in  McTiernan's Report on consumer satisfaction survey, in which the red meat out performs in overall taste and compares well with respect to convenience. Therefore, another strategy is to build up the Oscar Mayer Brand, to merge the Louis Rich brand under Oscar Mayer, for example co-brand, and to introduce ne w packaging of their products (e. g. Lunchables and Zappetites), some white and some red meat to recapture the lost  market share. To consolidate the distribution and A&P spending around the Oscar Mayer's well established brand.Actions In accordance  with the above strategy we would suggest that Oscar Mayer and Louis Rich Brand modify and develop an integrated strategy which would require altering the existing branding strategy to accommodate the consumer trends, to extend the product line and to competitively price the OM products. Oscar Mayer needs to also not lose the taste when improving the quality of the product healthier, which is another step that would be taken and at the same time be convenient. By maintaining the quality it already is contributing its part to success.Another strategic goal is to achieve is long term gains and accelerate brand growth. With all this said, we need not to forget to invest in LR in order for the brand to grow as well. 6. ) Of the two produ cts Jim Longstreet suggested, I believe â€Å"Lunchables† is less likely to succeed especially since they are completely new to this product. Unlike Zappetites they had previously done Stuff ‘n Burgers so they do have an idea of how to approach the new product. Zappetites would create certain products that could also be used for lunch by certain consumers who desire hat ready to eat product. Lunchables would be more difficult to succeed due to all the details that a lunch entails and the different wants of the consumers. They are already thinking of packing a chocolate treat with it as well; not everyone eats or likes chocolates. Another issue with Lunchables is the ingredients. Some of the ingredients they would want to use have a short shelf life which would turn away many consumers. We need to keep in mind that everyone is different and have a different taste, many individuals are ‘picky. ’

Memory Techniques Essay

1. Organize – List facts in alphabetical or chronological order. Get a general idea of the textbook material, note the simple to complex and general to specific. Logical facts are easier to remember. 2. Make It Meaningful – Look for connections in what you are studying. For example, packing a parachute by itself can be boring, however, the excitement of jumping out of a plane gives a whole new meaning to this process. Focusing on the â€Å"Big Picture† helps provide meaning to the learning process and stimulates us to remember. 3. Create Associations – Associate something new with something you already know. This creates a building process in your memory bank. If you already know a Bill Smith think of the Bill you know and associate him with the new Bill Smith. 4. Learn It Actively – People remember 90 percent of what they do, 75 percent of what they see and 20 percent of what they hear. This saying is very accurate, as action is a proven memory enhancer. Move your hands, pace back and forth and use gestures as you recite a passage. If your body is actively involved it will help you to remember. 5. Relax – Eating proper foods, avoiding caffeine before an exam and getting proper exercise will help you relax and feel more confident. Relaxing will enhance your ability to recall facts faster, with more clarity, and you will feel better overall. 6. Create Pictures – Draw diagrams, make up cartoons. Use them to connect facts and illustrate relationships. When abstract concepts can be â€Å"seen† they are much easier to remember. You can be as creative as you want, as long as you understand your scribble. 7. Recite and Repeat – When you repeat something out loud you anchor the concept better by using two or more of your senses. Repetition is the â€Å"Mother† of learning. If you use more than one sense you create a â€Å"synergistic† effect which is powerful memory technique. If you recite out loud in your own words, memory is enhanced even more! 8. Write It Down – Writing notes to ourselves help us to remember. If we write down an idea or a passage several times, in different areas, we increase our chances to remember. 9. Reduce Interference – Find an area free from distractions. Studies show that most students study more effectively in a quiet area in 1 hour than in a noisy area in 2 hours. 10. Over-learn – When you think you got it don’t quit. Don’t miss a chance to review just one more time. Ever hear the expression â€Å"I beat that subject to death!† Do It! 11. Review Notes the Same Day – Studies prove that in order for us to store information â€Å"long term† it must be reviewed within 24 hrs. or less. By getting in the habit of same day review, we increase the chances of remembering by over 70 percent! 12. Use Daylight – This method is particularly effective for weekend study and review. Study the most difficult subjects during daylight hours. For many students the early morning hours can be especially productive and will stimulate the memory process. 13. Distribute Learning – Research suggest marathon study sessions (3 hrs. or more) are not as effective as light study sessions (1-2 hrs.) which are distributed at different times during the week. Take frequent breaks. Some students can study 50 minutes or more, others need to stop after 30 minutes. Try to distribute your length of study in the same rhythm as your classes (50/10/50). Give yourself rewards, you’ve earned it! 14. Keep a Positive Attitude – Studies prove that if you repeat to yourself negative feelings about a subject you increase your chances to fail! Since we all want to succeed, â€Å"Trash negative† and replace with â€Å"Positive Thoughts.† For example, replace â€Å"I can’t do it† with â€Å"It’s not easy, but I am tough and I accept this challenge.† Prove you can and you will! This is a self-fulfilling prophecy as attitude directly effects the memory! 15. Go On an â€Å"Information Diet† – Just as we avoid certain foods, we can choose what not to retain. Extract core concepts, study what you will be tested on, abbreviate large passages of information into easy to digest phrases, this will help you remember. 16. Combine Memory Techniques – All of the memory techniques work better when combined. You can over learn a formula, sing about a famous person, think positive thoughts about subjects, use sight, sound, and ot her methods to sharpen your memory. 17. Remember Something Else – When you are stuck and can’t remember, think of something related to the information. For example if you cannot remember a name, think about what the person did, what period they lived or who they associated with. Write down what you do know and soon it will trigger facts that you are trying to recall. This technique really works! 18. Note When You Don’t Remember – If you tried some memory techniques that do not seem to work, it’s all-right. Try an experiment with other techniques and use what is best for you and not what works for a classmate. Be a reporter, get the facts, find out what works and what doesn’t. Congratulate and reward yourself when you do remember. 19. Use It Before You Loose It – Information stored in the long-term memory may become difficult to recall if you don’t use it. Simply read it, write it, speak about it and/or apply it. This is especially effective when you have to recall formulas or facts from a previous course. The 101 course information may be used in a 102 course. Therefore, retain your notes, the old text, and keep the information fresh with a review. 20. Affirmation of Your Good Memory Helps You to Remember – When you are sharp and recall all the facts, accept compliments! When you do not recall the facts, think that you know it, you can remember, and the facts will come to you. You may have to use various techniques to help you remember but never give up! You truly â€Å"never forget.† Those facts will eventually â€Å"come to you.† Keep studying, try again and they will!

