Problems and Issues at OzBank Essay Example | Topics and Well Written Essays - 1750 words

Problems and Issues at OzBank - Essay Example From this discussion it is clear that OzBank has also shown an under-performance in the previous two financial years. For the past two decades, for example, the UK retail banks have felt the competitive pressures, leading banks to consolidate their positions; mergers and adoption of technology completed, and rising consumer demands with the objective of improving services. These efforts, however, failed to satisfy customers. ¹ OzBank is not alone concerning these issues. these are: focusing on customer service, streamlining processes, reducing jobs and developing the employees ´ skills. These measures are backed up by management, CEO, Paul Kelly. OzBank is committing around $1200 million in several key areas, such as: staff training, systems upgrades, process simplification, and new and improved technology. This paper highlights that one of the problems that OzBank has is that out of 40,000 full time staff, it is to reduce approximately 4,000 between January 2007 and January 2009. Almost half of the reduction has already taken place. This is part of the cost-reduction strategy. Ozbank had already reduced approximately 1500 jobs in the 2006-2007 financial year and 600 employees were retrenched in July 2007. The 4000 job loses is part of the scheme to cut $600 million in costs. The first reduction strategy is the personnel versus equipment/overhead. ConMan is a management consulting company with outstanding results on staff and customers that has been hired to help with the restructure of OzBank. ConMan had advised the bank beforehand of the new strategy ´s announcement however, they neglected to talk to the staff during this time. This may have been seen by the personnel and the union as intruders arriving into the workplace and making decisions about employees, making decisions of whe re the employee will end up, and making decisions without the inclusion in the decision-making process. Ms. Alex Faulkner, OzBank director of Human Resources claimed that the staff had been abreast of the restructuring strategy.

The Tate Modern: History and Development

The Tate Modern: History and Development Institutions in the Arts and Media: Galleries and the rise of the art market Focusing on the Tate Modern. (UK) The dazzling success of the Tate Modern has threatened to overwhelm Tate Britain(formerly the Tate Gallery.) But, says Tate Director Nicholas Serota, Brit art was thriving long before Hirst et al renewedLondons international status. (Taken from The Timeout Guide to Tate Britain, Nov 2001.) In his Foreword to Tate Modern: The Handbook, Director Lars Nittve writes: every museum is unique; Tate Moderns individuality lies not just in its collection or its locationbut also in its architecture. Indeed, what was once known as the Tate Gallery has undergone a major overhaul. There are now four branches: two in London (one at Millbank; the Tate Modern at Bankside; one in St. Ives; and one in Liverpool). According to Nittve, the Tate at Millbank used to be the big mother ship, where everything sat-curators, administration, conservation, etc. Now were moving to something more like a federation. This paper will take a close look at the Tate Modern, first exploring its singular history and its architectural uniqueness. We will then focus on the wealth and variety of its collection, which is divided into four basic themes: landscape, still life, history painting, and nudes. Finally, we will examine the Tate Modern in the the larger framework of contemporary art and media, taking note of its influence on the UK art market, and measuring its status in the international art world. History of the Tate Modern Nicholas Serota was appointed Director of the Tate at Millbank in 1988, and shortly after this decided to embark on a number of modifications. In an attempt to re-establish the original architectural integrity of the Millbank building, Serota decided to remove all signs of artifice. He decided to obliterate the false ceilings and temporary walls. He also decided upon a major reorganisation of the collection. Welcome as these changes may have been, they also brought to light the fact that there was simply not enough space to implement all these changes if the museum were to remain in its current setting. This eventually led to the decision to expand, a move which has had far-reaching effects in the art world, not just in the UK but internationally. The search for a new site ultimately led to the old Bankside Power Station. Originally designed and built after the Second World War, the Bankside Power Station was the work of Giles Gilbert Scott, a respected British architect. Scott also designed the [now defunct] power station at Battersea, as well as the Liverpool Anglican Cathedral. He is best known, however, as the designer of the once ubiquitous telephone box (Craig-Martin, 14). Michael Craig-Martin, one of the trustees assigned to investigating potential sites for the new Tate, notes that: The Bankside building was notable for its plain red brick exterior and the powerful symmetry of its horizontal mass bisected at the centre by a single tall, square chimney. The building was articulated on three sides by a series of immense, well-detailed windows. The only decoration came from the brickwork crenellation along the buildings edging, cleverly mitigating its great bulk (Craig-Martin, 14-15). The discovery of the Bankside Power Station opened up new vistas for the trustees of the new Tate. First of all was the issue of size: the Bankside Power Station was larger than any of them had imagined. Adjusting their expectations to include such a vast space opened up an entirely new perspective as well as a world of possibility. Second, of all, building yet they had assumed that they would be commissioning abuilding yet  here was the power station, basically intact. They now had to consider the possibility that there would be no need to raze the existing building and start over what if they were to work with the existing structure, and make changes as needed? This, clearly, would be a break from the way things were traditionally done. Thus, after visiting the Bankside Power Station, the trustees vision of what the new gallery could be began to change, and their preconceived notions were replaced by exciting new concepts (Craig-Martin, 15). The existence of so many positive factors convinced the trustees that the Bankside site was the best choice as the new site of the home of modern art. Not only were the possibilities were inviting; also to be considered was the location, which was ideal; the possibility of development; and the interest and support of the local government. Location was certainly a major consideration; this London location boasted first-rate transport facilities, including the new tube station at Southwark. In addition, there was the possibility of a river bank connection with the Millbank gallery(Craig-Martin, 15). And the local Southwark Council wasted no time in acknowledging the potential impact this could have on the local community, an area much in need of a financial and industrial boost: The local council, Southwark, recognising the potential impact of the Tate project on development and employment in this largely run-down area, enthusiastically supported it from the start (Craig-Martin, 15). Architectural Design Relocation to the Bankside site meant opened up a wealth of opportunity for the Tate. Forstarters, the vast size of the building meant that the Tate would be able tomore than double its capacity for showing its collection as well as housing major large-scale temporary exhibitions (Craig-Martin, 15). Beyond this, the possibilities seemed even more exciting: even after expansion, there would be a vast expanse of untouched space, leaving the possibilities for continued growth and capacity for even greater acquisitions wide open. But questions of how to approach and re-design this space still had to be sorted out. DirectorNicholas Serota enlisted the assistance of Trustee Michael