Arab East Israesia Case Study - 981 Words

ISRAEL-PALESTINE ISSUE BACKGROUND: It is a traditional fact that the Jewish was introduced in 1948 with the blessings of the US, Excellent England, and France. Later on, it been successful in defeating the Arabs in the conflicts of 1948, 1967 and 1973 with the efficient military and cost-effective assistance of the USA and her partners. America needed a vassal scenario in the heart of the Middle The southern portion of to keep the oil-rich Persia States under management. From the Suez Problems in 1956 to the disintegration of USSR in 1991, the Middle The southern portion of has been the hot spot in the Cold War between the Communist Union and the Western. Since 1948 Israel has performed at the†¦show more content†¦Due to this aspect, Israel has been able to out from its obligations on several occasions. For example, the 1993 agreement needed Israel pull out from all of its Western Economical organization agreement and the occupied Western Economical organization places. But Israel did not meet its obligations mainly due to America backing. Furthermore, Israel has surpassed all boundaries of brutality by using military power against the unarmed Palestinians. In addition, Israel has accelerated its agreement growth drive. IMPASSIVE ROLE OF ARABS: After the reverses knowledgeable in the Arab-Israel conflicts of 1948, 1967 and 1973, the Persia management was convinced that it was not possible to wipe out the Israel through war. Thus Primary professional of The red sea Anwar Sadat completed Hiking Bob Adjust with Israel in September 1978. Under this agreement The red sea got Gaza Remove and Sanai Wasteland coming back and knowledgeable pleased. Consequently, the withdrawal of The red sea, the strongest nation from the theatre betrayed the Palestinian cause generating the issue more complicated. In the same way, The the the the air Jordan under Shah Hussain completed comfort agreement with Israel and pulled itself out of the boiling pot in the Middle The southern portion of. This agreement further weakened the best spot Palestine Liberation Organization. While after signing comfort contracts with The red sea and The the the

Odyssey Historical Background - 6500 Words

The Odyssey ~ Background Information * The novel covers a 10 year period. * The novel was written approximately in 720 B.C. * The novel takes place in 1230 B.C. ~ during the Bronze age. * The Iliad (written first) and The Odyssey are based on historical events that took place about 1230 B.C. * Both novels are considered epic poems * The Odyssey is defined as a journey. This is the story of Odysseus’ journey back home after the Trojan War. From The Odyssey, Homer chose the story of Odysseus’ return from Troy ~ a fascinating series of ordeals and triumphs from which Odysseus emerges as the ideal blend of brain and brawn (brawn ~ definition?) probably required for survival in a heroic age. Here, Homer emphasizes not†¦show more content†¦For other uses, see Odyssey (disambiguation). The Odyssey (Greek: á ½Ë†ÃŽ ´Ã ÃÆ'ÏÆ'ÃŽ µÃŽ ¹ÃŽ ±, Odysseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the first. It is believed to have been composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia.[1] The poem mainly centers on the Greek hero Odysseus (or Ulysses, as he was known in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[2]In his absence, it is assumed he has died, and his wife Penelope and sonTelemachus must deal with a group of unruly suitors, the Mnesteres(Greek: ÃŽÅ"ÃŽ ½ÃŽ ·ÃÆ'Ï„á ¿â€ Ã ÃŽ µÃâ€š) or Proci, who compete for Penelope s hand in marriage. It continues to be read in the Hom eric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read.[1] The details of the ancient oral performance, and the story s conversion to a written work inspireShow MoreRelated Comparison of Odyssey, Divine Comedy, and Paradise Lost Essay1089 Words   |  5 PagesA Comparison of Odyssey, Divine Comedy, and Paradise Lost      Ã‚   Epics by definition are long narrative poems, that are grand in both theme and style (Webster 417).   They usually involve actions of great glory and are typically centered around historical or legendary events of universal significance.   Most epics deal with the deeds of a single individual, however, it is not uncommon to have more than one main character.   Epics embody several main features including: supernaturalRead MoreThe Aeneid and The Odyssey1324 Words   |  6 PagesThe Odyssey and Virgils The Aeneid? 