Cognitive science Essay

Stylistics is the study and interpretation of texts from a linguistic perspective. As a discipline it links literary criticism and linguistics, but has no autonomous domain of its own. [1][2] The preferred object of stylistic studies is literature, but not exclusively â€Å"high literature† but also other forms of written texts such as text from the domains of advertising, pop culture, politics or religion. [3] Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language, such as socialisation, the production and reception of meaning, critical discourse analysis and literary criticism. Other features of stylistics include the use of dialogue, including regional accents and people’s dialects, descriptive language, the use of grammar, such as the active voice or passive voice, the distribution of sentence lengths, the use of particular language registers, etc. In addition, stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language. Therefore, stylistics looks at what is ‘going on’ within the language; what the linguistic associations are that the style of language reveals. * | Early twentieth century The analysis of literary style goes back to Classical rhetoric, but modern stylistics has its roots in Russian Formalism,[4] and the related Prague School, in the early twentieth century. In 1909, Charles Bally’s Traite de stylistique francaise had proposed stylistics as a distinct academic discipline to complement Saussurean linguistics. For Bally, Saussure’s linguistics by itself couldn’t fully describe the language of personal expression. [5] Bally’s programme fitted well with the aims of the Prague School. [6] Building on the ideas of the Russian Formalists, the Prague School developed the concept of foregrounding, whereby poetic language stands out from the background of non-literary language by means of deviation (from the norms of everyday language) or parallelism. [7] According to the Prague School, the background language isn’t fixed, and the relationship between poetic and everyday language is always shifting. [8] Late twentieth century Roman Jakobson had been an active member of the Russian Formalists and the Prague School, before emigrating to America in the 1940s. He brought together Russian Formalism and American New Criticism in his Closing Statement at a conference on stylistics at Indiana University in 1958. [9] Published as Linguistics and Poetics in 1960, Jakobson’s lecture is often credited with being the first coherent formulation of stylistics, and his argument was that the study of poetic language should be a sub-branch of linguistics. [10] The poetic function was one of six general functions of language he described in the lecture. Michael Halliday is an important figure in the development of British stylistics. [11] His 1971 study Linguistic Function and Literary Style: An Inquiry into the Language of William Golding’s ‘The Inheritors’ is a key essay. [12] One of Halliday’s contributions has been the use of the term register to explain the connections between language and its context. [13] For Halliday register is distinct from dialect. Dialect refers to the habitual language of a particular user in a specific geographical or social context. Register describes the choices made by the user,[14] choices which depend on three variables: field (â€Å"what the participants†¦ are actually engaged in doing†, for instance, discussing a specific subject or topic),[15] tenor (who is taking part in the exchange) and mode (the use to which the language is being put). Fowler comments that different fields produce different language, most obviously at the level of vocabulary (Fowler. 1996, 192) The linguist David Crystal points out that Halliday’s ‘tenor’ stands as a roughly equivalent term for ‘style’, which is a more specific alternative used by linguists to avoid ambiguity. (Crystal. 1985, 292) Halliday’s third category, mode, is what he refers to as the symbolic organisation of the situation. Downes recognises two distinct aspects within the category of mode and suggests that not only does it describe the relation to the medium: written, spoken, and so on, but also describes the genre of the text. (Downes. 1998, 316) Halliday refers to genre as pre-coded language, language that has not simply been used before, but that predetermines the selection of textual meanings. The linguist William Downes makes the point that the principal characteristic of register, no matter how peculiar or diverse, is that it is obvious and immediately recognisable. (Downes. 1998, 309) Literary stylistics In The Cambridge Encyclopedia of Language, Crystal observes that, in practice, most stylistic analysis has attempted to deal with the complex and ‘valued’ language within literature, i. e.  Ã¢â‚¬Ëœliterary stylistics’. He goes on to say that in such examination the scope is sometimes narrowed to concentrate on the more striking features of literary language, for instance, its ‘deviant’ and abnormal features, rather than the broader structures that are found in whole texts or discourses. For example, the compact language of poetry is more likely to reveal the secrets of its construction to the stylistician than is the language of plays and novels. (Crystal. 1987, 71). Poetry As well as conventional styles of language there are the unconventional – the most obvious of which is poetry. In Practical Stylistics, HG Widdowson examines the traditional form of the epitaph, as found on headstones in a cemetery. For example: His memory is dear today As in the hour he passed away. (Ernest C. Draper ‘Ern’. Died 4. 1. 38) (Widdowson. 1992, 6) Widdowson makes the point that such sentiments are usually not very interesting and suggests that they may even be dismissed as ‘crude verbal carvings’ and crude verbal disturbance (Widdowson, 3). Nevertheless, Widdowson recognises that they are a very real attempt to convey feelings of human loss and preserve affectionate recollections of a beloved friend or family member. However, what may be seen as poetic in this language is not so much in the formulaic phraseology but in where it appears. The verse may be given undue reverence precisely because of the sombre situation in which it is placed. Widdowson suggests that, unlike words set in stone in a graveyard, poetry is unorthodox language that vibrates with inter-textual implications. (Widdowson. 1992, 4) Two problems with a stylistic analysis of poetry are noted by PM Wetherill in Literary Text: An Examination of Critical Methods. The first is that there may be an over-preoccupation with one particular feature that may well minimise the significance of others that are equally important. (Wetherill. 1974, 133) The second is that any attempt to see a text as simply a collection of stylistic elements will tend to ignore other ways whereby meaning is produced. (Wetherill. 