Sunday, January 26, 2020
Comparative studies and performance evaluation Reebok
Comparative studies and performance evaluation Reebok INTRODUCTION Reebok International Limited is a producer of athletic footwear, apparel, and accessories and is currently a subsidiary of German sportswear giant Adidas. The name comes from the frikaans spelling of Reebok, a type of African antelope or gazelle. The company, founded in England in 1895, was originally called J.W. FOSTER SONS but was renamed Reebok in 1958. The companys founders, Joe and Jeff Foster, found the name in a dictionary won in a race by Joe Foster as a boy; the dictionary was a South African edition, hence the spelling. Reebok surged in popularity in 1982 after the introduction of the Freestyle athletic shoe, which was specifically designed for women and came out when the aerobics fitness craze started. Not only was the Reebok Freestyle popular as athletic wear, but also on the streets as casual wear because of its comfort and styling. As a result the Freestyle became an icon of the 1980s fashion scene with hi-top versions (including two velcro straps at the top) and colors including white, black, red, yellow, and blue. Reebok contines to produce the Freestyle to this day as it is popular with cheerleading, aerobic dancing, the gym, and other consumers. HUMAN RIGHTS AND PRODUCTION DETAILS In the past, Reebok had an association with outsourcing through sweatshops, but today it claims it is firmly committed to human rights. In April 2004, Reeboks footwear division became the first company to be accredited by the Fair Labor Association. In 2004, Reebok also became a founding member of the Fair Factories Clearinghouse, a non-profit organization dedicated to improving worker conditions across the apparel industry. Supplier information, according to the Reebok website as of May 2007: Footwear Reebok uses footwear factories in 14 countries. Most factories making Reebok footwear are based in Asia-primarily China (accounting for 51% of total footwear production), Indonesia (21%), Vietnam (17%) and Thailand (7%). Production is consolidated, with 88% of Reebok footwear manfactured in 11 factories, employing over 75,000 workers. Apparel Reebok has factories in 45 countries. The process of purchasing products from suppliers is organized by region. Most (52%) of Reeboks apparel sold in the US is produced in Asia, with the rest coming from countries in the Caribbean, North America, Africa and the Middle East. Apparel sold in Europe is typically sourced from Asia and Europe. Apparel sold in the Asia Pacific region is typically produced by Asian-based manfacturers. The company holds exclusive rights to manfacture and market both authentic and replica uniform jerseys and sideline apparel of the teams of the National Football League (Gridiron) since 2002, the Canadian Football League since 2004, and is the official shoe supplier to the NFL Gridiron and Major League Baseball. In addition Reebok acquired official National Hockey League sponsor CCM in 2004, and is now manfacturing ice hockey equipment under the CCM and Reebok brands, and has signed popular young stars Sidney Crosby and Alexander Ovechkin to endorsement deals (Crosby for Reebok, Ovechkin for CCM). Reebok has phased out the CCM name on NHL authentic and replica jerseys in recent years, using the Reebok logo since 2005. Reebok is also endorsed by Allen Iverson, Yao Ming, Carolina Klà ¼ft, Amà ©lie Mauresmo, Nicole VaidiÃ
¡ovà ¡, Shahar Peer, Ivy, Thierry Henry, Vince Young, Iker Casillas, Ryan Giggs, Andriy Shevchenko and Amir Khan It maintains its relationship with its origins in England through a long-term sponsorship deal with Bolton Wanderers, a Premiership football club. When the team moved to a brand new ground in the late-1990s, their new home was named the Reebok Stadium. Several other English clubs had Reebok sponsorship deals up until the purchase by Adidas, but most have since switched to either the parent brand (which has a long history in football) or another company altogether. PRODUCT RANGE Reebok has many variety of products which is as under:- Cricket teams with kits manfactured by Reebok Asia Chennai Super Kings Isasthan Royals Bangalore Royal Challengers Kolkata Knight Riders Football (soccer) clubs/leagues with kits manfactured by Reebok Europe Bolton Wanderers Aris FC KF Drenica 1. FC Kà ¶ln PFC CSKA Moscow Africa Bloemfontein Celtic AmaZulu F.C. Reebok technologies Hex Ride Play Shield Play Dry Rbk Edge Uniform System Hydro move DMX DMX10 DMX6 Griptonite The Pump DMX Foam DMX Reflex Hexalite 3D Ultralite E.R.S. (Energy Return System) TRANSFORMATION PROCESS Every organization, be it a product or service organization, transforms certain inputs into outputs. For getting the desired output, the