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Amongst the most famous Odyssey translations, stand two particular works: those by Fagles and R. FitzgeraldRead MoreGreek Mythologies: Gods and Mortals in Greek Literature1714 Words   |  7 Pagesof the Greek society; however, the role of the divinities in human affairs is particularly accentuated in most, if not all, Greek mythologies. Nevertheless, each author displays the role of divinities and supernatural diffe rently, as Homer in The Odyssey and The Iliad displays direct interaction between the supernatural divinities and the mortals. On the other hand, Sophocles’ Antigone lessens such interactions and emphasizes the human role, while Thucydides’ History of the Peloponnesian War completelyRead MoreAnalysis Of Homer s Odyssey By Homer1095 Words   |  5 Pagesused in Homer’s Odyssey is the digression. The digression is departure from the main storyline that does not alter the action of the story, but adds a layer of sentimental content to the plot which usually helps underscore themes central to the story. The digressions in the Odyssey are meticulously written with great attention to detail just like the rest of the epic, and they truly help readers grasp the important aspects of the story. The liberal use of digression in the Odyssey helps build a vividRead MoreIs Google Making Us Stupid? Essay1400 Words   |  6 Pagesauthor’s approach, the reader must unde rstand the author’s background. What authority do they have to write about this subject? In this case, I’ll deliver my own knowledge of his background. Carr is a scholar writer who has written for the Harvard Business Review, various essays covering tech influential topics, as well as a few books that have received rather high reviews from critics. While Carr never directly referenced his background within this article, there is a small assumption to be madeRead More Aeneid and Odyssey - A Comparison between Aeneas, Achilles and Odysseus1031 Words   |  5 PagesAeneid and Odyssey - A Comparison between Aeneas, Achilles and Odysseus      Ã‚  Ã‚  Ã‚   A comparison between Virgils hero, Aeneas, and the Homeric heroes, Achilles and Odysseus, brings up the question concerning the relevance of the difference between the Homeric heroes and Aeneas. The differences in the poets concerns are explained by the fact that Virgil lived many years after Homer, giving Virgil the advantage of a more developed literary and philosophical society than Homer had at his disposalRead MoreCoen And Hosseinis O Brother, Where Art Thou And The Kite Runner1500 Words   |  6 Pagesand film techniques. Coen and Hosseini condemn the tangible racial and ethnic intolerance through characterisation, parody and mise-en-scà ¨ne. Allusion, imagery and humour explore both the comfort and danger of religion while symbolism, humour and historical references expose the deceit and failure of politicians. Coen and Hosseini, through literary and film techniques, subvert racial stereotypes and highlight the injustice of racial and ethnic discrimination. Hosseini’s juxtaposition of the PashtunsRead MoreThe Role of the Gods in Homers Odyssey Essay1936 Words   |  8 PagesThe Role of the Gods in The Odyssey In the ancient world, the gods of the Greeks had been predominately confined to cosmological deeds prior to the works of Homer. As Hesiod laid out the roles of the gods in his Theogony and the Works and Days, it is apparent that though the gods were active in the creation of the cosmos, natural phenomenon, and cyclical events such as seasons, they were not however, functioning in any historical way(Bloom 36). This strictly cosmological view of the godsRead MoreUlysses Embroidered : Re Envisioning And Un Envisioning Myth1382 Words   |  6 PagesUlysses Embroidered: Re-Envisioning and Un-Envisioning Myth After centuries of serving as background noise to her husband Ulysses’ odes of sea storms, sirens, and celebrity, the mythological Penelope finally steps into the light in Miriam Waddington’s poem â€Å"Ulysses Embroidered† (1992). Functioning as a revisionary text to both the Alfred, Lord Tennyson work â€Å"Ulysses† (1833) and The Odyssey itself, â€Å"Ulysses Embroidered† quickly strikes its readers as a fiercely feminist re-envisioning of Penelope

The Shoehorn Sonata Free Essays

The Shoe-Horn Sonata by John Misto The opening scene, with Bridie demonstrating the deep, subservient bow, the kow-tow, demanded of the prisoners by their Japanese guards during tenko, takes the audience straight into the action. As the interviewer, Rick, poses questions, music and images from the war period flash on the screen behind Bridie, and the audience realises they are watching the filming of a television documentary. The time is now, and Bridie is being asked to recall the events of fifty years earlier. We will write a custom essay sample on The Shoehorn Sonata or any similar topic only for you Order Now This scene establishes who Bridie is, and introduces the audience to the situation: the recall and in a sense the re-living of memories of the years of imprisonment. Characterisation TASK: Re-read the play. Go through and highlight specific characteristics of our two protagonists – ensuring that you can provide evidence from the play (The evidence could be lines or phrases of dialogue, their actions, current or past, or their body language as described in the text. ) Character| Specific Characteristics| Evidence from the play| Bridie| | | Shelia| | | ACT SCENE| Spine Summary (3-4 lines)| Quotations| Act 1, Scene 1| | | Act 1, Scene 2| | | Act 1, Scene 3| Eg. Women find themselves in the water and the song ‘Young Jerusalem is sung by young Sheila †¦. | | Act 1, Scene 4| | | Act 1, Scene 5| | | Act 1, Scene 6| | | Act 1, Scene 7| | | Act 1, Scene 8| | | Shoe Horn Sonata Act ONE Analysis Re read each scene and write a short summary outlining the ‘spine’ of the scene (What keeps it together). Write in full two of the main quotes from the scene that supports the spine summary. Do this for AT LEAST 3-4 scenes PER act Shoe Horn Sonata Act TWO Analysis ACT SCENE| Spine Summary (3-4 lines)| Quotations| Act 2, Scene 1| | | Act 2, Scene 2| | | Act 2, Scene 3| | | Act 2, Scene 4| | | Act 2, Scene 5| | | Act 2, Scene 6| | | Act 2, Scene 7| | | Re read each scene and write a short summary outlining the ‘spine’ of the scene (What keeps it together). Write in full two of the main quotes from the scene that support the spine summary. Do this for AT LEAST 3-4 scenes PER act Characterisation Characterisation can mean two things: 1. The nature of a particular character as it is presented in a text. This would include age, appearance, temperament, past life experiences, personality traits, characteristic ways of expression, values and ideals, motivations, reactions to circumstances, responses to other characters. 2. The methods the composer of a text has used to project this character to the audience or reader. These would include, among other things, the words they use or others use about them, their decisions and actions, their body language, responses to others’ words and actions, the motivations they reveal. See Activities] The play’s structure is based on the differences in character and temperament between Bridie and Sheila which are gradually revealed to the audience. The action of the play revisits their past hardships and terrors, but the final focus is on the trauma they have suffered afterwards. The revelation of the crises they have each faced is presented as a healing action, which lead s to the resolution of their differences and a satisfying closure to the play. Misto’s own motivations for researching these events and writing the play is made clear in his Author’s Note (p. 6). His perceptions of Australia’s neglect to honour such women as Bridie is suggested when she says: â€Å"In 1951 we were each sent thirty pounds. The Japanese said it was compensation. That’s sixpence a day for each day of imprisonment. † Introduction to Play Sheila’s arrival at the motel from Perth introduces immediately one source of friction between the two: they clearly have not been in touch with one another for many decades. Each is just finding out basic information as whether the other ever married or had children. The audience sees, too, that the warmth of Bridie’s greeting: â€Å"Gee it’s good to see you† is not reciprocated by Sheila. The audience wonders why not. The revelations by the end of Act One will finally show the reason. The body language described on page 26 indicates the deep underlying tension between the two–yet the scene ends with their lifting the suitcase as they used to lift the coffins of the dead: to the cries of Ichi, ni, san—Ya-ta! Their shared experiences are a strong bond. The Shoe-Horn Sonata is divided into two acts: the longer Act One, with eight scenes, and a shorter Act Two, with six scenes. It follows theatrical custom by providing a major climax before the final curtain of Act One, which resolves some of the suspense and mystery, but leaves the audience to wonder what direction the play will take after the interval. The action cuts between two settings: a television studio and a Melbourne motel room. The extreme danger the prisoners faced is indicated by Bridie during this exposition: over-crowded ships sailing towards an enemy fleet, the unpreparedness of the British garrison in Singapore for the invasion, the fear of rape for the women. Misto thus sets up some of the issues to be confronted during the course of the play between the Australian Bridie and the former English schoolgirl Sheila. Sheila appears in Scene Two, and the major conflict of the play begins to simmer. Journey through memory For the rest of Act One, the shared memories of Bridie and Sheila become those of the audience, through the dramatic techniques Misto uses. In Scene Three, the audience is reminded of how young Sheila was when she was taken prisoner. The voice of a teenage girl sings part of ‘Jerusalem’, the stirring and visionary song with words by English poet