1974, 133) Implicature In ‘Poetic Effects’ from Literary Pragmatics, the linguist Adrian Pilkington analyses the idea of ‘implicature’, as instigated in the previous work of Dan Sperber and Deirdre Wilson. Implicature may be divided into two categories: ‘strong’ and ‘weak’ implicature, yet between the two extremes there are a variety of other alternatives. The strongest implicature is what is emphatically implied by the speaker or writer, while weaker implicatures are the wider possibilities of meaning that the hearer or reader may conclude. Pilkington’s ‘poetic effects’, as he terms the concept, are those that achieve most relevance through a wide array of weak implicatures and not those meanings that are simply ‘read in’ by the hearer or reader. Yet the distinguishing instant at which weak implicatures and the hearer or reader’s conjecture of meaning diverge remains highly subjective. As Pilkington says: ‘there is no clear cut-off point between assumptions which the speaker certainly endorses and assumptions derived purely on the hearer’s responsibility. ’ (Pilkington. 1991, 53) In addition, the stylistic qualities of poetry can be seen as an accompaniment to Pilkington’s poetic effects in understanding a poem’s meaning. Stylistics is a valuable if long-winded approach to criticism, and compels attention to the poem’s details. Two of the three simple exercises performed here show that the poem is deficient in structure, and needs to be radically recast. The third sheds light on its content. Introduction Stylistics applies linguistics to literature in the hope of arriving at analyses which are more broadly based, rigorous and objective. {1} The pioneers were the Prague and Russian schools, but their approaches have been appropriated and extended in recent years by radical theory. Stylistics can be evaluative (i. e.judge the literary worth on stylistic criteria), but more commonly attempts to simply analyze and describe the workings of texts which have already been selected as noteworthy on other grounds. Analyses can appear objective, detailed and technical, even requiring computer assistance, but some caution is needed. Linguistics is currently a battlefield of contending theories, with no settlement in sight. Many critics have no formal training in linguistics, or even proper reading, and are apt to build on theories (commonly those of Saussure or Jacobson) that are inappropriate and/or no longer accepted. Some of the commonest terms, e. g. deep structure, foregrounding, have little or no experimental support. {2} Linguistics has rather different objectives, moreover: to study languages in their entirety and generality, not their use in art forms. Stylistic excellence — intelligence, originality, density and variety of verbal devices — play their part in literature, but aesthetics has long recognized that other aspects are equally important: fidelity to experience, emotional shaping, significant content. Stylistics may well be popular because it regards literature as simply part of language and therefore (neglecting the aesthetic dimension) without a privileged status, which allows the literary canon to be replaced by one more politically or sociologically acceptable. {3} Why then employ stylistics at all? Because form is important in poetry, and stylistics has the largest armoury of analytical weapons. Moreover, stylistics need not be reductive and simplistic. There is no need to embrace Jacobson’s theory that poetry is characterized by the projection of the paradigmatic axis onto the syntagmatic one. {4} Nor accept Bradford’s theory of a double spiral: {5} literature has too richly varied a history to be fitted into such a straitjacket. Stylistics suggests why certain devices are effective, but does not offer recipes, any more than theories of musical harmony explains away the gifts of individual composers. Some stylistic analysis is to be found in most types of literary criticism, and differences between the traditional, New Criticism and Stylistics approaches are often matters of emphasis. Style is a term of approbation in everyday use (â€Å"that woman has style†, etc.), and may be so for traditional and New Criticism. But where the first would judge a poem by reference to typical work of the period (Jacobean, Romantic, Modernist, etc. ), or according to genre, the New Criticism would probably simply note the conventions, explain what was unclear to a modern audience, and then pass on to a detailed analysis in terms of verbal density, complexity, ambiguity, etc. To the Stylistic critic, however, style means simply how something is expressed, which can be studied in all language, aesthetic and non-aesthetic. {6} Stylistics is a  very technical subject, which hardly makes for engrossing, or indeed uncontentious, {7} reading. The treatment here is very simple: just the bare bones, with some references cited. Under various categories the poem is analyzed in a dry manner, the more salient indications noted, and some recommendations made in Conclusions. Published Examples of Stylistic Literary Criticism G. N. Leech’s A Linguistic Guide to English Poetry (1969) Laura Brown’s Alexander Pope (1985) Roy Lewis’s On Reading French Verse: A Study in Poetic Form (1982) George Wright’s Shakespeare’s Metrical Art. (1988) Richard Bradford’s A Linguistic History of English Poetry (1993) Poem The Architects But, as you’d expect, they are very Impatient, the buildings, having much in them Of the heavy surf of the North Sea, flurrying The grit, lifting the pebbles, flinging them With a hoarse roar against the aggregate They are composed of — the cliffs higher of course, More burdensome, underwritten as It were with past days overcast And glinting, obdurate, part of the Silicate of tough lives, distant and intricate As the whirring bureaucrats let in And settled with coffee in the concrete pallets, Awaiting the post and the department meeting — Except that these do not know it, at least do not Seem to, being busy, generally. So perhaps it is only on those cloudless, almost Vacuumed afternoons with tier upon tier Of concrete like rib-bones packed above them, And they light-headed with the blue airiness Spinning around, and muzzy, a neuralgia Calling at random like frail relations, a phone Ringing in a distant office they cannot get to, That they become attentive, or we do — these Divisions persisting, indeed what we talk about, We, constructing these webs of buildings which, Caulked like great whales about us, are always. Aware that some trick of the light or weather Will dress them as friends, pleading and flailing — And fill with placid but unbearable melodies Us in deep hinterlands of incurved glass.  © C. John Holcombe 1997 Metre Though apparently iambic, with five stresses to the line, the metre shows many reversals and substitutions. Put at its simplest, with: / representing a strong stress representing a weak stress x representing no stress, and trying to fit lines into a pentameters, we have -| /| x| x| x| /| -| | x| /| x| | But| as| you’d| ex| pect| | they| are| ve| ry| x| /| x| x| /| x| /| x| | x| x| Im| pat| ient| the| build| ings,| hav| ing| much| in| them| x| x| | x| /| x| x| | /| /| x x| Of| the| heav| y| surf| of| the| North| Sea,| flurr| ying| x| /| -| /| x| x| /| x| /| x| | The| grit,| | lift| ing| the| pebbl| es,| fling| ing| them| | x| /| -| /| x| | x| /| x| | With| a| hoarse| | roar| a| gainst| the| agg| re| gate| x| | x| /| | x| /| /| x| x| /| They| are| com| posed| of,| the| cliffs| high| er| of| course| | /| x| | -| /| x| / | x| | | More| burd| en| some,| | un| der| writ| ten| as| | x| /| x| /| -| /| -| /| x| /| | It| were| with| past| | days| | o| ver| cast| | x| /| x| | /| x| | -| /| x| x| And | glit| ter| ing,| ob| du| rate,| | part| of| the| -| /| x x x| /| -| /| -| /| x x| /| x x| | Sil| icate of| tough| | lives| | dist| ant and| in| tricate| -| | x| /| x| /| x| | -| /| x| | As| the| whir| ring| bu| reau| crats| | let| in| x| /| x x| /| x| | x| /| x| /| x| And | set| tled with| cof| fee| in| the| con| crete| pal| lets| x| /| x x| /| x| | x| /| x| /| x| A| wait| ing the| post| and| the| de| part| ment| meet| ing| x| | x| /| x | /| x| x| | /| x| Ex| cept| that| these| do not| know| it, | at| least| do| not| -| /| x| /| x| /| x| /| x| | x| | Seem| to| be| ing| bus| y| gen| ER| all| y| | x| /| x x| /| x| | x| /| x| /| x| So| per| haps| it is| on| ly| on| those| cloud| less| al| most| -| /| x| /| x| | x| /| x x| | /| x| | Vac| uumed| af| ter| noons| with| ti| ER u| pon| ti| ER| x| /| x| | /| /| -| /| x| /| x| | Of| con| Crete| like| rib| bones| | packed| a| bove| them| | x| /| | /| x| | x| /| /| x| | | And | they| light| head| ed,| with| the| blue| air| i| ness| | -| /| x x| /| x| /| x| | x| /| x x| | | Spin| ning a| round| and| muz| zy,| a| neu| ral| gia| | -| /| x x| /| x x| /| x| /| x x| /| | | Cal| ling at| ran| dom like| frail| re| lat| ions a| phone| | -| /| x x x| /| x| /| x x| /| x| /| x| | Ring| ing in a| dist| ant| of| fice they| can| not| get| to| x| /| x| /| x| /| x x| /| /-| | | That| they| be| come| at| ten| tive, or| we| do| these| | x| /| x x| /| x x| /| | x| /| x| /| Di| vis| ions per| sist| ing, in| deed| what| we| talk| a| bout| -| /| x| /| x x| /| x| /| x| | | | We,| con| struct| ing these| webs| of| build| ings| which| | -| /| x| /| | /| x| /| x x| /| x| | Caulk| Ed | like| great| whales| a| bout| us are| al| ways| x| /| x x| /| x x| /| x| /| x| | | A| ware| that some| trick| of the| light| or| weath| ER| | | | /| x x| /| -| /| x x| /| x| | | Will| dress| them as| friends| | plead| ing and| flail| ing| | | x| /| x| /| x| | x| /| x x| /| x x| And| fill| with| plac| id| but | UN| bear| able | mel| odies| -| /| x| | -| /| x x x| /| | /| | | Us | in| deep| | hint| erlands of| in| curved| glass| | Poets learn to trust their senses, but even to the experienced writer these (tedious) exercises can pinpoint what the ear suspects is faulty, suggest where improvements lie, and show how the metre is making for variety, broad consistency, shaping of the argument and emotive appeal. Though other scansions are certainly possible in the lines above, the most striking feature will remain their irregularity. Many lines can only roughly be called pentameters; Lines 16 and 17 are strictly hexameters; and lines 27 and 28 are tetrameters. In fact, the lines do not read like blank verse. The rhythm is not iambic in many areas, but trochaic, and indeed insistently dactylic in lines 9 and 10, 21 and 22 and 28. Line 27 is predominantly anapaestic, and line 3 could (just) be scanned: x x| / x| /| x x | /| | /| x x | Of the| heavy| surf| of the North| Sea| | flurr| ying| Reflective or meditative verse is generally written in the iambic pentameter, and for good reason — the benefit of past examples, readers’ expectations, and because the iambic is the closest to everyday speech: flexible, unemphatic, expressing a wide range of social registers. Blank verse for the stage may be very irregular but this, predominantly, is a quiet poem, with the falling rhythms inducing a mood of reflection if not melancholy. What is being attempted? Suppose we set out the argument (refer to rhetorical and other analyses), tabbing and reverse tabbing as the reflections as they seem more or less private: {8} 1. But, as you’d expect, 2. they are very impatient, the buildings, 3. having much in them of the heavy surf of the North Sea, 4. flurrying the grit, 5. lifting the pebbles, 6. flinging them with a hoarse roar against the aggregate they are composed of — the 7. cliffs higher of course, more 8. burdensome, 9. underwritten as it were with past days 10. overcast and glinting, 11. obdurate, 12. part of the silicate of tough lives, 13. distant and intricate as 14. the whirring bureaucrats 15. let in and settled with coffee in the concrete pallets, awaiting the post and the department meeting — 16. except that these do not know it, 17. at least do not seem to, being busy, 18. generally. 19. So perhaps it is only on those cloudless, almost vacuumed afternoons with tier upon tier of concrete like rib — bones packed above them, and 20. they light-headed 21. with the blue airiness spinning around, and 22. muzzy, a 23. neuralgia calling at random like 24. frail relations, a 25. phone ringing in a distant office they cannot get to, that 26. They become attentive, 27. or we do — 28. these divisions persisting, 29. indeed what we talk about, 30. we, constructing these webs of buildings which 31. caulked like great whales about us, are 32. always aware that some trick of the light or weather will dress them as friends, 33. pleading and flailing — and 34. fill with placid but unbearable melodies 35. us in deep hinterlands of incurved glass. The structure should now be clear. Where Eliot created new forms by stringing together unremarkable pentameters, {8} this poem attempts the reverse: to recast an irregular ode-like structure as pentameters. And not over-successfully: many of the rhythms seemed unduly confined. But once returned to the form of an eighteenth century Pindaric ode, however unfashionable today, the lines regain a structure and integrity. Each starts with a marked stress and then tails away, a feature emphasized by the sound patterns. {9} Sound Patterning To these sound patterns we now turn, adapting the International Phonetic Alphabet to HTML restrictions: 1. But | as | you’d | expect | u | a | U | e e | b t | z | y d | ksp kt | 2. They | are | very | impatient | the | buildings | A | a(r) | e E | i A e | e | i i | th | – | v r | mp sh nt | th | b ld ngz | 3. Having | much | in | them | of | the | heavy | surf | of | the | North | Sea | a i | u | i | e | o | e | e | e(r) | o | e | aw | E | h v ng | m ch | n | th m | v | th | h v | s f | v | th | n th | s | 4. flurrying | the | grit | u E i | e | i | fl r ng | th | gr t | 5. lifting | the | pebbles | i i | e | e | l ft ng | th | p b lz | 6. flinging | them | with | a | hoarse | roar | against | the | aggregate | they | are | composed | of | i i | e | i | e | aw | aw | e A | e | a E A | A | a(r) | o O | o | fl ng ng | th m | w th | – | h s | r | g nst | th | gr g t | th | – | k MP zd | v | 7. the | cliffs | higher | of | course | more | e | i | I e | o | aw | aw | th | kl fs | h | v | s | m | 8. burdensome | u(r) e e | b d ns m | 9. underwritten | as | it | were | with | past | days | u e i e | a | i | (e)r | i | a(r) | A | nd r t n | z | t | w | w | p st | d z | 10. overcast | and | glinting | O e(r) a(r) | a | i i | v k St | nd | gl NT ng | 11. obdurate | o U A | bd r t | 12. part | of | the | silicate | of | tough | lives | (a)r | o | e | i i A | o | u | I | p t | f | th | s l k t | v | t f | l vz | 13. distant | and | intricate | i a | a | i i e | d St NT | nd | NT r k t | 14. as | the | whirring | bureaucrats | a | e | e(r) i | U O a | z | th | w r ng | b r kr ts | 15. let | in | and | settled | with | coffee | in | the | concrete | pallets | e | i | a | e ie | i | o E | i | e | o E | a e | l t | n | nd | s tl d | w th | k f | n | th | k Kr t | p l Ts | awaiting | the | post | and | the | department | meeting | e A i | e | O | a | e | E e | E i | w t ng | th | p St | nd | th | d p tm NT | m t ng | 16. except | that | these | do | not | know | it | e e | a | E | U | o | O | i | ks pt | th | th z | d | n t | n | t | 17. at | least | do | not | seem | to | being | busy | a | E | U | o | E | U | E i | i E | t | l St | d | n t | s m | t | b ng | b z >/td> | 18.generally | e e a E | j nr l | 19. so | perhaps | it | is | only | on | those | cloudless | almost | vacuumed | afternoons | O | e(r) a | i | i | O | o | O | ou e | aw O | a U | a(r) e oo | s | p h ps | t | z | nl | n | th z | kl dl s | lm St | v k md | ft n nz | with | tier | upon | tier | of | concrete | like | rib | bones | packed | above | them | and | i | E e(r) | e o | E e(r) | o | o E | I | i | O | a | e u | e | a | w th | t | p n | t | v | k nkr t | l k | r b | b nz | p Kt | b v | th m | nd | 20. they | light | headed | A | I | e e | th | l t | h d d | 21. with | the | blue | airiness | spinning | around | and | i | e | U | (A)r i e | i i | e ou | a | w th | th | bl | r n s | sp n ng | r nd | nd | 22. muzzy | a | u E | e | m z | – | 23. neuralgia | calling | at | random | like | U a E a | aw i | a | a o | I | n r lj | k l ng | t | r nd m | l k | 24. frail | relations | a | A | e A e | e | fr l | r l zh nz | – | 25. phone | ringing | in | a | distant | office | they | cannot | get | to | that | O | i i | i | e | i a | o i | A | a o | e | oo | a | | f n | r ng ng | n | – | d St NT | f s | th | k n t | g t | t | th | | 26. they | become | attentive | A | E u | a e i | th | b k m | t NT v | 27. or | we | do | aw | E | oo | – | w | d | 28. these | divisions | persisting | E | i i e | e(r) i i | th z | d v zh nz | p s St ng | 29. indeed | what | we | talk | about | i E | o | E | aw | e ou | in d | wh t | w | t k | b t | 30. we | constructing | these | webs | of | buildings | which | E | o u i | E | e | o | i i | i | w | k nz str Kt ng | th z | w bs | v | b ld ngz | wh Ch | 31. caulked | like | great | whales | about | us | are | aw | I | A | A | e ou | u | a(r) | k kd | l k | gr t | w lz | b t | s | – | 32. always | aware | that | some | trick | of | the | light | or | weather | will | dress | them | as | friends | aw A | e (A)r | a | u | i | o | e | I | aw | e e(r) | i | e | e | a | e | lw z | w | th t | s m | tr k | v | th | l t | – | w th | w l | dr s | th m | z | Fr ndz | 33. pleading | and | flailing | E i | a | A i | pl d ng | nd | fl l ng | 34. will | fill | with | placid | but | unbearable | melodies | i | i | i | a i | u | u A(r) a e | e O E | f l | w th | PL s d | b t | n b r b l | m l d z | | 35. us | in | deep | hinterlands | of | incurved | glass | u | i | E | i e a | o | i e(r) | a(r) | s | n | d p | h NT l ndz | v | nk v d | GL s | Sound in poetry is an immensely complicated and contentious subject. Of the seventeen different employments listed by Masson {10} we consider seven: 1. Structural emphasis All sections are structurally emphasized to some extent, but note the use (in decreasing hardness) of * plosive consonants in sections 1, 5, 6, 7, 10-13, 19, 28-50; 31 and 35. * fricative and aspirate consonants in sections 2, 3, 6, 7, 12, 19, 25, 28, 32, 35. * liquid and nasal consonants in sections 3, 4, 12, 15, 17, 18, 19, 21, 23, 31-35. Also: * predominance of front vowels — in all sections but 6, 7, 11, 16, 17, 19 and 31. * predominance of vowels in intermediate positions — only sections 16 and 17 having several high vowels and section 3 low vowels. 2. Tagging of sections Note sections 1, 7, 13 and 15. 3. Indirect support of argument by related echoes * Widely used, most obviously in sections 3-7, 12-13, and 15. 4. Illustrative mime: mouth movements apes expression * Sections 2, 6, 11-13, 19, 31 and 35. 5. Illustrative painting * Sections 3-6, 10-13, 15, 19 and 33. Most sections are closely patterned in consonants. Those which aren’t (and therefore need attention if consistency is to be maintained) are perhaps 8, 9, 14, 18, 20, 22, 24, 26 and 27. Originally the poem was cast in the form of irregular pentameters. But if this is set aside in favour of the 35 sections listed above, how are these sections to be linked in a self-evident and pleasing form? A little is accomplished by alliteration: * f in sections 3 to 7. * s and t in sections 12 to 15 * w in sections 29 to 32 And also by the predominance of front and intermediate level vowels, but these do not amount to much. Certainly we do not find that the overall shaping of the poem emphasizes the argument or content. Sociolinguistics Language is not a neutral medium but comes with the contexts, ideologies and social intentions of its speakers written in. Words are living entities, things which are constantly being employed and only half taken over: carrying opinions, assertions, beliefs, information, emotions and intentions of others, which we partially accept and modify. In this sense speech is dialogic, has an internal polemic, and Bakhtin’s insights into the multi-layered nature of language (heteroglossia) can be extended to poetry. {11} Much of Postmodernist writing tries to be very unliterary, incorporating the raw material of everyday speech and writing into its creations. This poem seems rather different, a somewhat remote tone and elevated diction applying throughout. Let us see what’s achieved by grouping under the various inflections of the speaking voice. * urgently confidential But, as you’d expect, cliffs higher, of course, that they become attentive or we do * obsessively repetitious flurrying the grit, lifting the pebbles, flinging them†¦ burdensome, underwritten†¦ overcast and glinting, obdurate * over-clever silicate of tough lives  distant and intricate constructing these webs of buildings distracted and/or light-headed except that these do not know it at least do not seem to with the blue airiness spinning around calling at random like frail relations * melancholic and/or reflective some trick of the light or weather will dress them as friends pleading and flailing and fill with placid but unbearable melodies. The exercise hardly provides revelation. Heteroglossia is an interweaving of voices, moreover, not shifts of tone or reference. And yet there is something very odd about the opening line. Why should we expect the buildings to be very impatient? This is more than the orator’s trick of attracting attention, since the animate nature of buildings and their constituents is referred to throughout the poem. To be more exact, the attitude of the inhabitants — observers, bureaucrats, architects — to the buildings is developed by the poem, and is paralleled by the tone. But why the confidential and repetitious attitude at the beginning. Why should we be buttonholed in this manner? Why the But, which seems to point to an earlier conversation, and the urgency with which that earlier conversation is being refuted or covered up? Because the blame for something is being shifted to the buildings. What error has been committed we do not know, but in mitigation we are shown the effect of the buildings on other inhabitants. Or