quality of these inputs are to be monitored regularly, and also a comparion is to be made for the real output and the desired output. This all process is done in an environment of random disturbances which are unexpected and therefore sometimes not planned too. This all process is hence known as transformation process in context to operations management. Reebok adopt transformation process which creates input into output. This process creates good product of reebok. The following example shows us the transformation of reebok and it starts from learning and ends with interpretation. Reebok is main player in the market. It has its own image in the market Reebok creates good working environment for their employees Several months were taken out of the product developmentprocess, which allowedReebokto bring new and more relevant products to market much faster. FACILITY LAYOUT Whether your company is looking to incorporate new processing equipment, expand facilities or integrate a data collection system into your existing, expanded, or planned facility, reebok can help you realize the maximum benefit from your efforts. Proper Facilities Layout of reebok includes optimally locating equipment, materials, people, infrastructure and data collection points to minimize movement, handling and travel distance of the material and labor while increasing overall productivity. Reebok Facilities Layout Approach Develop and/or verify a baseline drawing Reebok and will develop and/or verify a baseline drawing of your existing facility, to include, if applicable: Production Production area drawing will show production equipment, personnel, locations and routing of primary utilities (electrical, pneumatic, vacuum, coolant, data, etc.), lighting, cranes, column locations, transportation aisles, material storage areas, docks, doors Warehouse/shipping Warehouse/shipping will show racks, columns, aisles, electrical, material handling equipment, computer workstations, data collection points, printers, inventory location and quantities Office Data infrastructure, electrical, personnel locations, solid and partition walls, common equipment (copiers, printers, etc.), Facilitate employee input meetings reebok will facilitate meetings to gain input and identify the facilities layout requirements with regard to: Product/process flow Facility / infrastructure Data transfer Equipment Inventory levels and management Develop, design and present potential new layout(s) Reebok will work to improve the process flow and efficiency based upon underlying principles of lean manfacturing and process flow efficiency. Efforts will focus on dock locations, equipment configurations, inventory management and handling practices, and expansion. The team will develop facilities layout options, showing the current operation best arranged within the facility, and offer recommendations to accommodate future growth. FACALITY LOCATION Facility location, also known as location analysis, is a branch of operations research concerning itself with mathematical modeling and solution of problems concerning optimal placement of facilities in order to minimize transportation costs, avoid placing hazardous materials near housing, outperform competitors facilities, etc Input validation assumption output PRODUCTION PLANING SYSTEM PRODUCTION PLANNING AND INVENTORY CONTROL includes the analysis of six key factors. Forecasts of future demand for both new and existing products provide information for developing production plans. In capacity planning, the firm analyzes how much of a product it must be able to produce. Location planning for goods and for low-contact services involves analyzing proposed facility sites in terms of proximity to raw materials and markets, availability of labor, and energy and transportation costs. Layout planning includes designing a facility so that customer needs are supplied for high-contact services and so as to enhance production efficiency. In quality planning, systems are developed to ensure that products meet a firms quality standards. Finally, in methods planning, specific production steps and methods for performing them are identified. The training program provides in-depth conceptual and practical skills about PRODUCTION PLANNING AND INVENTORY CONTROL Objectives of Reebok in planning It is the key concepts of Production Planning and Inventory Control. Explain the meaning of the term production or operations. Describe the four kinds of utility provided by production and explain the two classifications of operations processes. Describe the FIFO FILO concepts and processes. Identify opportunities in inventory management. Learn how to apply the tools by participating in a simulation. Explain factors in operations scheduling, operations control, materials