William Blake, and the mature Sheila joins in. (Later Bridie and Sheila sing it together. ) Bridie’s attitude from their first meeting as shipwreck survivors drifting in the sea is protective of Sheila. She sees her as â€Å"another stuck-up Pom†, and hits her with her Shoe-Horn to keep her awake. Sheila has been taught by her snobbish mother to look down on the Irish, the label she puts on the Sydney nurse from Chatswood because of her surname. Further differences between the two surface in Scene Five, when the â€Å"officers’ club† set up by the Japanese is described. But by the end of this scene they are recalling the choir and â€Å"orchestra† of women’s voices set up by Miss Dryburgh. Scene Six opens with Bridie and Sheila in a conga line singing the parodies of well-known songs they’d used to taunt their captors and keep their spirits up Pain and tension Soon they are arguing, focusing on their differing attitudes to the British women who in Bridie’s view were â€Å"selling themselves for food† to the Japanese. The tension rises as more and more is revealed about the deteriorating conditions for the prisoners and the relentless number of deaths, especially in the Belalau camp. At the end of the Act, in a dramatic gesture, Sheila returns the Shoe-Horn. She had claimed to sell it for quinine to save Bridie’s life–but in fact as she now reveals she had been forced to sleep with the enemy to buy the medicine. She extorts from Bridie the implicit admission that she would not have made that sacrifice for her. Bridie says nothing, but cannot face Sheila. Sheila is shattered by the realisation: â€Å"All these years I’ve told myself that you’d have done the same for me. [Calmly] I was wrong, though, wasn’t I? † Act Two opens back in the studio, where Bridie and Sheila explain on the documentary the appalling conditions in the death camp of Belalau. Suspense is built by the revelation that orders had been given that no prisoners were to survive to the end of the war. The audience wants to know how there could have been survivors. They also want to know how or if the tension in the relationship between the two women can be resolved. It becomes clear that the traumatised Sheila cannot in civilian life face any sexual relationship; nor has she felt able to return to Britain or to face remaining with her family in Singapore. She has led a quiet life as a librarian in Perth. Her nights are filled with nightmarish recollections about Lipstick Larry, and she drinks rather too much. In contrast, Bridie had been happily married for years to the cheeky Australian soldier who had waved and winked at her at Christmas behind the wire. She is now widowed and childless. Ambush and resolution Misto is preparing an ambush for the audience. By Scene Twelve, Bridie’s â€Å"disgrace† is revealed. Spooked when she is surrounded by a group of chattering Japanese tourists in David Jones Food Hall, she runs away with a tin of shortbread and later pleads guilty in court to shoplifting. â€Å"I still lie awake cringing with shame† she tells Sheila. She could not explain the truth about her phobia to the court or to her family and friends. The effect on Sheila is more than Bridie expected. She now decides that she can be at peace only if she faces the truth in public. She explains: â€Å"There are probably thousands of survivors like us–still trapped in the war–too ashamed to tell anyone. † Bridie urges her not to. But in Scene Thirteen after they have recounted how they were eventually discovered and rescued, days after the end of the war, it is in fact Bridie who reveals the truth of Sheila’s heroism and self-sacrifice. She then finds the courage to ask Sheila to explain about her shoplifting arrest The scene ends with the declaration Bridie has waited fifty years for: â€Å"And I’d do it all over again if I had to†¦. cause Bridie’s my friend†¦ † The tensions between the two have now been resolved: the secrets are out, both the personal ones and the long-hidden information about the experiences of the women prisoners and internees. The brief and cheerful last scene shows their friendship restored, the Shoe-Horn returned to its rightful owner, plans made for a Christmas reunion, and, fina lly, the peacetime dance they had promised one another in the camp. The Blue Danube plays: â€Å"It is the music of joy and triumph and survival. † How to cite The Shoehorn Sonata, Essay examples

Diversity and Equality in Workplace free essay sample