perhaps we are. In fact the whirring bureaucrats seem to grow out of the fabric of buildings, and we do not really know if the we, constructing these webs of buildings is meant literally or metaphorically. The poem’s title suggests literally, but perhaps these constructions are only of the mind: sections 17, 20-29, 32 and 34 refer to attitudes rather than actions, and there is an ethereal or otherworldly atmosphere to the later section of the poem. So we return to heteroglossia, which is not simply borrowed voices, but involves an internal polemic, {12} that private dialogue we conduct between our private thoughts and their acceptable public expression. The dialogue is surely here between the brute physicality of a nature made overpoweringly real and the fail brevity of human lives. That physicality is threatening and unnerving. If the we of the later section of the poem is indeed architects then that physicality is harnessed to practical ends. If the constructing is purely mental then the treatment is through attitudes, mindsets, philosophies. But in neither case does it emasculate the energy of the physical world. Architects may leave monuments behind them, but they are also imprisoned in those monuments (us in deep hinterlands) and hearing all the time the homesick voice of their constituents. Conclusions: Suggested Improvements The greatest difficulty lies in the poem’s structure. An pentameter form has been used to give a superficial unity, but this wrenches the rhythm, obscures the sound patterns and does nothing for the argument. If recast in sections defined by rhythm and sound pattern the form is too irregular to have artistic autonomy. A return could be made to the eighteenth century Pindaric ode in strict metre and rhyme, but would require extensive and skilful rewriting, and probably appear artificial. A prose poem might be the answer, but the rhythms would need to be more fluid and subtly syncopated. Otherwise, blank verse should be attempted, and the metre adjusted accordingly. The internal polemic is a valuable dimension of the poem, but more could be done to make the voices distinct. http://www. textetc. com/criticism/stylistics. html1. On StylisticsIs cognitive stylistics the future of stylistics? To answer this question in the essay that follows, I will briefly discuss Elena Semino and Jonathan Culpeper’s Cognitive Stylistics (2003), Paul Simpson’s Stylistics (2004), and a recent essay by Michael Burke (2005). However, because questions are like trains – one may hide another – any discussion of the future of stylistics raises intractable questions about stylistics itself. French students of stylistics, for example, will come across definitions of the discipline like the following. According to Brigitte Buffard-Moret, â€Å"si les definitions de †¦ [la stylistique] – que certains refusent de considerer comme une scien

Rhetorical Analysis of “Making a Killing off Captivity” by Melissa Richards

Kept in captivity since 1961, orcas have been spectacles for millions of people each year who flock to marine parks around the world in hopes of entertainment and education. The chance to get close to such an incredible creature that one may not have the opportunity to see otherwise is undoubtedly an amazing experience. But Melissa Richards questions in â€Å"Making a Killing off Captivity†, at what cost are we getting this experience? She argues that the positive image big-name aquatic parks create for animals is in actual fact leading people to unknowingly support a cruel industry. Explaining the detrimental effects of taking an orca out of its natural habitat, Richards emphasizes her concern for the conservation of Orcas and the importance of treating these powerful and dangerous creatures with respect. Richards begins by setting a joyful scene of a SeaWorld orca performance, an invitation for the reader to enter a high spirited fun spectacle of an orca. Weighing several tonnes the orca circles, leaps and splashes the delighted audience. Suddenly, the mood shifts horrifically as the trainer becomes victim to an orca attack in front of a stunned audience. The sharp change in mood is established by Richards when she says, â€Å"The show ended to a usual bout of applause and cheers, until ‘Tilly' grabbed his trainer, Dawn Brancheau, by her ponytail and dragged the woman into his tank. † Just as one would think that the spectacle was over, the reader is shocked at the unexpected ending as the audience would have been at Seaworld. The reader's perception of the orca as being a fun loving, friendly creature, emphasized by the amusing nickname ‘Tilly', immediately changes to perceiving the orca as a villain. Richards questions â€Å"what could have prompted this sudden violent outburst from Tilikum, a whale who has been in captivity for almost thirty years? † This question brings new dimension to the matter at hand. Suddenly the situation isn't as black and white as one would have assumed. She elaborates by stating, â€Å"the stress of being captive and made to perform daily had elicited a frustration against his trainer†. Richards manipulates the reader's perception towards the orca, from a villain to a victim. The deliberate changes of perception towards orcas helps in avoiding predictability in Richards' argument, this is an effective way to keep the reader focused and intrigued in her writing. Richards elaborates by stating that captivity has had many detrimental effects on orcas including ‘atypical illnesses, erratic behavior, deformities, neurotic problems and early death'. These conditions bring light to the fact that the matter at hand is life threatening and ‘counterproductive to the goals of wildlife appreciation and conservation'. Intertwining these critical issues of wildlife conservation and animal cruelty, she stresses the urgency in her argument. There is a need to convey the message that action must be taken immediately. It is acknowledged that to know whether the orcas are being mistreated in their artificial habitat, we must know the natural habitat of an orca. Richards does a commendable job of familiarizing the reader the sheer magnitude of a creature that many people are unknown to via statistics. Travelling â€Å"one hundred nautical miles every day† (qtd Landeau 1) and weighing â€Å"1. to 3. 