management and the use of operations control tools. QUALITY SYSTEM First of all I m telling that why quality system needed:- How is customer satisfaction achieved? Two dimensions: Product features and Freedom from deficiencies. Product features Refers to quality of design. Examples in manfacturing industry: Performance, Reliability, Durability, Ease of use, Esthetics etc. Examples in service industry: Accuracy, Timeliness, Friendliness and courtesy, Knowledge of server etc. Freedom from deficiencies Refers to quality of conformance. Higher conformance means fewer complaints and increased customer satisfaction. Reebok take in mind all these things before designing product. It has good quality system . INVENTORY MANAGEMENT Inventoryis a list forgoodsandmaterials, or those goods and materials themselves, held available in stock by abusiness. It is also used for a list of the contents of a household and for a list for testamentarypurposes of the possessions of someone who has died. In accounting inventory is considered anasset. In business management, inventory consists of a list of goods and materials held available in stock. Inventory Management of reebok includes:- Inventory Control Must tie together the following objectives, to insure there is continity between functions: Company Strategic Goals Sales Forecasting Sales Operations Planning Production Material Planning Reebok adopt this inventory management. CONCLUSION We analyze the overall structure of the Reebok company so we conclude the it is in good position in the market. The transformation process adopted by Reebok is very good and quality of his products is very good and finally we can say the overall position of Reebok is very good. BIBLIOGRAPHY www.reebok.com www.en.wikipedia.org/wiki/Facility_location www.invatol.com Books Stevenson Philip Kotler
Friday, January 17, 2020
What is The Effect of Sociological Factors to Artist Life
A French philosopher and writer, Pierre Bourdieu ( Bourdieu et al. 1990) claims that sociological factors such as education, family background, cultural development of an individual as well as oneâ⬠s belonging to a specific social class, plays a vital part in interpretation and participation in the Arts. In order to evaluate this argument and make any logical conclusions, it must therefore be examined through evidence which in this case will be referring to an Australian artist, Robert Klippel. Every artistâ⬠s career has a ââ¬Ëshapeâ⬠or a development which tends to be greatly affected by sociological factors which influence the life of that artistâ⬠. (Hughes 1964: 2). Robert Klippelâ⬠s career ââ¬Ëshapeâ⬠was also a subject to formation which was promoted by factors such as education, family upbringing and background as well as the outer and inner environments which affected the life development of the artist. It is thus essential to consider these factors as they influenced and formatted Klippelâ⬠s artistic vocation and career. Robert Klippel was born in Sydney, 19 of June 1920, in a middle class family and became the econd in a family of three sons. His father had emigrated from Poland in 1904 and ran a successful business importing and distributing clothing and textiles. His mother, of English background, had been brought up in ââ¬ËEnglish fashionâ⬠, educated well and expected to devote herself to marriage and the family. Klippelâ⬠s father attended university where he studied philosophy and took an Art theory course. During university years, he developed an interest in the Arts. From time to time he would visit an Art gallery or buy an expensive classical painting. Robert Klippelâ⬠s, mother had a passion for classical music and would often visit the opera. However, at that time Robert Klippel had little interest in education in the Arts and was not affected by the artistic family environment around him. Although, Klippelâ⬠s parents were educated well, Robert Klippel and his brothers were not encouraged to learn or participate in the arts as Klippelâ⬠s parents thought that their children should go ââ¬Ëtheir own waysâ⬠, it could even be said that they were brought up by the ââ¬Ëa light handâ⬠- always given opportunities to make their own choices and decisions in life. When referring back to Bourdieu and his argument, it could be argued that even though Klippelâ⬠s parents were educated well and may have had a reasonable understanding of the arts, they would not be one ââ¬Å"of refined classificationâ⬠and certainly would ââ¬Å"lack a mastered degree of artistic competenceâ⬠(Bourdieu et al. 1990:42) as they could not fully value the importance of education and pass on to their children. However this idea may not apply in this case, as Robert Klippel himself was not affected by his familyâ⬠s level of education and from the yearly