Simple concepts as understanding, spoken and non-verbal communications are challenges when addressing a group of employees of differing race and origins. Traditional rewards, compensations and reprimands used for motivating or disciplining employees becomes less effective as the workplace composition changes (Atewologun and Val Singh, 2010). We will write a custom essay sample on Diversity and Equality in Workplace or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The most difficult and specific challenge for managers that may appear is their commitment and behaviour to defend and protect the workers from discrimination. This barrier almost certainly is the most effective strategy to decrease the number of discrimination. Knowledge of the individuals’ diversity is the key to understanding and resolving what is perceived as different. Sensitivity or awareness training is used, as a catalyst for distributing this type needed information. Also minority managers, when assuming a new management position, go through an extended period of time in which they are closely scrutinised by subordinates, peer and supervisors. Unfortunately, this period of examination often difficult to find the behaviour of the subordinates and the reinforcement of the management system is difficult to implement in the short time (Atewologun and Val Singh, 2010). Another factor that managers of differing race may be careful because sometimes the subordinate has identical race as the managers, and they obtain extraordinary ‘treatment’ from the managers. This is an important point because it touches on the subordinates’ perception of equality. For instance, minority managers who are as well in minority group speaking a different language may be tempted to communicate with individuals of the identical race in their native language. The â€Å"non-special† subordinate think there is extraordinary relationship between manager and some individual with same race as the managers, in their mind. Unfortunately, this perception will also steer the mind of the â€Å"non-special† subordinate that the minority manager give extraordinary treatment and that this difference may influence his decision when it comes to promotions, raises, and special treatments (Atewologun and Val Singh, 2010). Another source of potential problem is when minority managers sometimes encounter difficulties in his or her efforts to control their subordinate (Leadership problem). Hesitation by the employees in accepting the authority for a minority manager is not uncommon (Atewologun and Val Singh, 2010). Problem may also manifest them as a power struggle of intelligence. A manager may find resistance in convincing subordinates that his ideas have merit. This struggle is a reflection of the low intolerance of minorities stereotype. If this becomes an irritating issue with the manager he may resort to â€Å"flexing his managerial rights† either coerces or legitimates (i. e. perform the task because I am the boss) undermining any possible team building efforts (Atewologun and Val Singh, 2010). Particular challenges arise from gender and ethnic social categories, visible markers of membership of less powerful groups in the workplace. The intersection of these categories also merits investigation, as stereotypes often arise from a particular combination of categories. For instance, the African-American female ‘‘Mammy’’ label of a self-sacrificing woman, caring, and loyal is drawn from images of the ‘‘chief caretaker’’ slaves of the plantation master and family. Bell and Nkomo (2005) warn that focusing on her emotional and nurturing style downplays the black professional woman’s competence. Women are often stereotyped as emotional, mater nalistic and nurturing – characteristics incompatible with the manager/leader role (Roberts, 2005). Another stereotype is ‘‘Sapphire’’, an aggressive, sassy, bossy, and ‘‘drama queen’’. A black professional woman perceived in this way may be criticized or even ostracized for individual outspoken and abrasive, with co-workers responding to her behavior and not her skill. Bosses may also see her as not fitting requirements for management (Bell and Nkomo, 2001). Cases in UK: Diversity and Equality for Lesbian, Gay, and Bisexual According to DTI (2005), there are estimated 6 per cent of UK population is lesbian gay or bisexual (LGB). There has been difficult to research their presence because they are shy to confess, and some of them is scared if society reject them. In 2006, London Metropolitan University held a conference to investigate their presence. The conference was planning to make a two-year research project with support by the Higher Education European Social Fund (HEESF). HEESF has been experiencing the investigation about LGB workers because the introduction of Employment Equality Regulation in 2003 at UK. In recent studied by Mark Bell (2003) from University of Leicester, founded the implementation of Employment Equality Regulation, which required all European Union countries to introduce special legislation to fight discrimination of sexual harassment, was a long way from complete because only some countries like Luxemburg and Germany had yet to introduce legislation to this issue.