Craig-Martin andsculptor Bill Woodrow to visit some of the newer museums of contemporary art onthe Continent, and to consider them critically from our point of view asartists (Craig-Martin, 17). In this way, Serota helped to best utilize the newspace, with an eye on art, rather than architecture. After visiting a number of modern museums, Martin and Woodrow found that for the most part,modern museums better served the interests of architects and architecture than those of art and artists. Clearly the interests of art were not the primary consideration of those chosen to design the space that would best showcase it. Many architects clearly considered designing a museum to be a prime opportunity for high-profile signature work. On the other hand few architects seemed truly to understand or be interested in the needs of art (Craig-Martin, 17). They reported these findings to Serota and the other trustees, with the ultimate result that there was a shift in the thinking behind the architectural approach. Now, the  central concern of the design of the new building would be to address the needs of art through the quality of the galleries and the range ofopportunities, both sympathetic and challenging, for showing art. While seeking the best possible architectural solution, we determined that the project would be art led not architecture led (Craig-Martin, 17). The decision ofthe trustees was not a popular one in many circles. Architects in particular felt deprived, seeing the decision only in light of their own potential growth or lack thereof: Some, seeing this as the betrayal of a unique architectural opportunity for London, interpreted it as the result of a loss of institutional nerve (Craig-Martin, 17). Ultimately, Herzog de Meuron were selected to be the architects. They were the only ones whose design managed to keep the building intact without making major changes to its basic structure, to appreciate the beauty and value already inherent in the existing structure: Herzog de Meurons was the only proposal that completely accepted the existing building its form, its materials and its industrial characteristics and saw the solution to be the transformation of the building itself into an art gallery (Craig-Martin, 17). Indeed, as pointed out by Insight Guides: Tate Modern has captured the publics imagination in a quite unprecedented way, both for its displays and its building, which establishes a magnificent presence on the South Bank (194). The Collection Insight Guides states that the arrangement of the collection makes it both more accessible to, and more popular with, the general public (194). Instead of achronology, the work is organized by a four separate (though admittedly overlapping) themes. The displays replace a single historical account with many different stories of artistic activity and suggest their relationship to the wider social and cultural history of the 20th and early 21stcentury (Insight Guides 194). The four themes are, basically: landscape, still life, history painting, and nudes. Within each of these broad themes it is possible to explore a rich syntax of intention and strategy, (Blazwick Morris, 35). Landscape/Matter/Environment When one thinks of landscapes, a variety of scenes may come to mind: waves crashing on a rocky beach; a horizon of dark, menacing clouds; skyscrapers silhouetted against a sunset. As Blazwick Morris point out, the genre of landscape is primarily understood as a representation of a natural or urban scene, which might be topographic, metaphoric or sublime (35). At the Tate Modern, however, the genre of landscape has been reconceived to include the zone of the imaginary, uncanny dreamscapes, symbolic visualisations of anxiety and desire (Blazwick Morris, 35). As Jennifer Mundy points out, landscape is an ambiguous term and can have several overlapping meanings: much of its resonance derives from the often uncertain boundary between nature and culture, the objective and the subjective (42). Thus a landscape may be a faithful rendering of the physical world, such as the dreamy middle-class countrysides of Impressionism. Or it may be symbolic rendering of an interior landscape, such as the more obscure works of the Surrealists. The Tate Moderns Landscape collection tries to reflect the range and diversity of this genre, while also addressing the complex threat of modern technology. As Mundy notes,today the threat posed to the environment by modern technology and the growth of the human population has made the natural landscape a topical, even urgent, subject for art (50). StillLife/Object/Real Life Paul Moorhouse posits that among the many radical developments in the visual arts during the last hundred years, one of the most significant has been the extraordinary growth and transformation of the genre known as still life (60). By the period of Cubism, still life no longer meant an apple on a plate, but rather the complexity of the relationship of the objects to each other and to the viewer: The inertness of such objects as a glass, a bottle, a pipe or a newspaper provided a perfect vehicle for evoking the complex phenomenological relationships between such artefacts, the surrounding space and the viewer perceiving them (62). The Tate Moderns collection is a reflection of the evolution of the form referred to as still life, and which today defies definition. According to Moorhouse, this fusion of the actual and the symbolic has created the conditions for a remarkable vitality and diversity in contemporary art (68), a vitality and diversity reflected in the Tate Moderns ever-changing representations of the genre. History/Memory/Society The concept of history/memory/society is wide-ranging and ambitious, perhaps intentionally so. Public morality, politics, ideology, idealism and suffering among other themes still preoccupy artists today comments Jeremy Lewison (88). The Tate Modern collection attempts to represent these themes as they are expressed in modernity, while reflecting the continuum in which they necessarily exist. Clearly this is an ambitious task, considering the multitude of methods used to express and relate these concepts across the ages. The study of history has descended to the micro level, posits Lewison, adding that it has been, in a sense, democratised. History is no longer solely the provenance of leaders and heroes; it is rather, in the hands of the common individual. The artists of today have followed a similar course, Lewison suggests, and, by employing the same strategies, by opening themselves to techniques and concepts derived from the human and social sciences, artists today address issues relevant to contemporary life (88). Nude/Action/Body Among the most ancient man-made objects recognisable as belonging to the category that we callart are small naked human figures carved from stone or ivory posits SimonWilson (96). Clearly, as humans we are obsessed with representations of the body and this has been reflected throughout history. The final decades of the twentieth century have seen remarkable changes in the concept of the human body. Significant advances in technology, combined with the lengthened lifespans of our population, have spurred a re-thinking of what the body is indeed, at times it has seemed to become objectified. These changes are of course reflected in art. As Wilson points out, during this time period artists began to use their own body as the expressive medium, initially creating necessarily ephemeral works in the form of what became known as Performance art (104). This, in conjunction with use of various media such as film, video, and still photography, is all part of the Tate Moderns programme in accurately capturing and representing this genre. The Tate Modern and the International Art World The success of the Tate Modern may have initially seemed to eclipse the Tate Britain however, a response like this surely had to have been expected. The selection of Giles Gilbert Scotts Bankside Power Station as its new home was itself a newsworthy event. The subsequent choice of Herzog de Meuron as architects caused considerable buzz in the art world