years led an independent lifestyle. Particularly during his youth, Klippel had little interest in any sort of education and with little direction from his parents, he preferred to work on the mill, spent little time doing his school work and became used to fail many examinations. At one time, Klippel even thought that his life was doomed to be a ââ¬Ëfailureâ⬠. Klippelâ⬠s family was quite financially stable and all the three sons attended secondary school including Klippel himself, who had a careless approach towards education and found that it was not for him. In fact he did not receive any art education or learn much of what he later became interested in. He describes his school years being: ââ¬Ëuneventful and a waste of timeâ⬠(Gleeson 1983 :4). However it was during his early schoo years that Klipple developed a passion for sculpture. Robert Klippelâ⬠s early life was mostly spent around Sydney Harbour where lived and first became fascinated with ships and boat models. As a young boy, Klippel began making miniature model ships that he often saw on the harbour or in books. An obsessive commitment to model making lasted almost eighteen years which later led to becoming a sculptor. Klippel entered the navy during WWII, where he obtained a job as a model maker. Between 1943 and 1945 he produced many military vessels and aircraft models. The skills developed during this period were vital for Klippel as a sculptor; ââ¬Å"he gained knowledge of volume, mass, proportion and structural detailâ⬠(Scarlett 1980: 9). Above all, he acquired a strong desire to find out how things worked which further helped him with his creative process. Klippel obtained some practical skills to be used in his artworks but when referring back to Bourdieu, he had no knowledge of ââ¬Ëartistic principlesâ⬠or understanding of theoretical Arts and thus had no ââ¬Ëmeans of appropriating works of artâ⬠. This also reflected that Klippel had a lack of artistic ideas and inspirations to produce his works although he had a strong desire to make sculptures. ââ¬Å"At twenty-four Klippel was still largely unconcerned with the difference between art and craft: he simply did not care about it and had never visited a galleryâ⬠(Hughes 1964:12) Klippel was not exposed to any higher education and he finished high-school with poor grades as he spent most of the time working with wool. He took a wool classing course in 1937 with the support of his father who thought that Klippel would be working with wool as he did not see any other pportunities for his son. However, Klippel himself decided to no longer work with wool and to devote more time to his sculptures as he discovered his passion for Art. The year of 1943 became a turning point for Klippel, as he met a friend Pam Broad, who was a poet and an intellectual, and encouraged Klippel to take up a wood-carving course which taught him how to develop his own designs and models. Pam Broad was appreciative of Klippelâ⬠s skill but criticised his lack of originality and knowledge of art. Klippel realised that in order to become a sculptor he would eed to have certain knowledge of the Arts and Pam Broad introduced him to literature, poetry and art as abstract, which Klippel became later involved in. Robert Klippel gradually began to gain artistic appreciation and knowledge of Art and he also found the critical difference between art and craft. Klippel realised that he could now interpret and produce artworks and meanings in ways that before were unknown to him and as Bourdieu states: ââ¬Å"interpretationâ⬠¦ is always constituted by the learning ability â⬠¦ in other words discovering meaning using our literary knowledgeâ⬠(Bourdieu et al. 1990). Klippel put aside his models and began to read and study art books to gain knowledge about art. Pam Broad introduced him to the work of Brzeska, and he read books on Henry Moore and Roger Fly; ââ¬Å"The intellectual discovery of art as a creative pursuit awakened a passion he hardly knew existedâ⬠(Watters Gallery 1970:3). By 1945 Klippel has decided that art would be his vocation and that he would become a sculptor. In 1946 he enrolled full time at the East Sydney Technical College to study antique drawing, life modelling and sculpture. During this time Klippel became inspired by nature which became a source of ideas for the sculptor and he noted n his diary that: ââ¬Å"Thinking a lot about nature and its workings, I believe and artist should, when creating, undergo a similar process which occurs when nature createsâ⬠(Gleeson1983:4). Although not having received ââ¬Ëcompleteâ⬠education, Robert Klippel was able to use his skills to produce his models and he found that the knowledge he received himself and with the help of others was extremely useful for his art creation. Referring back