Investment Opportunities in Adventure Tourism in Australia

Question: Discuss about theInvestment Opportunities in Adventure Tourism in Australia. Answer: Introduction: Adventure tourism is one of the fastest growing sector in Australia. In all the stages of economic development, the adventure tourism has been the priority of Australia for the growth of the market and this is because they are able to recognize the cultural, ecological and economic value. Adventure tourism is international as well as domestic. Australia is regarded as one of the top destinations for adventure travel according to the World Youth Student and Educational Travel Confederation (Randle and Hoye 2016). Several Australians states actively courts backpackers and have created Backpackers action plan. In the state of Victoria, the action plan comes with statement that the backpackers are less vulnerable to the fluctuating economic conditions and in the wake of global financial crisis, it would be the resilient travelers (Abascal et al. 2016). The research proposal is intended to highlight the long term competitiveness in the adventure tourism. It would also take into consideration the importance of collaboration of private and public sector within the adventure tourism. In the later part, hypothesis is developed about the scope of investment in this sector. Hypothesis developed would predict Research questions will be framed on the basis of impact of adventure tourism on the economy, community development and considering the macro economic factors as well (Mason 2015). Role of tourism sector in Australia is to enhance the international and domestic leisure tourism and international business events. Over the past years, adventure tourism in Australia has grown exponentially and tourist are visiting the destination that is previously not discovered (Rice 2014). Problem Statement: Few studies have analyzed the relationship between investment opportunities in adventure tourism in Australia. Economy is greatly impacted by investment made in tourism sector and thereby provides the platform of economic development. Therefore, present study analyses the available investment opportunities and how far the investment level in adventure tourism contributes to economic and community development. Literature Review: Current Scenario of Tourism in Australia: Since last decade, Australian northern territory has record of facilitating the substantial projects. The land development corporation of Australia plays a crucial role in the development and growth of the territory by delivering the investment opportunities in a commercially manner (Morgan 2016). Destinations and business which is involved in tourism considers several factors while successfully creating the demand for their offerings. Tourism sector in Australia is known for its ability to create many opportunities that enhance the performance of the economy. Adventure Tourism in Australia: Adventure tourism is growing subset of the Tourism market which seeks programs and activities having the perception of uncertain outcome. Adventure tourism in defined as the activities that are commercially operated and this involves combination of excitement and adventure that is pursed in outdoor environment (Skift.com 2017). Adventure tourism incorporates the broad range of activities that include low risk adventure activities such as tamping to high risk adventure activities such as white water rafting. There are White Water River rafting in New South Wales and Sydney (Buckley et al. 2014). Supply chain of the adventure tourism in Australia is complex and does not follow the traditional pattern. Adventure tour operators plays a key role in contributing to the sustainable vision of the sectors by promoting the activities and choosing the facilities (Dredge et al. 2014). Adventure tourism in Australia is attracting the attention for its emphasis on culture of the company. Australia offers prepackaged adventure tourism market often including the adventure neophytes. Research Questions and Hypothesis: Research Questions: Is the collaboration of public and private sector has any impact on the development of adventure tourism in Australia. Does adventure tourism provides the business opportunities in Australia? Do adventure tourism contributes effectively in the economy and community development and attract high value customers? Hypothesis: Following hypothesis are set in order to make recommendation for the investment opportunities of adventure tourism in Australia: Null hypothesis (H0): Australia does not have any investment opportunities in the adventure tourism. Alternative hypothesis (H1): Adventure tourism does not provide any investment opportunities in Australia. Operational Definitions and Measurement: Data for conducting the research are collected by limiting the number of respondents to seventy. This is done so that any kind of complication are avoided with the techniques of research. For the measurement of the different type of respondents from the participants, Likert scale has been used. Likert scale is used for scaling the responses obtained from the respondents. This represents the attitude of the participants in the research toward the particular topic. Researcher needs to set various parameters for executing the Likert Scale. For the purpose of quantitative analysis of the primary information or data collected form the respondents, it will be suitable to convert the responses percentage terms. From the above analysis, it is shown that the respondents Research Methodologies: Research Design Under the present study, descriptive research design is considered in which the researcher describes a particular situation. This is based on collection, presentation and designing of collected data. Sampling Techniques Analysis of the primary data and secondary data will form the basis of the sampling techniques used. It has been observed that