and the country at large. Therefore it issmall wonder that when it finally opened its doors, the world was indeed dazzled by the Tate Modern. Stephen Deuchar, Director of the Tate Britain, writes in the Foreward to Humphreys book: the creation in 2000 of Tate Modern and Tate Britain as distinctive entities with the Tate organisation, were initial steps towards the renaissance of Millbank. Now, with many new galleries for displays and exhibitions, and with a future programme setting our collections withina plethora of new contexts, national and international, our role here as the worlds centre for the study and enjoyment of British art may emergewith fresh clarity There is, however, no doubt that the Tate Modern will play an influential role in the art world. It is unique in conception, as noted earlier, because it was carefully designed to meet the needs of the artist, as opposed to those of the architect. As Craig-Martin pointed out, while seeking the best possible architectural solution, we determined that the project would be art led not architecture led(17). In addition, there is the simple, yet vitally important issue of size and space alone. The discovery of the Bankside Power Station opened up new vistas for the trustees of the new Tate. Bankside Power Station was larger than any of them had imagined, and the process of adjusting their expectations to include such a vast space opened up an entirely new perspective. Not only were the possibilities were inviting; also to be considered was the location, which was ideal; the possibility of development; and the interest and support of the local government. Beyond the mere physical properties such as architecture and size are the ways in which these attributes are utilised. The vision of the Tate Modern thus far seems to be on the cutting edge. The best museums of the future willseek to promote different modes and levels of interpretation by subtle juxtapositions of experience writes Nicholas Serota. He further asserts that the best museums will contain somerooms and works that will be fixed, the pole star around which the others will turnin this way we can expect to create a matrix of changing relationshipsto be explored by visitors according to their particular interests and sensibilities (54-55). As Deuchar hassaid, we no longer choose to relate a single narrative of British art and culture, but to explore a network of stories about art and about Britain, with our collections at its core (Foreward to Humphreys book). And has Nittve has pointed out the Tate at Millbank used to be the big mother ship, where everything sat curators, administration, conservation, etc. Now were moving to something more like a federation (Frankel). The Tate Modern, the necessary extension of this core, may in fact be viewed as a pole star in itself, at the forefront of the modern art scene, with a world of limitless potential ahead. Reference List Adams, Brooks, Lisa Jardine, Martin Maloney, Norman Rosenthal, and Richard Shone. 1997. Sensation: Young British Artists from the Saatchi Collection. London: Royal Academy of Arts. Blazwick, Iwona and Frances Morris. 2000. Showing the Twentieth Century. In Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilson, pp. 28-39. Berkeley: U of CA Press with Tate Gallery Publishing Limited. Craig-Martin, Michael. 2000. Towards Tate Modern. In Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilsonpp. 12-23.Berkeley: U of CA Press with Tate Gallery Publishing Limited. Frankel, David. April 2000. Art Forum. http://www.24hourscholar.com/p/articles/mi_m0268/is_8_38/ai_61907715  Accessed May 26, 2005. Humphreys, Richard. 2001. The Tate Britain Companion to British Art. London: Tate  Publishing. Insight Guides: Museums and Galleries of London. 2002. Basingstoke, Hants: GeoCenter InternationalLtd. Lewison, Jeremy. 2000. History Memory/Society. In Tate Modern: The Handbook, eds. Iwona Blazwickand Simon Wilsonpp. 74-93. Berkeley: U of CA Press, with Tate Gallery Publishing Limited. Massey, Doreen. 2000. Bankside: International Local. In Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilsonpp. 24-27.Berkeley: U of CA Press with Tate Gallery Publishing Limited. Moorhouse, Paul. Still Life/Object/RealLife. 2000. In Tate Modern: The Handbook, eds. Iwona Blazwickand Simon Wilsonpp. 58-73. Berkeley: U of CA Press with Tate Gallery Publishing Limited. Mundy, Jennifer. 2000.Landscape/Matter/Environment. In Tate Modern: The Handbook,eds. Iwona Blazwick and Simon Wilsonpp. 40-53.Berkeley: U of CA Press with Tate Gallery Publishing Limited. Serota, Nicholas. 1996. Experience or Interpretation: The Dilemma of Museums of Modern Art. WalterNeurath Memorial Lectures, London: Birkbeck College. Shone, Richard. 1997. From Freeze to House: 1988-94. In Sensation: Young British Artists from the Saatchi Collection. London: Royal Academy of Arts. Wilson, David M., ed. 1989. The Collections of the British Museum. London: British MuseumPress. Wilson, Simon. 2000. Nude/Action/Body. In  Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilsonpp. 94-107. Berkeley: U of CA Press with Tate Gallery Publishing Limited. What is mental health? What is mental health? What is mental health? Mental health refers to our emotional wellbeing, it is all about how we think, feel and behave. The relevance of working with patients with mental health problems for me will be a challenge to start with. While on my placement I come across many patients why are suffering with Alzheimer and Dementia and most are suffering with mental health disorders of various kinds. In my central discussion I intend to cover the case of one patient named Joe who has metal health problems. Mental health is a term that encompasses a range of experiences and situations. It can be an on going experience from mental wellbeing through to a severe and enduring mental illness affecting a persons overall emotional and psychological condition. Incidents in life such as bereavement, financial and personal happiness such as the way we feel about ourselves can lead to depression and anxiety. Mental illness may be experienced by people who have a mental health problem to such a degree that they may be diagnosed as having a mental illness, requiring the involvement of specialist services and support. Consequently, some people with mental illness will need no support, others may need only occasional support, and still others may require more substantial, ongoing support to maintain their quality of life. To understand the difference between mental health and mental illness specifically relates to both the length of time and severity of the changes to a persons behaviour thought patterns and display of emotions. The more severe and lengthy the impact of these changes, the more a person may struggle to manage their everyday life and the greater the chances of them developing a mental illness. One mental health problem that an individual may experience could be through the loss of a loved one. People who are already suffering with a mental health issues are going to find that the trauma of discovering that some one who they loved has passed away will be an even greater burden on their already mental fragility. Such feelings that one will experience after being told about the death of a close relation can range from depression, suicidal thoughts, feelings of hopelessness, loneliness and unable to cope with daily life. The mental health state of this individual patient would give me a lot of concerns after such a shock as a bereavement of a close relative. His mental health state before this news was given to him, was giving me great concerns as he was already showing signs of suicidal tendencies. This gentlemens demure was one of a frail individual lacking any self esteem and of a nervous disposition. Other symptoms noticed were a sense of instability, inability to communicate verbally in a precise and understandable manner. As a nurse the care and assistance I can assist the patient with would be to speak to the patient in a quieter none judgmental manner and listen in attentively to what the patient has to say dependant on the