Classification of flexibility

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Classification of Flexibility

Although often the taxonomies presented are

the result of mixed logics, four different

classification logics can be found (1) horizontal or

by phases; () Vertical or Hierarchical; () Temporal;

(4) By the object of the variation. Among the mixed

logics, the most common is that which takes into

account both the time and the object of the

variation.Horizontal classification of flexibility

Horizontal classification of flexibility is aimed

at limiting the analysis. It makes reference to the

single manufacturing stages, and , in a wider sense,

to all the phases which constitute the 'value chain',

which also include upstream design and

purchasing; downstream distribution and

customer service. More simply, one may distinguish

between internal flexibility (product/process design

and production flexibility) and external flexibility

(purchasing and distribution flexibility). The later is

relative to the need to meet the requirements of

customers, whereas the former to the need to meet

them in an efficient manner. Therefore, in Lynch

and Cross's (11) pyramid, flexibility is in a

central position on its left there is customer

satisfaction, which is an external performance, and

on its right there is productivity, which is an internal

performance. There are also lower-level

performances product quality and delivery

reliability constitute the customer satisfaction;

delivery reliability and short process lead times

improve the flexibility; short process lead times and

process quality and cost influence the productivity.

Vertical classification of flexibility

The vertical (or hierarchical) classification of

flexibility concerns the degree of detail of the analyzed object flexibility may be estimated in

relation to the single resources of a system (micro

level) or to the whole system (macro level).

Gerwin (187) in particular describes four

levels at which flexibility may be analyzed and

measured plant and machine level; production

function and work department level; product or

product line level; global level of the firm.

Mair (14) distinguishes three levels of

flexibility a 'micro' level, characterized by the

flexibility of workers, machines and organization; a

level of factory flexibility; a level of flexibility of

the corporation's network.

On the other hand, Swamidass (188) makes a

distinction between machine-level and plant-level

flexibility the former is exclusively technological,

whereas the latter also takes into account the firm's

skills, the procedures adapted, managerial systems,

etc.

Temporal classification of flexibility

Zelenovich (18) was the first to consider

short-term or adaptation flexibility as well as

medium-long-term flexibility, which is typically

related to design adequacy. The first complete

classification of flexibility on temporal bases was

given by Merchant (18), who makes a distinction

between

(1) instantaneous flexibility, the ability to

immediately select the most suitable work

center for carrying out the operation

required by the work cycle of a certain

part;

() very short-term flexibility, the ability to

modify the sequence and mix of the parts

produced;

() short-term flexibility, the ability to modify

certain design specification of the parts of

the products;

(4) short-to medium-term flexibility, the

ability of the system to work at the

maximal levels of productivity when

production volumes are varied;

(5) medium-term flexibility, the possibility to

add or eliminate parts from the mix of

parts being produced.

(6) medium-to long-term flexibility, the

possibility to modify the manufacturing

capacity by adding or eliminating work

centers;

(7) long-term flexibility, the possibility to

adapt the system to new types of products or mix of components.

The classification of flexibility on temporal

logic found in literature usually follow the

above-mentioned lines.

Classification of flexibility by the object of

variation

A classification often cited in literature is that

by Browne (184) which, taking into account the

Flexible Manufacturing Systems (FMS), considers

eight different types or dimensions of flexibility

(1) Machine flexibility the ease of change to

process a given set of part types;

() Product flexibility the ability to change to

process new part types;

() Process flexibility the ability to produce a

given set of part types;

(4) Operation flexibility the ability to

interchange ordering of operations on a

part;

(5) Routing flexibility the ability to process a

given set of parts on alternative machines;

(6) Volume flexibility the ability to operate

profitably at varying overall levels;

(7) Expansion flexibility the ability to easily

add capacity and capacity;

(8) Production flexibility the universe of part

types that can be processed.

Classification of flexibility according to more

than one variable (mixed classification)

As previously mentioned, although

classifications of flexibility according to one

variable (phase, level of analysis, time horizon or

the object of the variation) are the most common in

literature, mixed logics are also adopted. The most

common are those which consider both the object of

the variation and time, or both the object of the

variation and level of analysis (vertical logics).

Conclusion

The paper gives a summary of the definition

and classification of flexibility. Based on the firm's

context and other disciplines separately, three kinds

of explanations of flexibility are induced. Then the

classification of flexibility is discussed. The

classification of flexibility can be generalized from

five aspects horizontal, vertical, temporal, the

object of variation and mixed.

In conclusion, flexibility is a important subject

with complex understandings and many questions,

which require a future effort both of theoretical and

empirical research.

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Sitar

If you order your research paper from our custom writing service you will receive a perfectly written assignment on sitar. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality sitar paper right on time.

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The sitar is a musical instrument developed in India. India is isolated in location, bordered by the Himalayas, world's tallest mountains to the north, and to the south by the Indian Ocean. The music in India dates back to very ancient primitive times up to the present. In fact, Prajnanananda, a historian-musicologist of India, believes that there were very civilized people in India that were artistic and played instruments as much as 5000 years ago (). This considerable amount of time created a great deal of advancement and development in the evolution of India's musical concepts. Another Indian music historian, Bandyopadhya, believes that music evolved with the evolution of humanity (1). In fact, the oldest documents of music in India are a collection of Vedic religious hymns, called saman, which were meant to be performed during sacrifices around 4500 B.C. (Nijenhuis 1). Because of this isolation and the thousands of years of its evolution, Indian music developed a very different sound and feel from music of the rest of the world. The sitar, an instrument that when played by someone who has studied Indian music for many years, can beautifully demonstrate this eastern musical art.

There are many legends and myths that claim to portray the origins of Indian Music (Rosenthal ). It is taught that the Hindu holy trinity created music (Shankar 15). A legend that tells how music was learned on Earth is said to have taken place long ago, when the world was in chaos and everyone were, in the western sense, sinners. Seeing the chaos, some gods asked the supreme god, Brahma, to give the people a toy, which could be seen and heard. They also requested Brama to make the toy a distraction for the people, away from their bad ways.(Rosenthal 4) It was decided to give the celestial art of sangeet to mankind. A suitable human had to be found, one who was capable of receiving this gift.