the total number of respondents for conducting the research is seventy. Respondents would comprise of information collected from the hotels and tourism spots in Australia. It would also includes the higher authority and senior level managers who are seeking to expand the business via the adventure tourism in Australia. Secondary data would comprise of the reports of the several investments made in the Tourism sector. Analysis would be done on the basis of the quantitative data collected from the field of enquiry and from the various secondary sources. Method of Analysis: Primary collection data is done by using the survey method. In addition to this, analysis of the quantitative data collected from the respondents is further done by evaluating the data based on the central tendency analysis. Analysis of collected data is better understood by using some of the statistical tool such as standard deviation, mean, skewness, kurtosis and performing several tests. For the analysis of the secondary data collected, it is suitable to consider theoretical bases that has been used for the purpose for literature review. Research Process Research process will be initiated by identifying the types of investments made in the adventure tourism in Australia. Process of collecting the data will be started by carrying out the survey. Questionnaires framed would be distributed to the respondents. Which are seventy in number. Such questions would be asked to the senior managers of the tourism sector and the hotels and several respondents from the tourist spot. Descriptive statistical value of the data would be found out by carrying out the analysis using the approach of central tendency. Investigation of investment opportunities in the adventure tourism is done by evaluating collected data. Expected Outcome It has been studies by different authors that several places in Australia such as Victoria, New South Wales and Sydney serve as the ideal destinations for adventure tourism. It has been found that adventure tourism supports local economies and encourages sustainable practices in Australia. Outcome of the research would depict the positivity contributed to the economy, business and community due to investment made in the adventure tourism sector in Australia. Adventure tourism may require less capital investment for infrastructure. In order for the adventure tourism to flourish, it is necessary that investment is made in the elements complimenting the natural, adventurous and cultural assets. Research is depicting the need for collaboration of the public and private sector for creating fertile ground for adventure tourism. While the government can work to ensure that the practices, policies and attitudes are in place and private sectors can contribute to the development of adventure tourism sector. This can be done by creating compelling and innovative products. Conclusion, Interpretation and Recommendation: Findings from research have been analyzed in detail by considering the bases of theory, reviewing the relevant literature, literature background. It also includes hypothesis that is selected for analysis of data and techniques of interpretation have been applied to relevant questions. The interpretation of collaboration of the public and private sector on influencing the investment opportunities on adventure tourism sector has been seen with the partial response by the respondents. This is in light of the reluctance of the private sector to focus their efforts in promoting investment in adventure tourism because of long term challenges of maintaining business. Respondents partially agreed with the availability of scope of business and investment opportunities for the adventure tourism. This secondary interpretation shows respondents tendency towards partial awareness. Moreover, the respondents have shown agreement of adventure tourism on the community development and attracts the customers of high value. Therefore, continued growth of these sector would have a positive impact on the destination economies, people and environment. On the basis of interpretation of last research question presented, it has been found that several adventure companies in Australia are increasingly opening up new destinations, developing new products and taking initiatives in attracting new clients by enhancing their commitment to sustainability. From above discussion and interpretation, null hypothesis associated with availability of investment opportunities in Australia can be rejected. Hence, alternative hypothesis would be accepted. Reference: Abascal, T.E., Fluker, M. and Jiang, M., 2016. Domestic demand for Indigenous tourism in Australia: understanding intention to participate.Journal of Sustainable Tourism,24(8-9), pp.1350-1368. Buckley, R., 2014. Adventure tourism as a research tool in non-tourism disciplines.Tourism Recreation Research,39(1), pp.39-49. Buckley, R., Shakeela, A. and Guitart, D., 2014. Adventure tourism and local livelihoods.Annals of Tourism Research,48, pp.269-272. Dredge, D., Airey, D. and Gross, M.J., 2014.The routledge handbook of tourism and hospitality education. Routledge. Horner, S. and Swarbrooke, J., 2016.Consumer behaviour in tourism. Routledge. Mason, P., 2015.Tourism impacts, planning and management. Routledge. Morgan, D., 2016. Adventure tourism.Encyclopedia of Tourism, pp.10-11. Randle, E.J. and Hoye, R., 2016. Stakeholder perception of regulating commercial tourism in Victorian National Parks, Australia.Tourism Management,54, pp.138-149. Rice, P., 2014. Universal management: a proposal to change the direction of accessibility management in the Australian tourism industry to create benefits for all Australians and visitors to Australia.Review of Disability Studies: An International Journal,2(2). Skift.com. (2017). Available at: https://skift.com/wp-content/uploads/2014/11/unwto-global-report-on-adventure-tourism.pdf [Accessed 29 Jan. 2017].