to Bourdiue, who stressed the importance of learning and defined the idea of education as ââ¬Å"having a complex codeâ⬠, which refers to sophistication and ability to distinguish a ork of art in a more refined way, it could be noted that Klippel has gradually achieved this ability through self-education and continuos learning throughout his career. However here the theory of sophistication, family education could not apply as Klippel did not achieve high level of education and obtained valuable qualifications but instead gained self-knowledge which was not perhaps one of ââ¬Ëfine refinementâ⬠but which provided him with a stable base to develop his career. It could be considered that Bourdieuâ⬠s theory of education does apply to those with a enuine interest in the Arts and to those who wish to gain precise knowledge of the Arts. Klippel himself realised that his self-discovery of new visions and ideas as well as artistic knowledge helped him with his artistic development. Klippel further developed an interest in abstract art and decided to move to London where he commenced his studies at Slade School of Art. Here he developed his skills as a draftsman, ââ¬Å"which he felt were sorely lackingâ⬠(Sturgeon 1978:15). For six months at the Slade School Klippel led a double life. On one hand, he did his formal studies, which he ââ¬Å"hated and found rrelevantâ⬠(Scarlett 1980:6), on the other hand, he pursued an independent self-development course in which he concentrated on studying abstract art derived from nature. Learning in Klippelâ⬠s opinion was not always a constant necessity and brought use to his work, unlike Bourdieu claims that learning at school and university is essential to develop not only the knowledge but also have access to ââ¬Ëappropriate cultureâ⬠. Klippel disregarded culture and education as a means of achieving success but to him art was about self-expression combined with the required artistic knowledge. In 1945 Klippel has constructed the largest and most important of his sculptures and since then he decided to work alone and to no longer have a formal education. An Australian surrealist painter, James Gleeson became a vital individual who influenced Klippelâ⬠s career development, he encouraged Klippel to leave Slade School and to work on his own. Gleeson introduced Klippel to surrealism and organised Klippelâ⬠s first exhibition in London which they shared together. Klippel found that he had developed an obsession to make art that stemmed from his own life and reflected the world around him as he wrote: ââ¬Å"The artist can show a new world, if he ees and feels enoughâ⬠( Hughes1964:9). During this period Klippel became financially unstable as the support coming from his father was at an end, as Klippelâ⬠s father strongly believed that his children should be able to support themselves in their adult life. Klippel went through a particularly difficult psychological period feeling unstable both emotionally and financially when he could not sell any of his sculptures. Klippelâ⬠s works were often rejected as they often classified as ââ¬Ëself-reflection worksâ⬠which often reflected the emotional and problematic side of the artist. Klippel was also under pressure from his family, particularly his brothers who had a successful wool business and who financially aided Klippel as he could not provide for himself. Klippel travelled to Paris in hope of selling his works and spent a few months there creating more sculptures relating to nature. He found a studio where he worked and was able to diverse the scope of his ideas so that his works would have a wider meaning and perhaps more people could find appreciation in his works. While living in Paris, Robert Klippel married an American artist, Nina Mermey and decided to travel to New York with her, which he later realised was wasted timeâ⬠as he could not find any workshops or studios to work in. Again here he was bound to make money on his work but not having achieved that Klippel returned to Sydney. Klippelâ⬠s path here was now open to any direction and James Gleeson introduced him to a more comprehensive surrealism which Klippel wished to explore. He re-married in Sydney and in 1966 he established his first workshop. For the first time, his works became appreciated by a large number of artists and art critics. The financial situation became better as some of Klippelâ⬠s sculptures were sold. With James Gleeson, another exhibition was held which presented painted landscape by Gleeson occupied by Klippelâ⬠s metal objects, it achieved a wide recognition by many fellow artists and the public for the first time. Robert Klippel had many more exhibitions and finally achieved the success he has been striving for since youth. However when looking back at Bourdieu and his