Sangeet is a broader term, including the arts of vocal singing, or gayaki, instrumental music, or vadhya, and dancing, also known as nritya (Prajnanananda 4). The reason the word Sangeet includes these three art forms is because it was customary to perform mythological dramas (Rosenthal 4). These dramas used dancers to mime the story, instrumentalist to play the music, and a singer to tell and sing the story. According to the legend, Sangeet had previously only existed in the realm of the demigods (Rosenthal 4). A human of superior spiritual ability was required to convey this heavenly art to the human world. Narada, a sage, was chosen to be the first mortal recipient of this celestial art (Rosenthal 5). Narada is said to be responsible for the existence of Indian classical music.

Classical Indian music is believed to be more than just entertainment. For the people of India, it is a moral and spiritual redeemer (Bandyopadhya ). Therefore, there are heavenly qualities inborn in the education of the musician. They are guru, vinaya and sadhana (Shankar 11). This means teacher, humility, and discipline. The guru, is the teacher, a necessity in traditional Indian musical education. Music is said to be guru mukha-vidhya, which means wisdom and enlightenment must come from a teacher (Shankar 1). This enlightenment is thought to be the highest form of knowledge. Conventional teaching of this music is based upon the transfer of knowledge from the guru, to the disciple, also known as a shishya. This unbroken tradition is known as parampara (Shankar 14). This guru-shishya-parampara tradition extends back thousands of years.

The second aspect of education of Indian music is vinaya, humility (Shankar 1). This reflects the heavenly origins of the art, because vinaya is a divine quality. Classical music is said to be a worship that involves both the listener and the artist alike (Shankar 15). Humility is important because if you think you already know everything, then there is nothing to learn.

The last requirement for learning the classical music of India is sadhana, discipline and practice (Shankar 1). Sadhana is important for two reasons. In one way, the divine origins of sangeet require that the student must be prepared to receive this knowledge. From an educational standpoint, the music is so complex and elaborate that the student needs to spend many years practicing. Without this control and devotion for practice, the student certainly will not be able to master the music. These Qualities of Indian classical music have been passed on From Teacher to student for many years and has remained, for the most part, unchanged.

The art of the music itself has developed many different aesthetic qualities. Indian music is based on melodies and rhythm, but has no system of harmony or counterpoint (Shankar 17). The form for the melody has developed greatly. The way the melody works is through the concept of raga. The concept of raga was developed from parent scales called jati (Kuppudwami 4-5). The word raga comes from Sanskrit and means to color or passion (Shankar 17). The concept of Ragga, also called rag, may be thought of as a method of coloring the mind of the listener with an emotion (Shankar 0). Raga is the basis for Indian classical music, and can be played very beautifully on the sitar. Raga took the form used today in the seventeenth century (Nijenhuis 5). Raga is quite different from anything musically western. It is not a tune, melody, scale, or mode. It is a combination of different characteristics that form the rag.

The notes of the Indian music scale that make the rag are called saptaka, which means the series of seven (Nijenhuis 1). Therefore there are seven notes in the scale. The different notes have different levels of significance. A note that is strongly emphasized is called vadi (Nijenhuis 5). This note is the most important and shows the rasa, or the emotion of the raga (Shankar 17). Notes that are de-emphasized are referred to as durbal, while notes, which are excluded are called vivadi (Nijenhuis 5). There are also notes in-between the saptaka notes. They are microtones and are called shurits (Prajnanananda 16). The octave, or the distance between one note and the same note at one higher pitch, according to sitarist Ravi Shankar, can be divided into sixty six units (18).

In northern Indian music, where the sitar is played, the modal structure of the seven notes is called that. Generally there are ten accepted thats, twenty in widespread usage, out of a total of thirty-two possible (Prajnanananda 16). The word jati is also used to describe the number of notes used in a mode (Nijenhuis 5). The number of notes in the rag is significant, for not every one uses all seven notes. Normally, a rag will consist of five, six, or a full seven notes. Rags may be mixed jatis; there may be different jatis for the ascending and the descending structures (Shankar 155).

Tradition names certain rags to specific times of the day, seasons, or holidays; this is called samay (Shankar 4). There are some musicians who argue that a rag must be performed at the time of day that it is assigned; on the contrary, other musicians argue that one may play a rag at any time if one wishes to evoke the mood of that time (Shankar 4).

Another characteristic of raga is how it moves. The arohana is the pattern in which a rag ascends the scale, and avarohana is the way that the rag descends the scale (Shankar ). Both the arohana and avarohana may use certain distinguishing twists and turns. These twisting movements are examples of the pakad or swarup, which are defining phrases or a characteristic pattern for a rag (Shankar ). Sometimes the pakad is unique to the rag it is played in, and not implied by arohana or avarohana (Shankar ). Often the pakad includes a specific elaboration and ornamentation (Shankar 4). Not every rag has a clear pakad.

Ornamentation is essential for the correct performance of the rag, and makes notes seem alive (Shankar ). The ornamentation may be part of the pakad, or a performer may improvise them (Shankar ). Some common ornaments that can be played on the sitar are kampita, ahata, and tiripa. Kampita is a shaking sound, ahata is when more than one note is played with a single stroke, and tiripa is the stressing of a note in a phrase (Shankar ). In addition, notes may also be sharpened or flattened. Some rags use lower forms of some notes as part of their definition (Shankar 4). In many cases these ornaments have no theoretical significance and are just used to add to the composition.