Miss Julie Education free essay sample

Theatre presents Miss Julie by August Strindberg in a new translation for the 21st century EDUCATION PACK Spring Tour 2013 Introduction UK Touring Theatre presents Miss Julie by August Strindberg in a new translation for the 21st century Tours nationally from 16th April to 18th May 2013 Directed by Denis Noonan Production Design by Mike Lees Lighting Design by Crin Claxton â€Å"Don? t step down Miss, take my advice. No one will believe that you willingly descended, people will always say that you fell† Miss Julie, widely regarded as August Strindberg? masterpiece, is a tale of lust, power, class conflict and boundaries broken. Midsummers Eve, Sweden, 1888. While the servants? party continues in the barn outside, aristocratic Miss Julie is drawn to the kitchen and to the socially ambitious Jean, her father? s valet. What starts as a harmless flirtation, soon descends into a ferocious power struggle, from which neither can escape. Miss Julie was one of the most important plays of the Naturalistic movement in 19th century European theatre. We will write a custom essay sample on Miss Julie Education or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Its vivid depiction of the class system is still as pertinent today, and has received worldwide critical acclaim. This production presents an ideal opportunity for students to experience and study a classic text, exploring the production? s themes, characters and the style of Naturalism. It is the World Premiere of an exciting new English translation of the play, so an excellent chance for your students to engage with the play through a powerful and accessible production. The production is particularly suitable for Key Stage 4/5 students studying towards GCE A Level Drama and Theatre Studies or Performing Arts, BTEC Performing Arts and GCSE Drama or Performing Arts. It is also of relevance to GCE A Level and GCSE students of English Literature, History and Sociology. ? Please note: This production is not thought suitable for young people under the age of 14. ? ? ? ? 2? About this Education Pack ? This Education Pack is designed to fully support our touring production of Strindberg? s Miss Julie, and provide you with additional Drama and cross-curricular activities to enhance your visit to the production, and to build into your existing study. The resource comprises 3 sections: Before your visit This section contains background information on the play, as well as practical activities to help your students fully understand the play before their visit, by encouraging them to think about the themes, characters and social/historical content. †¢ †¢ †¢ †¢ †¢ †¢ Miss Julie Synopsis August Strindberg Characters Themes Literary and Theatrical Context Historical and Social Context Watching the play This section contains background information on the production and the theatre company; as well as questions and activities that students can engage with during their visit to see the production, to help maximise their understanding and enjoyment. †¢ †¢ †¢ Watching the production Cast Biographies Creative Biographies Translating Strindberg – an interview with the director Denis Noonan Evaluation and Follow-up Activities This section contains guidance for an evaluation session following the production, based on your students? critical appre ciation; as well as suggestions for follow-up activities. ? ? 