theories, it is worth to consider the effect class and position in society had on the artists overall recognition. Bourdieu associates upper class as having ââ¬Å"good tasteâ⬠as those from higher classes usually relate themselves with an academic institutionâ⬠and may relate to the Arts, rather then those from lower classes tend to have little or no understanding of Art and in conclusion have no taste, he also relates class to culture, the higher the class the more cultured an individual could be. This view can partially describe Robert Klippelâ⬠s life as he comes from a well educated and culturally developed family but not belonging to an ââ¬Ëacademic institutionâ⬠as described by Bourdieu. Klippel was fairly distant from any art education during his youth and did not attend university while he did poorly at school. Perhaps the lack of direction from his parents and lack of his desire for education resulted in some instability experienced later in his life. Perhaps as a result of that, Klippel had trouble finding a place in the society as an artist as he often felt ââ¬Ëout of placeâ⬠with his artistic ideas which for a long period of time received no appreciation. According to Bourdieu, Klippelâ⬠s art and his life would be a result of his family social position and cultural atmosphere as well as his own academic achievements. It could be agreed that these factors have had an influence on the artistâ⬠s life to some extent. Klippel had few minor cademic achievements compared to his brothers and mostly spent time doing agricultural work. Klippelâ⬠s parents exposed their children to art and classical music as they thought that right cultural upbringing was essential to achieve social recognition and success, however, they saw that Robert Klippel had little interest in education and had no hope for him to achieve any academic success, so they allowed him to work on the mill and later with wool. This family upbringing affected Klippelâ⬠s life and resulted in his struggle to achieve success and later Klippel himself understood the importance of education and cultural upbringing to achieve Robert Klippel once said that: ââ¬Å"true art arises from inner spiritual necessity and an ability to follow oneâ⬠s own convictionsâ⬠. Robert Klippel is known today as one of Australiaâ⬠s leading assemblage sculptors, he has created an innovative and extensive body of three-dimensional works over a fifty year period. For a long of time, Klippel was not recognised as an artist and he underwent a difficult psychological period throughout the development of his career. However, gradually, Klippel began to understand the influence various sociological factors had on his life. He resumed his studies of Art, tried to market his own works to gain finance and finally became aware of what ââ¬Ëit takesâ⬠to achieve success and recognition. One therefore, after examining the career of the artist, can never wonder as to why so many of Robert Klippelâ⬠s works are often a reflection of his own life and his long struggle to overcome the many barriers that he faced as Thus, in conclusion it would be faire to agree with Bourdieuâ⬠s views that sociological factors such family background, education, class and social position, have an influence on oneâ⬠s interpretation and participation in the Arts.
Thursday, January 9, 2020
William Shakespeare s Romeo And Juliet - 1342 Words
In Shakespeareââ¬â¢s, Romeo and Juliet, two star crossed lovers are faced with many problematic conflicts in which they experience as life-threatening and restricting of their relationship. Their identity, as in age, social class and gender, prevents the two protagonists from achieving purity in their relationship. The story heavily relies on these aspects of Romeo and Julietââ¬â¢s life ââ¬â contributing to the overall well-being of their love and chemistry, throughout the romance and tragedies that are presented in the play. Romeo and Julietââ¬â¢s relationship is defined by family affiliation ââ¬â like a typical teenage love story, when the parents do not always approve of their connection and affection. This is one of the biggest obstacles the two couple faces ââ¬â heavily influencing the main ideas of purity and higher love in the story. During the balcony scene in 2.2, Romeo describes that his ââ¬Å"name, dear saint, is hateful to myself. Because it is an e nemy to theeâ⬠(2.2.60-61). Romeo who is a son of Montague, and Juliet, who is a daughter of Capulet stand in conflicting ends in a blood feud. Therefore, constructing an unstable and quarrelsome relationship, as their families deliver peril and conflicts to their lives. Both lovers struggle between their feelings for each other, knowing that both of them are the enemies of their families. Similarly, Juliet cries out from her balcony, ââ¬Å"O Romeo, Romeo! wherefore art thou Romeo?