The sitar is a very well known Indian instrument. It has a long neck, which is around thirty-five inches long (Cutchey). It has a varying number of strings, usually from seventeen to twenty. It has three to four playing strings and three to four drone strings, which rest on the separate bridges. The main bridge, which is as wide as the neck and approximately one inch high. This bridge is made of antelope horn, is slightly curved, and is responsible for the buzzing sound of the sitar (Cutchey). These strings are plucked with a wire pick, called a mizrad that one would wear over the right index finger (Cutchey). This wire pick is placed on the right index finger. There are also a series of sympathizing strings lying underneath the frets that rest on a smaller bridge. These strings are almost never played, but they make noise any time the identical note on a fretted or drone string is splayed (Cutchey). The frets are metal rods, which have been bent into crescents, and are perpendicular to the strings(Cutchey). These frets are tied on and can be moved to play different tunings. The main resonator is usually made of a gourd and there is usually an additional resonator that is attached to the neck. The right hand rests on the Gourd and balances the instrument (Cutchey). The right hand is used to control the rhythm of a composition, and the left controls the melody (Cutchey). The tuning of the sitar can vary. There is no fixed frequency for the notes, and the tuning, as well as the placement of the frets can vary from raga to raga (Cutchey).

One theory has the sitar evolving from the ancient veenas or vina (Kuppuswamy 14). Another theory is that the inventor of the sitar was Amir Kusrau, who lived in the fourteenth century (Cutchey). There has also been a study that put the date of the invention of the sitar at only the nineteenth century (Cutchey).

Today's sitar is widely used in the northern, hindustaini tradition. It took the place of then prevalent veenas, which are considered the national instrument of India (Shankar 6). The playing style of the hindustaini tradition is greatly influenced by singing and drumming techniques (Cutchey). It is evident that it evolved from the Persian lutes that had been played for thousands of years (Cutchey). Indian artists such as Ravi Shankar, Balram Pathak, Enayat Kan, and Budhaditya Mukherjee have made this instrument popular around the world (Cutchney).

Bandyopadhyaya, S. Indian Music Through the Ages. Delhi B.R. Publishing Corporation, 185.

Cutchey, Peter. About the Sitar. Buckingham Music. March , 00. httpwww.buckinghammusic.com/sitar/aboutsitar.html.

Kuppuswamy, Growry. Indian Music A Perspective. Delhi Sundeep Prakashan, 180.

Nijenhuis, Emmie Te. Indian Music History and Structure. Belgium Tuta Sub Aegide Pallas, 174.

Prajnanananda, Swami. A Historical study of Indian Music. Calcutta Sri Manoranjan Mazumar, 165.

Rosenthal, Ethel. The Story of Indian Music and Instruments. London William Reeves Bookseller Limited, 18.

Shankar, Ravi. My Music, My Life. New York Simon and Schuster, 168.

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Commercialism and Privacy

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Commercialism and Privacy

Summary

Industries gather information about consumers, and advertise to consumers that go greatly beyond what is acceptable. We do not own our own information, and Spam, like calls from telemarketers invade our privacy. However, there are market solutions to these problems that will hopefully allow us to regain what is ours.

Introduction

Commercialism has intruded into just about every part of our existence, and e-commerce has propelled this intrusion exponentially. Commercialism is not necessarily bad in itself, but because of industries' insatiable desire to gain the competitive advantage, they gather information about consumers, and advertise to consumers that go greatly beyond what is acceptable. Firms have invaded our privacy, and consumers are fed-up with this invasion. Consumer rebellion will open the doors for market solutions to these market problems.

Anonymity

Every time we sign up for a free email account, fill out a survey on line, or request free information, we give away a little bit of information about ourselves. Simply visiting a web site provides valuable information to industry about ourselves. Each incident in many cases is not significant, but the accumulative effects of the information can become serious intrusions on our privacy. The accumulation of this information provides firms profiles of existing and potential customers. Consumers are becoming very wary of this loss of privacy and anonymity, and feel that these profiles belong to the consumer, not the firm.

One method of gathering information about a consumer is the Internet Service Provider. ISPs knows who you are and knows every web site you visit. Consumers have complained about this, so some ISPs have advertised that they will not to sell your web surfing information. AOL at one time stated that they do not gather information on their customers web activity at all, but they may have changed their mind, because there is no evidence of this claim on line. As people become more concerned about their privacy, demand for ISPs that provide the consumer greater anonymity while web surfing will dramatically increase. ISPs are not the only companies that gather information. Other firms besides ISPs use various means to track consumers activities on the Internet for sell and use. Now, companies like Anoymizer.com and Evidence Washer sell software that protects your Internet privacy. The fact that these and many other companies sell this sort of software shows there is a growing demand for privacy protection. Using ISPs that do not collect information about you, and using software to prevent other companies from collecting information about your web activities are only two possible solutions.

The most powerful market solution to privacy on the Internet will occur when people stop voluntarily giving away information about themselves. Once consumers become wise to getting free service or information from a web site, they will stop giving up the information.

Spam

Email used to be one of the most efficient means of communications. One could read and reply to ten emails in the time it took to have one telephone conversation. Email was a great convenience because one could read and send emails at his leisure. Not any more. As more and more people began using email, businesses realized that email was a great advertising medium. It could reach millions of people almost instantly at virtually no cost. Because of commercial Spam, email now invades our privacy and wastes our time. This is a major problem.

Since reading email has become more of a burden than in the past, consumers may simply dramatically reduce or quit using email for communications. This solution will reduce the number of hits or reduce the number of available email addresses for Spam to be as effective. Because Spam email has an extremely low marginal cost, there does not have to be many people for Spam to be profitable. There is not much difference between one hit in one hundred thousand and one hit in two hundred thousand, when the cost remains about the same for both. But this solution may force many Spam advertisers to drop out of the market.

The market has provided other solutions for an attempt to stop Spam. Just about every ISP has an email option to reduce Spam with various filter and options. Also, email programs have filters to reduce Spam. Programs like Spamkiller and MailWasher have become market solutions to reduce the intrusion of Spam. Since Spam is still a very important tool that many advertisers want to use, Spam firms will make every effort to bypass Spam software and filters. There will be a constant battle for the anti-Spam software companies to keep up. This will also require users to constantly upgrade their software, which will generate profits for the anti-Spam companies. So, more Spam means more profit for anti-Spam companies. I suspect it would be profitable to be a Spam advertising provider and anti-Spam software provider, because the firm would generate revenue from both markets.