severity of the mental illness the patient suffering and his behavior would really be an indication as to what help I could be most useful to assisting him/her in. If the patients mental illness is severe and of a violent nature the nurse would have to understand her limitation and abilities before confronting the patient. Otherwise one you could do more harm than good and put your self in danger. If you as a nurse feel comfortable and confident in your own judgment with the placement you can then start to talk and listen to what the patient has to say. It is important to talk to the patient in a non professional spoken manner, using none technical word and phrases, so that the patient feels comfortable and confident in your approach to them. For this assignment the chosen topic will be depression. The patient in this case study will have his name protected by the NMC code of professional conduct 2009 and for that matter he will be referred to as Joe. Joe was admitted into hospital during my placement. Joe was admitted onto the ward after suffering a fractured femur when he fell to the ground coming down his stairs in his house. He was calling out for help and was discovered one hour later by a neighbour who was passing by his house. On admission Joes medical notes indicated that Joe has a history of depression and is on a daily medication of Fluoxetine which has a brand name of Prozac. Joe is British gentlemen aged 68 years old and Joe has now been separated from his wife for the last 8 years. He has three grown up sons but does not now have any contact or get any support from them. Joe dwells alone in a council run flat and his occupation was a bus driver. His depression over the years had made him isolated and a reclusive person. He stated that he had been a depressive person on and off for his whole life and that his depressive state had only now in old age become a hindrance to his normal lifestyle, thus accumulating in recent bouts of dizziness, fainting and the subsequent breaking of bones after falls. Joe was quite lucky this time around in that his fall from the stairs was quite a short fall of some 4 steps, if he had fallen from the top flight of stairs he could be in hospital with far greater injuries than what he actually sustained and his fall could have been fatal. Reference Mental health http://www.liv.ac.uk/counserv/self_help/mental_health/definition_mhealth.htm Difference illness and health Bowers, L. â€Å"; The Social Nature of Mental Illness†, 1998, Routledge. Bereavement: Studies of Grief in Adult Life (Paperback) by Colin Murray Parkes (Author), Holly Prigerson (Author) 1st edition 1972, page 1 Appendix Action Plan Summary: The Story Of Deirdre Essay Summary: The Story Of Deirdre Essay In the middle ages, there were a lot of stories written that were tied together with the culture in which they were written by. Some even had an intense connection with the author that wrote them. A few examples are Thorstein the Staff- Struck in which was tied with the Norse culture, Everyman which has a Christian tie, and The Story of Deirdre with an Irish Celtic tie. To me the one that has the strongest tie to its culture is that of The Story of Deirdre and the Celtic culture. Just from reading the story and knowing a little about the Celtic culture will make this evident. So Ill start by giving you a little background or brief summary from the story. First Ill start by giving you a brief summary of The Story of Deirdre. The story started off with a gathering of warriors and counselors and their wives and kids. The host is Felim MacDall. His wife is pregnant with a child. All of a sudden the unborn child screams from within its mother loud enough for all of the guests to hear it. After so a Druid named Cathbad tells the prophecy of the child. It is a girl and she will be named Deirdre, but she will cause a great amount of grief and also cause the death of many kings. Hearing this prophecy the King of Ulster, Conchubar mac Nessa wanted Deirdre for himself. So her family agreed and gave her to him. He thought he would wait for her to turn of marrying age and then they would be together forever. However a young warrior named Naoise came and Deirdre fell in love with him. They eventually ran away together causing a great deal of anger with Conchubar mac Nessa. Time passed and Conchubar mac Nessa agreed to let them return to the kingdo m unharmed. That was a lie. Naoise was killed. But still Deirdre didnt want him so he gave her to one of his warriors, MacDurthacht. Deirdre couldnt stand the fact that she was being used like this so while she was in a chariot going down the road she put her head out of the window and smashed it on some passing rocks, which killed her. In a few parts of that summary the Irish Celtic culture ties in with The Story of Deirdre. The beginning in which they are all gathered up is one. It is very typical of the Irish Heroic Age tradition for it all to start off with a large gathering where they are eating and drinking. The supernatural screaming of the unborn child also added to this tradition. Then the next thing would be the entrance of a druid. The druid comes in and gives a prophecy that sets the outcome of the future. All of these examples ties the story with an Irish Heroic Age tradition. Another connection between the Irish Celtic culture and The Story of Deirdre is how Deirdre kills herself. The Irish Celtic people believed that the skull was where the soul rested, not the heart. The Celtic people were well known for the fact that they were the only known to date head hunters. They cut the heads off of the warriors they killed because they believed it to bring them supernatural abilities. Also when one of them died, the remaining living warriors would find the dead warriors bodies and crack their skulls. This was because they believe that the soul could not travel to the afterlife if it were not possible for it to leave the skull. So in the case of Deirdre she wasnt going to continue life with Conchubar mac Nessa and his warrior so she decided to kill herself. But without cracking her skull, her soul wouldnt be able to move on to the afterlife. So in a split second she hung her head out of the Carriage window and cracked her head against some passing rocks. The Story of Deirdre also portrays its characters as being associated with the manner in which the Celtic personalities were portrayed then and continued to be portrayed now. One example is that of Conchubar mac Nessa. He planned on marrying Deirdre from before she was even born. This meant that he had to wait till she turned of age. This was often the case in the Celtic culture. Old men would declare a marriage to a young teenage girl before she was even the age to birth a child. This happened often with high ranked men such as counselors, warriors, and high up others. Also the girls that they declare marriage to often had a high social status themselves, most being kings or counselors daughters. Another example in which The Story of Deirdre ties in with the Celtic culture is that it has a similar format in which all of the other stories followed. Started off with a large group of people feasting or just a basic meeting. The characters are all basically believable but then it adds a supernatural event. In this case the unborn child screaming from within its mothers womb. The rest of the story is filled with a controversy between to highly rated people, until the death of one of them. Also the story was based on the determination of fate. Deirdre was destined to cause all of this drama and also the death of these men. The middle ages period was filled with great works of literature that reflected the culture in which it was written and some of the time even reflected the author that wrote it. The stories I mentioned in the beginning are just a few examples that can be used to prove this true. The Story of Deirdre gave a good insight into the Celtic culture. Whether it be the characters personalities in the stories, the format in which the story was written, or the actions of some of the characters, Deirdre bashing her head on the rocks.