6 tons† it is no wonder that their power and strength has earned them the nickname of the â€Å"wolves of the sea†. Despite the general unfamiliarity of these exotic creatures, Richards draws comparisons of the behavior and characteristics of Orcas to that of humans. Orcas have been found to create social and familial bonds with one another, The idea that whales share similar bonds to thei r family as we do encourages the readers to change their belief that whales may not be as alien of a species as they had imagined. This is further elaborated when Richards states â€Å"Mothers are the main caretakers of their offspring, but fathers will remain with their own matriarchal pod, helping to care for the young within this maternal line. † Words such as â€Å"caretakers†, â€Å"helping† and â€Å"care† appeal to the reader's emotions as we see how affectionate the orca species can be within their pod just as we are affectionate to our kin. â€Å"The familial bonds within orca pods are very strong and only can be broken through death and capture of member† (qtd Williams 9). Suddenly, the loving image of an orca pod is brought back to our harsh reality as she clearly states that captivity devastates innocent orca families. While Richards draws emphasis to the social behavior of orcas, she also informs us of their impressive cognitive abilities. â€Å"orcas are one of the few animals besides humans to have such distinctive language and shared speech patterns among individuals living in the same area† This shows that not only do orcas have strong communal bond with each other, they also communicate so effectively that this is a rare occurrence in the animal kingdom. She stresses the similarity between the reader and the orca species here, this creates familiarity. Moreover, she compares the habitat and behavior of orcas in the wild to those held captive in marine parks. Incorporating the opinion of a former Seaworld trainer (Jeffrey Ventre), a truly credible source considering her experience, the argument is strengthened by a bold statement. â€Å"the SeaWorld system is the best of all seaquaria in the world, if I was an orca, that would be the last place I'd want to live† This suggests that even at its best, marine parks and seaquarias are far from the ideal habitat for an orca. Ventre compares an orca tank to â€Å"an acoustically dead cement pond† emphasizing the numbing atmosphere of a captive orca's habitat. Case studies of orcas being neurologically and physically damaged because of captivity add credibility to Richards case. Due to â€Å"inadequate space in which to swim† (qtd Williams 52), the dorsal fins of an orca can collapse. This could happen as a result of colliding with the side of the small tank. The size of orca tanks can have great effect on the neurological stability of an orca where some have been documented to self induce physical damage. According to ‘Listening to Whales' by Alexandra Morton, a young killer whale was observed â€Å"rushing over to a particular spot and banging her head against the underside of a dock†. Swimming in circles and being separated from their families causes the orca to become neurotic. Isolation can be severely detrimental for an orca as some are forced to be in solitary confinement. If orcas cannot adapt to captivity they are made to endure horrifying conditions as in the case study of â€Å"Junior† who died â€Å"lethargic and psychotic† after being kept in an indoor pool without natural light and other orcas. Richards emphasized that orcas are highly social creatures so the idea that it is common practice for captive orcas to be isolated is truly shocking. To further support her argument, Richards shows us how captivity is harmful to orcas with the use of numbers and statistics. After the first orca was taken into captivity in 1961 â€Å"at least 106 (79%) are now dead† (qtd Williams 4). The average lifespan of an orca is approximately sixty to eighty years, which means the majority of orcas do not die from a natural death. This is addressed when Richards states â€Å"one in five of these deaths were a result of avoidable or preventable causes†. It is clear that preventing the death of orcas is not unachievable if more people knew the risks of captivity. Richards appeals to the reader by explaining how the relationship between a mother orca and it's offspring can be heartbreakingly affected by living in a tank. After a giving birth to a series of orcas that died in weeks, â€Å"Corky† the killer whale was encountering a problem in which her offspring could not instinctually find the spot on Corky to nurse on. This is because of the circular nature of the tank. In the wild, orcas travel in straight lines that make it easier for the offspring to feed. Corky had been continuously pregnant for almost ten years and â€Å"finally at the young age of twenty one, Corky stopped ovulating. † † The death of multiple innocent babies that was so easily avoidable is tragic and makes the reader sympathize with these creatures. Other occurrences that may not be seen in the wild is aggression between orcas. Richards documents a sickening account of two orcas fighting aggressively. â€Å"As Kandu hemorrhaged into the tank and spouted blood from her blowhole onto the stage, SeaWorld staffed ushered a shocked audience out of the audience†¦ This gruesome event graphically conveys the point that captivity induces strange behavior in orcas, ultimately due to neurological damage. This study makes a point of noting the sheer strength and ferocity that an orca can possess. Overall I believe Richards does a commendable job of conveying her argument. She uses credible sources and reliable statistics in order to support her point of view. I have personally been to an orca show in California, reading this article made me reflect on that experience and completely change my percep tion. At the time the experience was completely positive and almost magical as we stepped in to a fantasy land where Shamu was almost a cartoon character, jumping and leaping out of glee. Reading this article has made me realize that Shamu is far from an enchanting Disney character but is actually one of the fiercest, most powerful predators in the ocean. Richards has achieved this with her various case studies that enlightened me on the magnitude of an orca and its ability to kill not only humans but other orcas too. She has persuaded the reader to support her argument with the use of emotions. However, Richards has made an effort to avoid rambling needlessly to provoke empathy by using clear facts to accompany her opinions. An aspect of her research paper that I would change would be the incorporation of the Vancouver Aquarium. The aim of Richards argument was to eliminate captivity in order to conserve the orca population and animal cruelty. However, she has shown Vancouver aquarium in a positive light by stating it â€Å"eliminates parallel surfaces, reduces noise transmission and improves acoustics within the water†. Although Vancouver Aquarium vowed to end orca shows after the death of an orca in their aquarium, I believe Richards message in this quotation is that these conditions are acceptable for an orca in captivity. My personal belief is that no orca should be taken from their natural habitat and away from their pod at all. I believe that this article was written at a point in time that it was needed the most. Conservation and wildlife protection is of utmost importance as hundreds of species a day are rapidly moving towards extinction. This article has shown that we need to be more aware of how we treat animals. Ultimately, Richards has done a fantastic job of educating the reader about a topic that is alien to many. With the use of powerful statistics, thought provoking points and emotional case studies, she has produced a strong argument. The ultimate reaction I believe many readers will walk away from this article with is disappointment, distaste and disillusionment towards orca shows and marine parks. The next time one makes a trip to SeaWorld they must question whether they are going for a day of education and entertainment or whether they are supporting a business built on exploitation of innocent orcas.