The United States Postal Service will soon start selling guaranteed email for a few cents. This could be yet another solution to the Spam email problem. With people applying software, filters, and exception lists to their email accounts, many legitimate emails may not get through. However, if FedEx, UPS, or USPS provides a guaranteed email service for a fee, users could allow the fee based emails to come through, because advertisers could not afford to send 50 million Spam emails. This would dramatically increase Spam advertiser marginal costs. Even if it only cost two cents to send a guaranteed email, the cost would be prohibitive.

Conclusion

Lack of on-line privacy, and unwanted emails invades our privacy because of excessive commercialism, is a serious problem. With a combination of paid for services, software, and a change in behavior, users can dramatically reduce information gathered on them and slow or eliminate Spam. This will costs firms, and will reduce their profits enough to force many of the them to drop out of the market.

Please note that this sample paper on Commercialism and Privacy is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Commercialism and Privacy, we are here to assist you. Your cheap custom college paper on Commercialism and Privacy will be written from scratch, so you do not have to worry about its originality.

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Taming of the shrew

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William Shakespeare's play The taming of the shrew is a lighthearted, slapstick comedy written in the 150's. This particular era is classified as the Elizabethan era. This famous play has been chiefly based on courtship and the concerns of married life. Both of these characteristics were profoundly relevant to society at this time, in fact this was a society concerned with marriage in general. People living in this era often married for power, land or money rather then for love. Marital disputes became very popular in literature, as this era did not offer any avenues out of an unhappy marriage.

The laws and practices of these times also did not allow women to have the same opportunities as men. Women were said to be under the authority of their husbands and society would not allow women to perform in plays. In fact, in this era, men acted out all the male and female roles.

Another concern of this society was shrews, that is a woman with a violent, scolding, or nagging temperament. Katherina has demonstrated this idea in the play. Women were expected to act a particular way, and any woman with a willful temperament or who challenged the authority of men, was classified as a shrew. It was for these reasons that men set out to tame their wives into the way society felt they should behave. Taming can be defined as being brought from wildness into a domesticated or tractable state. This idea of one taming a shrew is brought out through the main plot of the willful Kate and the equally stubborn Petruchio.

Shakespeare has used the idea of deception in his play to reflect the opinions of this society. This idea of deception has been furthered with the use of disguise. Deception can be defined as to give a false impression and to cause to believe what is not true. Shakespeare brings out this deception in his play through the characters. He does this by using a variety of techniques such as disguise. Disguise is defined as being to modify the manner and/or appearance of, in order to prevent recognition. Throughout the play this main idea of deception and disguise is ably bought out through plots. They include the introductory plot of Christopher Sly, the main plot of Petruchio and Kate and the sub-plot of Bianca and her suitors.

The first story of deception found in the play concerns Christopher Sly. The first scene opens in an English country alehouse in the late 1500's. Sly has been knocked unconscious as a result of consuming an excessive amount of alcohol. It is at this point that a lord discovers Sly, and he decides it would be very entertaining for him to play a trick on the drunken beggar. Sirs, I will practice on this drunken man. The Lord commands his men to take the sleeping Sly up to his extravagant bedroom and when he awakes, they are to tell him that he is a noble man who has been asleep for many years. . Wrapp'd in sweet clothes, rings put upon his fingers,

A most delicious banquet by his bed. The Lord also commands his men to dress Sly in the most sumptuous clothes and to feed him the finest of foods in order to convince Sly that he really is a nobleman.

Sly at first is confused as to what is going on, but remains sure of himself and insists that he is not a lord. I am Christopher Sly; call not me honor nor

lordship. He resists the Lord and his servants and he only relents when he is informed that he has a wife. It is at this point that Sly instantly reverses himself. Am I a lord? And have I such a lady? Sly is so caught up in the fact that he may be able to bed this woman, that he stops contradicting the Lord and his servants. Are you my wife and will not call me husband? My men should call me lord I am your goodman. Sly becomes oblivious to the situation and his mind is now set on getting this woman into bed. Madam, undress you and come now to bed.

His speech also is disguised. Sly eventuates from speaking in prose, to speaking in verse. This is very humorous as verse is usually reserved for those in the higher class of society. Sly uses this technique to make him self appear accomplished and wealthy.

Sly is not the only one applying deception within the Introduction. The Lord and his servants have also deceived Sly through the use of disguise. The Lord has done this by forcing Sly to live a life where he is a nobleman, with all the luxuries included. As soon as Sly awoke they began filling his head with nonsense and insisting that he was a wealthy nobleman. Sly was offered the finest of foods and the finest of clothing in order to further this deception and make him truly believe that he is a wealthy Lord.

The sub plot of the play involves Bianca and her suitors. This play-within a play is taken place in Padua, Italy. Lucentio, a young gentleman from Verona arrives accompanied by his suitor when he notices Baptista Minola and his two young daughters Bianca and her older sister Kate. Bianca's suitors Gremio and Hortensio accompany them. While standing in the street, Lucentio over hears Baptista say that no one will marry Bianca, until Kate has found a suitor. That is, not bestow my youngest daughter, Before I have a husband for the elder By this point Lucentio has become totally enamored with Bianca and he devises a plan to get closer to Bianca. Lucentio is to disguise himself as a tutor named Cambio while Tranio pretends to be Lucentio.

It is obvious that this is an element of deception. Lucentio and Tranio have purposely disguised themselves in order to deceive Kate, Bianca, Baptista and the other suitors. They have used different clothing in order to accomplish this.