â⬠(2.2.36). This quote, may be the most popular in all ofShow MoreRelatedWilliam Shakespeare s Romeo And Juliet1287 Words à |à 6 PagesLizzy Baginski English Composition 2 Mr. Spera March 10, 2015 Romeo and Juliet Research Paper The movie Romeo and Juliet is a modern classic film that took place in 1996. Overall this is a timeless story that everyone should go and watch. This movie has an intriguing plot line that tells the story of two feuding families, The Montagues and The Capulets, and how the children of these two different families fall in love. The two children overcome various obstacles such as hiding their chemistry fromRead MoreWilliam Shakespeare s Romeo And Juliet 966 Words à |à 4 Pages Beauty Over Gold ââ¬Å"Beauty provoketh thieves sooner than gold.--William Shakespeare, 1623. In his book As You Like It, William Shakespeare pointed out the supremacy of love rather than the want of gold and wealth. Truly, beauty is more important to thieves than wealth. Many of the thieves in this world would rather have an elegant woman than to obtain precious rubies. After all, what good is a prosperous man if he doesnââ¬â¢t have a charming woman? Two famous men grab my attention who didnââ¬â¢t fear forRead MoreWilliam Shakespeare s Romeo And Juliet Essay1024 Words à |à 5 PagesRomeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare s most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers. Romeo and Juliet belongs to a tradition of tragic romances stretching back to antiquity. The plot is based on an ItalianRead MoreWilliam Shakespeare s Romeo And Juliet1124 Words à |à 5 PagesThe play Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare s most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers. Romeo and Juliet belongs to a tradition of tragic romances stretching back to antiquity. Its plot is based onRead MoreWilliam Shakespeare s Romeo And Juliet861 Words à |à 4 Pagesgreatly shown in the play Romeo and Juliet by William Shakespeare. It was love at first sight with Romeo Montague and Juliet Capulet. Meeting at a party and falling in love to get married without even spending quality time with each other. Romeo and Juliet couldn t tell there parents because the Capulets and Montagues are long term rivals. Both Romeo and Juliet had to find different ways and excuses to make this marriage work. A big problem was developed. Romeo kills Juliet s cousin and is banishedRead MoreWilliam Shakespeare s Romeo And Juliet1770 Words à |à 8 Pagesof Romeo and Juliet. The story of two destined lovers who were killed by their own doing. But what if they weren t two destined lovers who got unlucky, but doomed partners that were never going to have a good-life to begin with.William Sha kespeare gives us a view of early signs of gang conflict in the early age of Verona, Italy. He gives us a perspective of the norms and customs of Italy during the Setting of William Shakespeare s most famous story. Romeo and Juliet, by William Shakespeare, givesRead MoreWilliam Shakespeare s Romeo And Juliet1616 Words à |à 7 Pageslove can also cause some of life s most controversial battles. These battles could stem from lack of patience, disagreement of moral values, and in some cases, an absence of attraction overall. In Romeo and Juliet by William Shakespeare, the issues that drive Romeo Montague and Juliet Capulet s to each of their dreadful misfortunes are inevitable. When it comes to many of Shakespeare s plays, Aristotle s theory is used to describe them as tragedies. Romeo and Juliet is known by many as a tragedyRead MoreWilliam Shakespeare s Romeo And Juliet1264 Words à |à 6 Pagestheater-going public the most important dramatist in English literature, Shakespeare oc cupies a well-known position in the world of talented authors. His canon contains thirty-seven plays, written in the late sixteenth and early seventeenth centuries. Additionally, throughout the years, they continue to sustain critical attention, with the majority of his works circling tragedies, one being Romeo and Juliet. William Shakespeare s Romeo and Juliet speaks to the timeless appeal of star-crossed lovers. Their loveRead MoreWilliam Shakespeare s Romeo And Juliet924 Words à |à 4 PagesWilliam Shakespeareââ¬â¢s Romeo and Juliet is a tragedy that follows the so-called love of two teenagers. The two fall in love at a masked ball and have a secret marriage. Throughout the play, their actions show how ridiculous love is, and how it is a danger to anyone who become twisted in its choking grasp. However, in the death of the youth and survival of the elders, an alternative explanation for the tragic events may be found. Although Shakespeare seems to be mocking love throughout the play, itRead MoreWilliam Shakespeare s Romeo And Juliet1279 Words à |à 6 Pagesour lives. The great, classic writers teach timeless, valuable life skills. Shakespeare was the greatest writer of all time. His writings mainly consisted of dramas and sonnets. Romeo and Juliet, as well as, A MIdsummer Nightââ¬â¢s Dream were written about the same time period. He was able to inter relate everything that wrote. For example, the tale of Pyramus and Thisbe could possibly be an advertisement for Romeo and Juliet. The basic structure of the two dramas is the same; two forbidden lovers meet