The West in Film Essay -- Movies Native Americans Papers

The depiction of minorities, specifically women and Native Americans, in Western film has changed drastically from the early 1930's to the late 1980's. These changes represent the changing views of American society in general throughout the 20th century. In the early part of the century, women and Native Americans were depicted as a burden. Women were viewed as a form of property, helpless and needing support. These minorities were obstacles in the quest for manifest destiny by the United States. Western films during the early 20th century represent the ignorance of American culture towards minorities. As time progressed, society began to develop compassion for Native Americans and men began to see women as equals. The movie industry perpetuated the views of society throughout the last century. When Native Americans were seen as an "obstacle" in westward expansion, film directors supported these views on screen. As society began to question the treatment of Native Americans and women, the film scripts responded to these changes. By looking at western films over the last 60 years, the correlation between societal attitudes and film plots has changed the views of Native Americans and women. The two have worked together to bring the portrayal of Native Americans from savage beasts to victims, and women from property to equals. In the 1930's Native Americans and women were viewed as inferior races. The films produced during the early part of the 20th century, particularly those starring John Wayne reflected these societal attitudes. The portrayal of minorities in Stagecoach and Fort Apache clearly reflect the views of society at that time. The depiction of the West is similar to that which is found in old history textbooks, em... ...th the first westward expansion and the oppression of women lasted until the 1950's. However, it took American film produces until the 1990's to create roles for these minorities that were equal to those of white males. The depiction of minorities in western films, particularly women and Native Americans, has made significant progress from the 1930's and this progress has trickled into the teaching of history, particularly western expansion. Textbooks that used to emphasis the triumph and dominance of the United States over Native Americans, are now explaining expansion with less pride and more guilt. Women who played significant roles in society used to be ignored by history books, and are now included in almost every chapter. The progressive movements made by the film industry and society are allowing for Americans to look at the west in a new, enlightened manner.

Night World : Black Dawn Chapter 5

Maggie woke slowly. And painfully. I must be sick, she thought. It was the only explanation for the way she felt. Her bodywas heavy and achy, her head was throbbing, and her sinuseswere completely stuffed up. She was breathing through her mouth, which was so dry and glueythat her tongue stuck to the roof of it. I was having a dream, she thought. But even asshe grasped at bits of it,, it dissolved. Somethingabout †¦ fog? And a boy. It seemed vaguely important for her to remember, but even the importance was hard to keep holdof. Besides, another, more practical considerationwas overriding it. Thirst. She was dying of thirst. I need a glass of water†¦. It took a tremendous effort to lift her head and open her eyes. But when she did, her brain cleared fast. She wasn't in her bedroom. She was in asmall, dark, smelly room; a room that was moving jerkily, bouncing her painfully up and down andfrom side to side. There was a rhythmic noise com ing from just outside that she felt she should be able to recognize. Below her cheek and under her fingers was theroughness of unpainted wood. The ceiling andwalls were made of the same silvery, weatheredboards. What kind of room is small and made of woodand†¦ Not a room, she thought suddenly. A vehicle. Some kind of wooden cart. As soon as she realized it, she knew what therhythmic sound was. Horses' hoofs. No, it can't be, she thought. It's too bizarre. I am sick; I'm probably hallucinating. But it felt incredibly real for a hallucination. Itfelt exactlyasif she were in a wooden cart beingdrawn by horses. Over rough ground. Which ex plained all the jostling. So what was going on?What was she doinghere? Where did I go to sleep? All at once adrenaline surged through her-andwith it a flash of memory. Sylvia. The incense†¦ Miles. Miles is dead†¦ no. He's not. Sylvia said thatbut she was lying. And then she said I'd never findout what happened to him. And then she druggedme with that smoke. It gave Maggie a faint feeling of satisfaction tohave put this much together. Even if everythingelse was completely confusing, she had a solidmemory to hang on to. â€Å"You woke up,† a voice said. â€Å"Finally. This kidsays you've been asleep for a day and a half.† Maggie pushed herself up by stages until shecould see the speaker. It was a girl with untidy red hair, an angular, intense face, and flat, hard eyes.She seemed to be about Maggie's age. Beside her was a younger girl, maybe nine or ten. She was very pretty, slight, with short blond hair under ared plaid baseball cap. She looked frightened. â€Å"Who are you?† Maggie said indistinctly. Hertongue was thick-she was so thirsty.†Where amI? What's going on?† â€Å"Huh. You'll find out,† the redhaired girl said. Maggie looked around. There was a fourth girl inthe cart, curled up in the corner with her eyes shut. Maggie felt stupid and slow, but she tried togather herself. â€Å"What do you mean I've been asleep for a day and a half?† The redhaired girl shrugged. â€Å"That's what shesaid. I wouldn't know. They just picked me up afew hours ago. I almost made it out of this place, but they caughtme.†Ã¢â‚¬Ëœ Maggie stared at her. There was a fresh bruiseon one of the girl's angular cheekbones and her lipwas swollen. â€Å"Whatplace?† she said slowly. When nobodyanswered, she went on, `Look. I'm Maggie Neely. I don't know where this is or what I'm doing here,but the last thing I remember is a girl named Sylviaknocking me out. Sylvia Weald. Do you guysknow her?