This is where the third, and main plot of the play begins. Bianca's suitors realize that they will not be able to ask for her hand unless they find a suitable suitor for her stubborn sister Kate. Petruchio, also from Verona, has arrived in Padua for one sole reason. To find himself a wife whom does a large dowry accompany. He does not care if she is a shrew or not. Hortensio, another gentlemen also in want of Bianca's hand, agrees to introduce Petruchio to Kate. All three men, Hortensio, Gremio and Lucentio (posing as Tranio) agree to assist him in gaining access to the younger daughter.

Petruchio goes directly to Baptista is completely upfront with his intentions. He tells Baptista that he wealthy and Baptista welcomes Petruchio's offer. But Petruchio must first win Kate's love. Petruchio is certain that he can do so.

When Petruchio and Kate first meet, they flirt and take it in turns in verbally challenging each other. Kate continues to act shrewish and Petruchio claims that Kate is in love with him. The wedding plans begin and Bianca's suitors move in. Tranio/Lucentio promises enormous riches for Bianca, but Baptista wishes to mean Tranio/Lucentio's father in order to confirm this. Therefore Tranio/Lucentio must find a suitable man to pose as Vincentio.

The disguise and deception falls deeper and deeper as the plot continues. Not only do these young gentleman have to act as if they were someone else, but now Tranio/Lucentio must find another gentleman to act as his father in order for him to have Bianca's hand.

The whole wedding party has gathered for the event, except for the groom. Kate begins to show signs of humiliation. Now must the world point at poor Katherine,

And say, Lo, there is mad Petruchios wife, If it would please him come and marry her! This is significant as it is the first time, we the audience see Kate showing any signs of emotion.

When Petruchio eventually decides to make an appearance, his dress and behavior are both outrageous. Baptista objects to this and Petruchio replies that To me shes married, not unto my clothes… and then proceeds to take Kate off to the wedding.

It seems that Petruchio's state of mind has reversed. Previously he has been honest and upfront in his actions. Now he deceiving Kate by playing games and acting like someone he isn't'. He uses disguise to emphasize the fact that Kate is here to marry him, and not his clothing.

Once the wedding ceremony is completed Petruchio will not allow Kate to stay for the wedding feast. Instead he drags her from her father's house. The journey from Baptista's to Petruchio's house is not a pleasant one. The couple arrives tired, dirty, cold and hungry. Petruchio temps Kate with the finest of foods, but Petruchio is outraged and claims that the supper is unfit. He decides the pair will fast, and they pack up and go to bed. It is at this point that Petruchio admits he is going to tame his new wife like a falcon. He plans to deprive her of sleep, food and sex and claims he will be doing this all in loving care. Therefore killing her with kindness.

Petruchio has rises up to the challenge and begins acting as a reflection of Kate. He is rude, stubborn and willful. All the characteristics Katerina once possessed. He has in turn, deceived Kate by not acting him self, rather someone he certainly is not.

Meanwhile Hortensio and Tranio/Lucentio give up their quest for Bianca's hand when they find Lucentio/Cambio kissing her. Bianca is now engaged to Lucentio/Cambio. It seems the battle for Bianca's hand is over.

The next day Petruchio announces that the couple will be returning to Padua for Bianca's wedding. Katerina is excited for she hopes for new clothes. Petruchio again teases Kate by saying that the clothes are hideous and they will certainly not do. O mercy, God! What miscuing stuff is here? The couple will return to Padua, dressed as they are. Well, come, my Kate; we will unto your fathers

Even in these honest mean habiliments After all, tis the mind that makes the body rich;

Petruchio again is stamping his authority. He is sending a message to Kate that he is in charge, and if she wants any chance of happiness, she must agree with him.

Whilst walking back to Padua, Petruchio declares that the moon is shinny brightly, when in reality it is the sun. Kate contradicts her husband stating this, and he will not have it. He threatens that the pair will return home and not attend the wedding. At last, Katerina understands the point and states that it is the moon or the sun, or whatever he wishes it to be. What you will have it named, even that it is;

The mood calls for celebration, but before Petruchio and Kate return to Baptista's, Petruchio demands a kiss from his wife. It seems that the battle is over.

Back at the house, everyone claims that Petruchio has the worst of wives. Petruchio then suggests that they make a bet and she who's wife, in turn is the most obedient towards her husband. When Bianca and the Widow are called they refuse to come, but when Kate is summoned, she not only attends to her husband, but she also lectures the other wives on how they should behave towards their husbands. Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee.

Kate has come along way from the beginning of the play; it appears that Kate has been tamed. Her attitude has completely changed, and her willful and stubborn behavior completely disappeared. Petruchio has succeeded in giving her a taste of her own medicine, and in turn molded her into a gentlewoman. Or has he? From this it can been seen that Shakespeare has used many levels of deception and disguise through out his play The taming of the shrew. So is this another level of deception? Has Kate really been tamed or is she simply playing along in a game with Petruchio once again?

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Human body

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Analysis of Lady Macbeth.

Lady Macbeth is one of the most complex characters that Shakespeare has ever written and there are many aspects to the way Lady Macbeth thinks, is thought of and of her demeanour.

The first time we meet Lady Macbeth in 1,5. She is speaking the words of her husband through his letter to her after Macbeth has met the witches. The letter informs of the encounter and Lady Macbeth is told to keep the letter secret when the letter says, 'Lay it to thy heart.' The solitude of Lady Macbeth allows us to hear and observe her true feelings. She automatically fears that Macbeth is, 'too full of the milk o' the milk of human kindness,' to carry out the task. As soon as she reads her husband's letter she doubts his ability to perform the task. Once hearing of the coming of Duncan, she talks of how the 'raven himself is horse/ That croaks the fatal entrance of Duncan/ Under my battlements.' This shows that she is using terms associated with the devil or darkness and the word battlements implies a warlike effect. Lady Macbeth then goes on to call upon the devil and asks him to, make thick my blood,' and to 'unsex me here.' This is because Lady Macbeth feels that her femininity will hinder her in completing the task at hand, but if she is of neither sex then she may be able to have the ability and bravery to overcome guilt and any other emotions that she may feel as a woman. At points lady Macbeth also feels that she is lacking in power. In this case she attempts to assume the powers of the witches in her constant questioning and ordering of Macbeth, 'As thou art in desire?' This fits in nicely because it shows well the reversal in power in these four cases it shows the women having the power. As the three witches have total control of everything happening and Lady Macbeth has considerable control over Macbeth at many points in the play. The point of power is also a key issue with Lady Macbeth. As the wife of Macbeth, Lady Macbeth has very little power, but all her power is concentrated around the house. There is now a glimmer of hope for real power as Queen of Scotland. She wants to seize this opportunity. She also feels that she has the power over Macbeth's decisions, which to some extent she does with all the questioning and pushing. Lady Macbeth's powerlessness drives her to be associated with power and therefore is desperate for Macbeth to become King.