Nuclear Technology

One question that has caused a great deal of controversy over the years is nuclear technology. Although it offers a number of advantages in world peace and green power, it is also a dangerous technology. In this essay I intend to show how these benefits outweigh that disadvantage. The opponents of nuclear power generally base their arguments on the danger it represents to the world. There are two main dangers: the risk of nuclear warfare and the nuclear disasters. If one thinks about Chernobyl, it is easy to understand why people are worried about nuclear power, as it can cause major suffering. There are, however, two good reasons for believing that nuclear technology is generally advantageous. The first of these is that there has not been a major world conflict since the invention of nuclear weapons. While there have been wars, they have not been on the same scale as the Second World War. It is possible to say that the world is a safer place because of nuclear weapons. The other most significant benefit relates to the environment. Perhaps the greatest danger facing our world today is a combination of global warming and the greenhouse effect. This danger is caused partly by burning fossil fuels which leads to our polluted atmosphere. Nuclear power, however, is a much greener alternative which does not have such negative effects. Furthermore, in the last 50 years there have not been too many nuclear disasters and many experts claim that it is in fact a safe technology. In conclusion I would say that nuclear technology is better than the current alternatives. However, I also believe we should keep looking for ways to make it safer.

Justice Scalia's Fundamental Rights Research Paper

Justice Scalia's Fundamental Rights - Research Paper Example Constitution as an instrument to protect the fundamental rights of citizens in America. The 14th Amendment to the U.S. Constitution is concerned primarily with the fundamental rights of citizens of the United States. Based on the, 14th Amendment, â€Å"all persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the state wherein they reside. No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law† (Legal Information Institute). Simply put, the 14th Amendment limits the power of Congress and other federal and state powers to discriminate against individuals. The 14th Amendment is the document of equal protection that outlaws individual rights violations. Since the 1970s, the 14th Amendment has been used as one of the central tools of legal def ense against labor and employment discrimination. However, not everyone agrees that the 14th Amendment is a valid argument against discrimination. When a public figure as popular as Justice Scalia expresses a divergent opinion, it is natural and logical that the public reaction will be immediate. In one of his recent interviews, Justice Scalia expressed an opinion that the 14th Amendment has nothing to do with discrimination and individual rights: according to Scalia, the U.S. Constitution by itself does not outlaw discrimination (Terkel). Rather, the Constitution simply provides the basis and creates a legal context, which allows passing legislation that outlaws different forms of discrimination against individuals (Terkel). Justice Scalia is confident that the Constitution does not prohibit discrimination, and it is within the power of U.S. legislators, not the Constitution, to enact laws that defend the fundamental rights of American citizens. As a result, the Fourteenth Amendmen t can hardly serve a relevant ground for legal protection against sexual and gender discrimination in the workplace or in courts. To some extent, Justice Scalia is correct: the Fourteenth Amendment to the U.S. Constitution was passed with the intent to keep illegal immigrants and aliens from accessing and using the benefits provided by U.S. Government. This is why the 14th Amendment limits the scope of the legal rights protection to citizens or those naturalized in the United States (The 14th Amendment). It was not before the 1970s that the legal meaning of the Fourteenth Amendment was changed to become one of the key instruments and legal arguments against sexual and other types of individual discrimination in the U.S. Even today, the 14th Amendment remains the source of major legal controversies, since there is no explicit statement that could be directly related to the issue of sexual or gender discrimination. However, the role which the Fourteenth Amendment plays in the protecti on of individual rights and the elimination of inequality and discrimination cannot be ignored. Simultaneously, Justice Scalia’s homophobic prejudices are well-known to the American public. It is no wonder that Scalia does not believe the 14th Amendment and its equal protection clause applies to women, gays or lesbians (LaVictoire). In the notorious case of Lawrence v. Texas Justice Scalia claimed

Week 6 Project Deliverable 3 Submission Assignment

Week 6 Project Deliverable 3 Submission - Assignment Example The database is going to be designed based on the various requirements that are to be integrated in the Order management System, Inventory System and the Supply processing system. The general idea for the implementation of the database schema would adopt a general flow basing on the fact transactions in a certain business entity take a general format of: 6. The ordering process will capture the essential requirements of the customer for instance the customer name, physical address, contact information, the type of goods that have been ordered and their specific quantities. 7. The ordering process be able to forward a report to the supply processing system where stock issues will be done and will be able to make the necessary adjustments on the stock level quantities upon retrieval from the stores The database design process will be divided into different autonomous design tasks relative to the followed design process. Particular emphasis will be laid on the logical database design and the physical database design (Teorey et al, 2011). The logical database design main objective is to determine the relevant user requirements, examination of the process flows of the existing system with an aim of identifying the challenges that are faced by the user of the system. It is also aimed at studying the specific business environment of the company. Therefore, the expected outcome will be the emergence and formulation of a system-independent database description that meets the key requirements (Teorey et al, 2011). It represents the database actual implementation process in relation to the system that exists. The physical database design is dependent on the RDBMS (Relational Database Management System) which is adopted by the user (Teorey et al, 2011). The software and the hardware environments greatly influence the structure. The system will be used by different personalities of which important roles