† The redhead just stared back with narrowedgreen eyes. The girl lying down didn't stir, and theblond kid in the plaid cap cringed. â€Å"Come on, somebody talk to me!† â€Å"You really doe t know what's going on?† the redhaired girl said. â€Å"If I knew, I wouldn't be asking over and over!† The girl eyed her a moment, then spoke with akind of malicious pleasure. â€Å"You've been sold into slavery. You re a slave now.† Maggie laughed. It was a short involuntary sound, and it hurt heraching head. The blond kid flinched again. Something in her expression made Maggie's grin fadeaway. . She felt a cold ripple up her spine. â€Å"Come on,† she said. â€Å"Give me a break. Therearen't slaves anymore!† â€Å"There are here.† The redhead smiledagain,nastily. â€Å"But I bet you don't know whereyouare, either.† â€Å"In Washington State-† Even as she said it,Maggie felt her stomach tighten. â€Å"Wrong. Or right, but it doesn't matter. Technically we may be in Washington, but where we really are is hell.† Maggie was losing her self control. â€Å"What are you talkingabout?† â€Å"Take a look through that crack.† There were lots of cracks in the cart; the palelight that filtered through them was the only illumi nation. Maggie knelt up and put her eye to a big one, blinking and squinting. At first she couldn't see much. The cart wasbouncing and it was hard to determine what shewas looking at. All she knew was that there seemedto be no color. Everything was either phosphorescent white or dead black. Gradually she realized that the white was an overcast sky, and the black was a mountain. A big mountain, close enough to smack her face against. It reared up haughtily against the sky, its lowerreaches covered with trees that seemed ebony instead of green and swimming with mist. Its top wascompletely wreathed in clouds; there was no way to judge how high it was. And beside it was another mountain just like it.Maggie shifted, trying to get a wider view. Therewere mountains everywhere, in an impenetrablering surrounding her. They were†¦ scary. Maggie knew mountains, and loved them, butthese were different from any she'd ever seen. So cold, and with that haunted mist creeping everywhere. The place seemed to be full of ghosts, materializing and then disappearing with an almostaudible wail. It was like another world. Maggie sat down hard, then slowly turned backto look at the redheaded girl. â€Å"Where is this?† she said, and her voice was almost a whisper. To her surprise, the girl didn't laugh maliciouslyagain. Instead she looked away, with eyes thatseemed to focus on some distant and terrible memory, and she spoke in almost a whisper herself. â€Å"It's the most secret place in the Night World.† Maggie felt as if the mist outside had reached down the back of her pajama top. â€Å"The what?† â€Å"The Night World. It's like an organization. For all of them, youknow.† When Maggie just looked at her, she went on, â€Å"Them. The ones that aren't human.† This time what Maggie felt was a plunging in her stomach, and she honestly didn't know if it was because she was locked up in here with a loony, or if some part of her already accepted what the loony was saying. Either way, she was scared sick, and she couldn't say anything. The girl with red hair flicked a glance at her, and the malicious pleasure came back. â€Å"The vampires,† she said distinctly, â€Å"and the shapeshifters and the witches – â€Å" Oh, God, Maggie thought. Sylvia.Sylvia is a witch. She didn't know how she knew and probably part of her didn't believe it anyway, but the word was thundering around inside her like an avalanche, gathering evidence as it fell. The incense, those strange purple eyes, the way Miles fell for her so fast and hardly ever called the family after he met her, and changed his whole personality, just as if he'd been under a spell, bewitched and helpless, and, oh, Miles, why didn't I guess†¦. I'm not smart, but I've always been a good judge of character. How could I screw up when it counted? â€Å"They don't normally have places of their own,† the redheaded girl was going on; and the wordswere somehow finding their way to Maggie's earsdespite the chaos going on inside her. â€Å"Mostly theyjust live in ourcities, pretending to be like us. Butthis valley is special; it's been here in the Cascades for centuries and humans have never found it. It's all surrounded by spells and fogand those moun tains. There's a pass through them, big enough forcarts, but only the Night People can see it. It'scalled the Dark Kingdom.† Oh, terrific,Maggie thought numbly. The namewas strangely suited to what she'd seen outside. Yellow sunlight was almost impossible to imagine in this place. Those filmy wraiths of mist held it ina shimmering silvery-white spell. â€Å"And you're trying to say that we're all †¦slaves now? But how did you guys get here?† When the redhead didn't answer, she looked atthe little blond girl. The girl shifted her slight body, gulped. Finallyshe spoke in a husky little voice. â€Å"I'm P.J. Penobscot. I was-it happened to meon Halloween. I was trick-or-treating.† She looked down at herself and Maggie realized she was wearing a tan cable-knit sweater and a vest. â€Å"I was agolfer. And I was only supposed to go on my ownblock because the weather was getting bad. But myfriend Aaron and I went across the street and thiscar stopped in front ofme†¦.†She trailed off andswallowed hard. Maggie reached over and squeezed her hand. â€Å"I bet you were a great golfer.† P.J. smiled wanly. â€Å"Thanks.† Then her small face hardened and her eyes became distant. â€Å"Aaron got away, but this man grabbed me. I tried to hit him with my golf club, but he took it away. He lookedat me and then he put me in the car. He wasstrong.† â€Å"He was a professional slave trader,† the redhaired girl said. â€Å"Both the guys I've seen are pros.That's why they looked at her face-they takepretty slaves when they can get them.† Maggie stared at her, then turned to P.J. â€Å"Andthen what?† â€Å"They put something over my face-I was stillfighting and yelling and everything-and then Iwent to sleep for a while. I woke up in this warehouse place.† She breathed once and looked at herthin wrists. â€Å"I was chained to a bed and I was allalone. I was alone for a while. And then, maybe itwas the next day, they brought in her.