This brings on the issue of gender. From the start of the play lady Macbeth is heard to be speaking a man's words. She requests to be unsexed by the devil, in other words to be made into a neuter almost as if to rid herself of all the things that make her female. She probably feels that all her female values are stopping her from getting the power she needs. Lady Macbeth is prepared and has deeply thought about the news as she was told to, ' Lay/ it to thy heart, and farewell.' when Macbeth arrives at the castle, whereas Macbeth is lagging in the motivation and clarity that is required to proceed, 'in this business.' Macbeth is then given serious questioning by his wife. As she does at many other points in the play, in her attempts to persuade her husband to kill the king, 'Was the hope drunk,/ Wherein you dress'd yourself, hath it slept since, And wakes it now, to look so green and pale, /At what it did so freely?'. Then to force Macbeth to pull himself together, she uses demeaning questions for example at the banquet, 'Are you a man?' thus also once again usurps Macbeth's manhood.

Lady Macbeth also shows signs of being very quick minded. The key moment when she switches the attention to protect Macbeth is when Duncan is discovered to be murdered. Lady Macbeth a little while after hearing the news and having heard Macbeth begins to make himself look suspicious by confusing his story slightly, 'That I did kill them,'. This was when Macbeth told the other nobles about how he had killed the guards who had supposedly murdered Duncan. Lady Macbeth knew that this would seem impossible if Macbeth had only just found out about the murder and so pretends to faint, thus drawing the attention away from Macbeth and onto her. This shows Lady Macbeth to be very devious, and quick minded, as she has thought of this within a matter of seconds. It also shows us that the character of Lady Macbeth is a very good actress.

Later on in the play, Lady Macbeth starts to feel very insecure about both of their positions, ''Tis safer to be that which we destroy/Than by destruction dwell in doubtful joy.' Lady Macbeth then begins to scold her husband for having the same fears that she has. Again referring to the issue of gender and how she feels that as a woman she is allowed these fears, 'Using those thoughts which should indeed have/ died,' whereas Macbeth, as the strong male should be able to deal with these fears. At this point in the play Lady Macbeth has begun to have nightmares, as had Macbeth, which is where there is a new reversal of roles. As Macbeth realises his problems he begins regain his mental strength and become the 'man' again and Lady Macbeth begins to act in the more female manner. Macbeth realises that he has to get rid of Banquo, and Lady Macbeth has to try and protect herself from her own subconscious. This is shown when she wakes up in the middle of the night and sleep walks. For the first time in the play Lady Macbeth is shown to be weak minded. She now begins to take on the 'normal' female characteristics. The effects of the murder now only just start to show on Lady Macbeth, as she is paranoid about the murder and the little red spots of blood which she thinks are on her hands, which she had earlier dismissed of by saying, 'a little water clears us of this deed.' It is as if Lady Macbeth's suppressed subconscious has overflowed and is now pouring over in her sleep and she can no longer control it for the strength of Macbeth. Lady Macbeth is attempting to replay the scene of when Duncan was murdered. With no control over what is going on there is almost a direst swap because throughout the play she has been in total control of what was happening.

These are the characteristics of Lady Macbeth and they show us about the relationship between husband and wife, and of how in the struggle for power the relationship breaks down, due to the power hunger of Lady Macbeth many deaths are caused through lies and deceit.

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Supernatural in Richard 111

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Richard III

Analyse the purpose and effect of the dreams and prophecies in Shakespeare's Richard III.

As with many of Shakespeare's plays dreams, superstitions and prophecies play a large part in the play Richard III. This play was written in the Elizabethan period, which was a time when most, if not all people were very conscious and superstitious of their dreams. They often used their dreams as a guide of what they thought was going to occur in their future. So they constantly analysed and read a great deal in to the dreams they had, so that they could be prepared for what was to come.

So what are the real purpose and effects of the dreams and prophecies in this play?

Many of these dreams and prophecies were actually a warning to the characters in the play, in their dreams they actually envisaged their fates! Even though the Elizabethans believed in dreams so greatly why don't these men realise and take notice of what they were warned against? In some of the dreams events were revealed to us concerning particular characters, such as Clarence who we would not necessarily be aware of, if this dream had not taken place.

Whilst Clarence awaited execution in the tower his dream explains to the audience that he actually committed the murder of Ann's late husband, and that it was not actually Richard who we were previously led to believe it to be.

Evidence …. My Great-Father in law, renowned Warwick….

Clarence…. That stabbed me in the field of Tewksbury….

Personally I think that the dreams and prophecies are actually a dramatic device for the benefit of the audience. The dreams help to get them ready for what is going to follow later in the play. They drive the action leaving the audience in anticipation and suspense, waiting and trying to predict when the characters will meet their fate.

The dreams and prophecies in the play also reinforce the need for male authority and divide the two sexes (which was not uncommon in the society of the Elizabethans). It is apparent that Shakespeare only gives the dreams to the men in the play, the only woman who actually plays a part in the dreams and prophecies, is Margaret. Because of this she is portrayed as being involved with witchcraft and the supernatural, therefore not a woman but a witch! This is because all of the curses she lays on Richard do actually come true. Margaret continuously curses and damns Richard throughout the play. When Margaret does so, her language and tone is very important because it is very witch like and when you read it, this sounds like she is actually casting a spell on Richard.