Wednesday, January 1, 2020
Chinua Achebes Things Fall Apart - 1601 Words
During the mid 1800s and 1900s, the continent of Africa was being invaded by European superpower nations such as Great Britain, France, and others. The proper act was named as Colonialism which according to my lecture notes means: ââ¬Å"a racially based system of political, economical, and cultural domination forced on an indigenous majority by a technological superior foreign minorityâ⬠(Zeitler). For instance, many European nations enforced imperialism on the continent of Africa because of its recently discovered natural resources which would be beneficial for their countries, and Europeans used western education and religion as a moral ââ¬Å"coverâ⬠for their easy access to the native Africanââ¬â¢s lands and enforce the natives to be more civilizedâ⬠¦show more contentâ⬠¦Another example of political change was that the judicial system deal with any major or minor issue rather than before when it was settled by the clan leaders and village elders. For instance , if a native wants to address an issue about his marriage disputes such as divorce then he/she must hire a lawyer, so the lawyer can represent them in the court of law and they are being judge by the exact same laws that is being enforced back in Great Britain, not the law that would be similar to Igbo society. According to my lecture notes, even thought the Europeans brought their political and judicial system to Umuofia or Nigeria as a whole there was some downfall in their system such as the system was corrupted and the upper class or wealthy people had the upper hand on the society which they could bribe lawyers, judges, and other government officials (Zeitler). Close to the end of a novel, one of the native converts such as Enoch will interrupt or ruin the ancient tradition by unmasking an egwugwu in public which considers one of the greatest crimes, but Mr. Smith thought of it as a misdemeanor and disagrees with locals (2498-2499). The egwugwu and Okonkwo were furious about their white ââ¬Å"guestâ⬠wrongdoing and decided to punish their guest by their own political system such as to banish them from the village they set the church on fire which from native perspective looked like getting rid of ââ¬Å"outsidersâ⬠, but from theShow MoreRelatedChinua Achebes Things Fall Apart1007 Words à |à 5 PagesFearful Flaw Okonkwo is the protagonist of Chinua Achebeââ¬â¢s story, Things Fall Apart. He has a calamitous flaw that dominates his life. His fear of failure and of weakness causes him to take unnecessary and destructive actions. His fear of weakness leads him to be emotionally distant from his children, beat his wives, kill Ikemefuna whom he loved, and the Commissioners messenger. 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As events unfold, Okonkwoââ¬â¢s carefully constructed world and the Ibo way of life collapses. The story of Okonkwoââ¬â¢s fall from a respected and feared leader of the Ibo tribe to an outcast who dies in disgrace dramatizes his inability to evolve beyond his personal beliefs, affecting the entireRead MoreChinua Achebeââ¬â¢s Things Fall Apart Essay1736 Words à |à 7 PagesThe classic African literary tale Things Fall Apart, written by Chinua Achebe, is a brilliant account of historical African culture and the destruction colonialism can cause upon such cultures. As the reader fol lows the narrative and complexity of the characters through the novel, a sense of pride, trust, and faith in history emerges. Yet, with the introduction of colonialism the characters must learn to embrace and adapt to a new culture and set of beliefs or face termination from society. TheRead MoreEssay on Chinua Achebes Things Fall Apart1835 Words à |à 8 PagesChinua Achebeââ¬â¢s ââ¬Å"Things fall apartâ⬠is a story about a man named Okonkwo who is successful and physically strong. However, Okonkwo is emotionally unavailable and afraid that he will be seen as weak and that others will compare him to his father. The bookââ¬â¢s peak is when Okonkwo does something considered immoral by killing a boy who he had taken in and raised as his own for three years, because he did not want to be seen as weak. 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