†She noddedat the girl sleeping in the corner. Maggie looked at the still form. It didn't moveexcept when the cart shook it. â€Å"Is she all right?† â€Å"She's sick. They left her there for a long time, maybe four days, but she never really woke up. Ithink she's getting worse.† P.J.'s voice was quiet and detached. â€Å"They came in to give us food, but that was all. And then yesterday they brought you in. Maggie blinked. â€Å"To the warehouse.† P.J. nodded solemnly. â€Å"You were asleep, too. But I don't know what happened after that. They putthe cloth over my face again. When I woke up Iwas in a van.† â€Å"They use those for transport on the other side,†the redhaired girl said. â€Å"To get up to the pass. Then they switch to a cart. The people in this valleyhave never seen a car.† â€Å"So you mean I slept through all that?† Maggieasked P.J. P.J. nodded again, and the redhead said, â€Å"Theyprobably gave you more of the drug. They try to keep everybody too doped up to fight.† Maggie was chewing her lip. Something had occurred to her. Maybe Sylvia hadn't gone climbingwith Miles at all. â€Å"So, PJ., you never saw any other slaves besides that girl? You didn't see a boy?† She fished in her jacket pocket and pulled out the photoof Miles. â€Å"A boy who looked like this?† P.J. looked at the photograph gravely, then shookher head. â€Å"I never saw him before. He looks likeyou. â€Å"He's my brother, Miles. He disappeared on Halloween, too. I thought maybe†¦ .†Maggie shookher head, then held the photograph toward the redhaired girl. â€Å"Never seen him before,† the girl said shortly. Maggie looked at her. For somebody who likedto talk about scary things, she didn't say much thatwas helpful. â€Å"And what about you? How'd you gethere?† The girl snorted. â€Å"I told you. I was getting outofthe valley.† Her face tightened. â€Å"And I almost madeit through the pass, but they caught me and stuckme in here. I should have made them kill me instead.† â€Å"Whoa,† Maggie said. She glanced at Pi., meaning that they shouldn't frighten her unnecessarily.†It can't be that bad.† To her surprise, the girl didn't sneer or get mad. â€Å"It's worse,† she said, almost whispering again.†Just leave it alone. You' l find out.† Maggie felt the hair at the back of her neck stir. â€Å"What are you saying?† The girl turned, her green eyes burning darkly.†The Night People have to eat,† she said. â€Å"They caneat normal things, food and water. But the vampires have to drink blood and the shapeshiftershave to eat flesh. Is that clear enough for you?† Maggie sat frozen. She wasn't worried aboutscaring P.J. anymore. She was too scared herself. â€Å"We're slave labor for them, but we're also a foodsupply. A food supply that lasts a long time,through lots of feedings,† the girl said brusquely. Maggie ducked her head and clenched her fists.†Well, then, obviously we've got to escape,† she said through her teeth. The redhead gave a laugh so bitter that Maggiefelt a chill down her spine. She looked at P.J. â€Å"Do you want to escape?† â€Å"Leave her alone!† the redhead snapped. â€Å"You,don't understand what you're talking about. We'reonly humans; they're Night People. There's nothingwe can do against them, nothing!† â€Å"BUt – 2) â€Å"Do you know what the Night People do to slaveswho try to escape?† And then the redhaired girl turned her back onMaggie. She did it with a lithe twist that left Maggie startled. Did I hurt her feelings? Maggie thought stupidly. The redhead glanced back over her shoulder, atthe same time reaching around to grasp the bottomof her shirt in back. Her expression was unreadable, but suddenlyMaggie was nervous. â€Å"What are you doing?† The redhaired girl gave a strange little smile andpulled the shirt up, exposing her back. Somebody had been playing tic-tac-toe there. The lines were cut into the flesh of her back, thescars shiny pink and only half healed. In thesquares were Xs and Os, raggedy-looking andbrighter red because for the most part they'd beenburned in. A few looked cut, like the strategic posi tion in the middle which would have been takenfirst. Somebody had won, three diagonal Xs, and had run a burn-line through the winning marks. Maggie gasped. She kept on gasping. She started to hyperventilate, and then she started to faint. The world seemed to recede from her, narrowingdown to a one-dimensional point of light. But there wasn't room to actually fall over. As she slumpedbackward, she hit the wall of the cart. The world wobbled and came back, shiny at the edges. â€Å"Oh, God,† Maggie said. â€Å"Oh, God.They did thisto you? How could they dothat?† â€Å"This is nothing,† the girl said. â€Å"They did it whenI escaped the first time. And now I escaped againand I got caught again. This time they'll do something worse.† She let go of her top and it slid downto cover her back again. Maggie tried to swallow, but her mouth was toodry. Before she knew she was moving, she foundherself grabbing the girl's arms from behind. â€Å"What's your name?† â€Å"Who ca-â€Å" â€Å"What's your name?† The redhaired girl gave her a peculiar look over her shoulder. Then her arms lifted slightly under Maggie's handsas she shrugged. â€Å"Jeanne.† â€Å"Jeanne. It's got to stop,† Maggie said. â€Å"We can't let them dothings like that to people. And we'vegot to get away. If they're already going to punishyou for escaping, what difference does it make ifyou try it again now? Don't you think?† Maggie liked the way that sounded, calm andcompetent and logical. The swift decision for ac tion didn't blot out the memory of what she'd just seen, but it made the whole situation more bearable. She'd witnessed an injustice and she wasgoing to do something about it. That simple. Something so wicked had to be fixed, now. She started to cry. Jeanne turned around, gave her a long, assessinglook. P.J. was crying, too, very quietly. Maggie found her tears running out. Theyweren't doing any good. When she stopped, Jeanne was still watching her with narrowed eyes. â€Å"So you're going to take on the whole NightWorld alone,† she said. Maggie wiped her cheeks with her hands. â€Å"No,just the ones here.