Evidence Margaret to Richard; …. No sleep close up that deadly eye of thine, unless it be while some tormenting dream affrights thee with hell of ugly devils.

After Margaret curses Richard, we find out from Anne that Richard is a very bad sleeper and if he does manage to fall asleep he is violently woken by terrifying nightmares and torturous demons!

Evidence Anne; …For never yet one hour in his bed did I enjoy the golden dew of sleep, but with this timorous dreams was still awak'd.

The dreams and prophecies in the play also have a great effect on the audience and characters during the play, which are very closely related to the purpose of the dreams and prophecies of the play! All of the dreams in the play are a dramatic device so that the audience feel involved in the play and they have a sense of pantomime. Knowing about the dreams and events to come throughout the play, the audience would be left in suspense sitting on the edge of their seats during the play, trying to guess when the next murder will occur because they are very aware of what is happening whereas the characters seem oblivious!

The only character in play that is aware of the danger he is about to face is Hastings! He has a tormenting dream of being slaughtered, having his head removed although, he does not take any action to try and stop this horrid event occurring, he is well prepared and conscious of what he is to face! I believe that this makes the audience more sympathetic towards Hastings as he endures torment about the way he will die right up until his dreadful execution!

Evidence …And started when he looked upon the tower, as loath to bear me to the slaughterhouse. …O Margaret, Margaret, now thy heavy curse is lighed on poor Hastings' wretched head!

A large device that is used in the dreams is that of imagery. In all of the dreams there is always horrible and negative imagery which makes the audience imagines the dreams that the characters have had and really think about the reasons behind those images! For example the imagery used in Clarence's dream, is very unpleasant (as with all of the imagery in the play). The audience is encouraged to imagine deep murky water with dead corpses floating about at the bottom! The corpses are particularly important since they are of those who have died by the hand of Richard. This should automatically make the audience think that Clarence should be the next victim to die by Richards's hand. The meaning behind dreaming of water is very significant to this part of the play. It is said that if a person dreams of water that, they are submerged in then they may be subject to misfortune, death and problems with friends or family. As we know from the play this is actually very close to what happens to Clarence.

When Clarence is in the tower and the two murderers arrive to execute him, Clarence asks them if he can have a drink of wine. This is where the irony comes in to it because the keeper tells Clarence that he will have plenty of wine, just before he tells him that he shall be drowned in it. This relates to Clarence's dream of drowning! If Clarence had taken any notice of his dream then he would have realised that he was probably coming close to his death.

Evidence Where art thou keeper? Give me a glass of wine.

You shall have wine enough my lord, I'll drown you in the malmsey-butt within.

Another good example of imagery in the dreams is found in the dream that Stanley has. He dreams of an animal (a boar) attacking him in the side, which is thought of as being violent and aggressive, this instantly puts unpleasant images in to our minds! If this dream is read in to deeper you realise that this is a very clever device that Shakespeare has used. Therefore, those in the audience who know about Richard's history would know that the boar is actually Richard's symbol. He used this symbol when he was battling in the war of the roses against the house of Lancaster (which Richmond was actually a part of).

If Stanley had not been foolish like the other men in the play then he should have realised that Richard was actually going to be a threat against him and he should have been very cautious when dealing with Richard!

Evidence Hastings; Cannot my lord Stanley sleep these tedious nights?

…And for his dreams, I wonder he's so simple to trust the mockery of unquiet slumber. To fly the boar before the boar purses were to incense the boar to follow us,

… and we will both together to the tower, where he shall see the boar will use us kingly.

I have also researched the true meaning behind dreaming about boars, I have found that if a man dreams about being attacked or bitten by a boar then they should be on there guard against a false friend. This piece of information is particularly relevant to my essay because that is exactly what Stanley should have been aware of from the beginning of all of the turmoil with Richard.

A clever prophecy that is also used regarding a death in the tower is a very innocent one. The prophecy is a warning to Richard from the younger of the two little princes. Richard tells them that they must stay in the tower so that they are safe! The prince tells Richard that he does not want to stay in the tower for the fear that he will see Clarence's angry ghost.

Evidence I shall not sleep in quiet at the tower.

Why what should you fear?

Marry my uncle Clarence' angry ghost- my grandam told me he was murdered there.

I feel that this is a significant piece in the play because although Clarence's angry ghost does not turn up in the tower he does turn up in a nightmare that Richard has at the very end of the play. It was almost as if this little child new that Clarence was not happy and would come back to haunt a character, (most likely to be Richard!) Richards's nightmare was also a prophecy this is because he is visited by all of the ghosts of those people that he has killed. The purpose of this dream is that the ghosts are able to warn Richard that he will not win that battle against Richmond the following day as they will all be on the side of Richmond! This dream leaves Richard tormented and frightened, so frightened in fact that he tells Ratcliffe of his anguish.

Clarence's ghost to Richard Let me sit heavy in thy soul tomorrow- I that washed to death with fulsome wine, poor Clarence by thy guile betrayed to death!

Tomorrow in the battle think on me, and fall thy edgeless sword; despair and die!

Clarence to Richmond ....Good angles guard thy battle! Live and flourish!

Evidence O Ratcliffe I have had a fearful dream!

The nightmare that Richard has before the battle is also evidence that Margaret's prophecy would torture him until he died. The purpose of this particular dream was to give the play and Richard a sense of morality concerning all of the bad deeds that Richard has been involved in or responsible for. For me I thought that Richard had actually become aware of the conscience that he should have, (after all he is human) Including this dream in the play makes the audience realise that during the battle, Richard will not die the death of a brave man, but he shall die the death of what he truly is, a murderer!

An important example of a prophecy in the play is the very first one that we as an audience are informed of. The prophecy is that of the letter G, which concerns Richard telling Edward that a wizard told him he would have great heartache caused to him by a person with the name beginning with the letter G.