† Jeanne stared at her another moment, thenstraightened abruptly. â€Å"Okay,† she said, so suddenly that Maggie was startled. â€Å"Let's do it. If wecan figure out a way.† Maggie looked toward the back of the cart.†What about those doors?† â€Å"Locked and chained on the outside. It's no goodkicking them.† From nowhere, an image came into Maggie'smind. Herself and Miles in a rowboat on Lake Chelan with their grandfather. Deliberately rocking it while their grandfather yelled and fumed. â€Å"What if we all throw our weight from one sideto the other? If we could turn the cart over, maybethe doors would pop open. You know how armored cars always seem to do that. Or maybe it wouldsmash one of the walls enough that we could getout.† â€Å"And maybe we'd go falling straight down a ravine,† Jeanne said acidly. â€Å"It's a long way down to the valley, and this road is narrow.† But there wasa certain unwilling respect in her eyes. â€Å"I guess wecould try it when we get to a meadow,† she said slowly. â€Å"I know a place. I'm not saying it would work; it probably won't. But †¦Ã¢â‚¬  â€Å"We have totry,† Maggie said. She was lookingstraight at Jeanne. For a moment there was something between them-a flash of understanding andagreement. A bond. â€Å"Once we got out, we'd have to run,† Jeanne said,still slowly. â€Å"They're sitting up there.† She pointedto the ceiling at the front of the cart, above Maggie's head. â€Å"This thing is like a stagecoach, okay?There's a seat up there, and the two guys are onit. Professional slave traders are tough. They're not going to want us to get away.† â€Å"They might get smashed up when we roll over,†Maggie said. Jeanne shook her head sharply. â€Å"Night People arestrong. It takes a lot more than that tokill them.We'd have to just take off and head for the forest as fast as we could. Our only chance is to get lostin the trees-and hope they can't track us.† â€Å"Okay,† Maggie said. She looked at P.J. â€Å"Do youthink you could do that? Just run and keeprunning?† P.J. gulped twice, sank her teeth into her top lip, and nodded. She twisted her baseball cap around so the visor faced the back. â€Å"I can run,† she said. Maggie gave heranapproving nod. Then shelooked at the fourth girl, the one still curled upasleep. She leaned over to touch the girl's shoulder. â€Å"Forget it,† Jeanne said shortly. â€Å"We can't takeher.† Maggie looked up at her, shocked. â€Å"What are youtalking about? Why not?†

Friedrich Froebel’s Ideas On the Role of Play In the Early Years Education Essay

Play is probably the very first thing that comes to our minds when we start thinking about our childhood. Certainly it’s hard to talk about early years without referring to play, as it is a part of children’s natural behaviour, embedded in their spontaneous day-to-day life. The fact that the play is enjoyable is generally agreed, but the value of play in school, however, has been in the centre of much debate in the past (and it seems like that debate is still going on today). The roots of contemporary understanding of the role of play in early childhood education extend clearly to Friedrich Froebel, a German educator, who organized and systematized the methods of early childhood in accordance with the idea of â€Å"the spontaneous, self-sustaining nature of children† (E. Evans, 1971, p. 43). Froebel believed that every child had within him all he was to be at birth, and that the proper educational environment was to encourage the child to grow and develop in the most favourable manner. â€Å"Young children are to be regarded and tended essentially like plants. Like these, if they were given the right conditions, they would grow and unfold and flower, by their own law, each according to its individual capacity and destiny. † (E. Lawrence, 1969, p. 195) In his study of child-nature one of the most marked characteristics, which attracted Froebel’s attention, was the child’s inborn desire for activity, which reveals itself in play. According to Froebel, â€Å"play is the freest active manifestation of the child’s inner self which springs from the need of that inner living consciousness to realize itself outwardly. † (H. Bowen, 1907, p. 116) Froebel made a significant contribution to early childhood education by seeing play as a process in which children bring to realization their inner nature. He recognized that children began to learn as soon as they began to interact with the world, and he reasoned that since the interaction was mostly in the form of play, the way to educate a child was through play, â€Å"as a means of awakening and developing the active and presentative side of his nature; wherefore none, not even the simplest gifts from a child, should ever be suffered to be neglected. † (F. Froebel, 1901, p. 77) Froebel’s continuous studies of the function of play in a child’s life came to fruition in the concept of the Kindergarten ? a place where children â€Å"instruct and educate themselves† and where they develop and integrate all their abilities through play. Froebel believed that play provided the means for a child’s intellectual, social, emotional and physical development. Games were not just idle time wasting, but the most important steps in the child’s development, and they were to be watched by teachers as clues to how the child is developing. â€Å"It is through play that the child learns the use of his limbs, of all his bodily organs, and with this use gains health and strength. Through play he comes to know the external world, the physical qualities of the objects which surround him, their motions, action, and reaction upon each other, and the relation of these phenomena to himself, ? a knowledge that forms the basis of that which will be his permanent stock for life. † (H. Bowen, 1907, p. 101) However, Froebel didn’t think that the play of young children should be unprompted at all times. For him the skill of adults was in knowing how and when to intervene, how to support and extend children’s play to help them â€Å"to grasp and to try out their learning in concrete ways. † (T. Bruce, 1997, p. 23) To stimulate learning through well-directed play Froebel designed a series of instructional materials, which he called â€Å"gifts† and â€Å"occupations†.