Evidence He harkens after prophecies and dreams and by the letter G his issue disinherited shall be.

Meaning that his heirs to the throne are in terrible danger, from a person with name the letter G.

And of course the play would not be as effective if Edward did not jump straight to entirely the wrong conclusion! This resulting in his dear brother killed for something that he did not do and would never even dream of doing.

This prophecy is extremely ironic because the person that did actually kill the boys or at least have them killed was Richard him self. The irony is that Richard's bestowed name is Duke of Gloucester, which would explain why he told Edward that they would be killed by someone with the name letter G. It would seem almost as if Richard is playing a game with Edward. This gives us a glimpse of what Richard develops in to, a dark, sinister humorous character.

I believe that the dreams and prophecies in the play are actually a reflection of the play itself, full of horrible, disturbing imagery surrounded by people who are all devious and hate each other! The overall effect and purpose of the dreams and prophecies is to get the audience involved and give the characters parts, a good pace and sense of action, as the dreams are strategically placed in appropriate intervals throughout the play.

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Darkness

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Theme and Setting in Heart of Darkness

Heart of Darkness is a novella that is one story being told by Marlow within the actual story by Joseph Conrad. The novella is set on a boat, the Nellie, on the Thames river in England, but the story that Marlow tells is set in the Belgian Congo. When relating the theme of this novella to the setting it has to be looked at from both the Thames and Congo rivers. Heart of Darkness shows the superiority of whites over blacks in a context where the blacks are considered to be savages and whites are supposed to be civilized.

Marlow is telling the story to his friends in the dark of night on the Thames river. As he begins the day is just ending in a serenity of still and exquisite brilliance. It is a very sombre and dull atmosphere and as the calmness begins to fade it becomes more profound. At one point Marlow stops and is interrupted by the unknown narrator who describes the setting on the Nellie. It had become so pitch dark that we listeners could hardly see one another. For a long time already he, sitting apart, had been no more to us than a voice....I listened, I listened on the watch for the sentence, for the word, that would give me the clew to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips in the heavy nightair of the river.

As the story ends the setting on the Thames river is once again described by the unseen narrator. The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed somber under an overcast sky-seemed to lead into the heart of an immense darkness.

The superiority of whites over blacks in the novella faces the harsh reality that the whites are there not to colonize the Congo but to conquer it. As Marlow puts it They were no colonists; their administration was merely a squeeze, and nothing more, I suspect. They were conquerors, and for that you want only brute force-nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. It was just robbery with violence, aggravated murder on a great scale, and men going at blind-as is very proper for those who tackle a darkness. The conquest of the earth, which mostly means the taking away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into too much. (Marlow)

In the novella the blacks are described at one point as helpers but, they are not really, they are treated more like slaves. The white men are corrupt and greedy in the Congo, as Marlow states when he is first entering the Congo. Ive seen the devil of violence, and the devil of greed, and the devil of hot desire; but, by all the stars! These were strong, lusty, red-eyed devils that swayed and drove men-men, I tell you. But as I stood on this hillside, I foresaw that in the blinding sunshine of that land I would become acquainted with a flabby, pretending, weak-eyed devil of a rapacious and pitiless folly. (Marlow)

The whites enter the jungle thinking it must be tamed and that its savage, dark natives must become civilized. The white man=s uneasy and disconcerted relations with the barbarism of Africa only makes things worse for the natives. The natives have a relationship with nature where things are still pure and innocent, where they are not exposed to the corruption of the civilized world. The white men conform some natives to live by rules and these natives help to enslave the others. This creates unhappiness and degradation of the blacks where they tend to retreat to the forest to die. Black shapes crouched, lay, sat between the trees leaning against the trunks, clinging to the earth, half coming out, half effaced within the dim light, in all the attitudes of pain, abandonment, and despair....And this was the place where some of the helpers had withdrawn to die.(Marlow)

The ivory trade in the Congo is very dark and obscure, no one really knows how Kurtz=s gets the ivory he does. Marlow describes Kurtz face just before his death I saw on that ivory face the expression of somber pride, of ruthless power, of craven terror-of an intense and hopeless despair. Both Kurtz and Marlow found a dark heart of Africa with primeval power that forced them to look at the darkness, hate, fear and evil within themselves. They saw that the white men were not really bringing progress to the darkest Africa but they were deteriorating their own morale

The blacks in Heart of Darkness have no personal traits or uniqueness, there is no humanity in their characters. Their appearance is never really described the only thing Marlow says about them is that they are black, no details, Black shapes...black bones...black neck,. But the whites in the novella are described in more detail such as the way Marlow describes the manager, Kurtz, and the girl. I met a white man, in such an unexpected elegance of get-up that in the first moment I took him for a sort of vision. I saw high starched collar, white cuffs, a light alpaca jacket, snowy trousers, a clean necktie, and varnished bots. No hat. Hair parted, brushed, oiled, under a green-lined parasol held in a big white hand.(Marlow describing the manager)

As Marlow puts it the whites in the Congo are in a lightless region of subtle horror, where pure, uncomplicated savagery was a positive relief,. The white men have no escape from the darkness as Kurtz realized a he spoke his last words, The horror! The horror!, but the blacks can retreat back to their way of life of helpless savages instead of being unhappy slaves. The theme of Heart of Darkness is evil and mysterious, we never really know how the whites over power the blacks. The theme is very suited to the setting, both have the image of darkness. The theme and setting are a harsh reality in the Congo where everything is dark in some way, whether it be the darkness of the blacks skin, the dark evilness of the whites or the gloominess of the environment. The theme where the whites have supremacy over the blacks is evil and very dark goes along with the dull and dreary setting, neither has any life to it. The environment is dark and lifeless and the blacks have no freedom due to the manipulation by the whites men.

Please note that this sample paper on darkness is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on darkness, we are here to assist you. Your cheap custom research papers on darkness will be written from scratch, so you do not have to worry about its originality.

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