3? Miss Julie Synopsis The play takes place on Midsummer? s Eve in Sweden in 1888. The entire play is set in one location, the kitchen of a large estate belonging to a Swedish Count (Miss Julie? s father). The action of the play takes place over a single night and the early hours of the next morning. The three characters in the play are Miss Julie the Count? s adult daughter, Jean his Valet and Kristin his cook. The Count himself is never seen. The play opens with Kristin alone in the kitchen cooking at the stove. Music can be heard from the servants? Midsummer? s Eve party in the barn outside. Jean enters to eat his dinner and reports that Miss Julie has stayed at home instead of going away with her father to visit their relatives; and has been dancing wildly with the servants, including himself, at the party in the barn. They discuss Miss Julie? s inappropriate behaviour for a young lady and that of the upper classes in general, and Jean promises to dance with Kristin when she finishes work. Miss Julie then enters and orders Jean to dance with her again and they leave to join the party, while Kristin continues working in the kitchen. Jean returns to Kristin in the kitchen and Miss Julie quickly follows him. She orders him to change out of his Valet? s livery and to get her a drink. After a while Kristin falls asleep in her chair and eventually goes to bed, while the flirtation continues between Miss Julie and Jean. Jean tells Miss Julie that he was love with her when he was a child, and they each recount recurring dreams they have had Miss Julie of falling and Jean of climbing. The servants then come to look for Jean, and can be heard outside singing a dirty song about him and Miss Julie. Unable to face them and with nowhere to hide, they escape offstage into Jean? s room where their relationship is consummated. When they return Jean suggests that they run away to Switzerland and set up a hotel together. However when Miss Julie reveals that she doesn? have any money of her own Jean abandons the plan and changes his tone, calling her a whore for throwing herself at him. Miss Julie gets hysterical and begins drinking wine excessively. She then tells him her family history, how her mother was a commoner, who believed in equality for men and women and raised her like a boy, teaching her to hate men. Jean orders Miss Julie to go upstairs and get some money from the house. Then Kristin enters dresse d for church, and discovers what has happened. She is disgusted with Miss Julie for demeaning herself by crossing the class barrier separating the nobility from servants. Kristin leaves and Miss Julie re-enters, carrying a bird cage. Jean insists that they cannot take the bird on their journey, and rather than abandon her pet, Miss Julie asks him to kill it. Jean decapitates the bird with the kitchen cleaver and Miss Julie finally breaks down. Kristin then enters and leaves for church, saying that she will tell the groom not to let out any of the horses so that they are unable to escape. Unable to escape, or stay and face the consequences, Miss Julie resolves to commit suicide and asks Jean to order her to do it. The bell rings, signaling that the Count has returned home. Jean immediately puts on his livery jacket and reverts to the role of servant. He hands Miss Julie his razor and gives her his final order to go the barn. ? 4? August Strindberg Johan August Strindberg was born in Stockholm on January 22, 1849. His father, Carl Oscar Strindberg, was a shipping merchant and his mother was his father? s former maid-servant. Strindberg attended the University of Uppsala, and then was variously employed in Stockholm as schoolteacher, tutor, journalist and librarian. His ? rst major play, Master Olof, was written in 1872 but not performed for 9 years, so Strindberg did not achieve ritical success until the publication of his autobiographical novel The Red Room in 1879. Srindberg frequently provoked controversy throughout Sweden and the rest of Europe with his work. He was vehemently attacked for his provocative book The New Kingdom (1880-02) and the publication of his volume of short stories Getting Married in 1884 led to him being prosecuted for blasphem y, though he was later acquitted. Partly because of these attacks, Strindberg moved to Germany in 1887 where he wrote The Father, and Denmark in 1888 where he wrote Creditors, Miss Julie and The Stronger. In 1889 he founded the Scandinavian Experimental Theatre in Copenhagen, which premiered Miss Julie with his wife Siri von Essen in the title role. However the play caused immediate shock and disgust, due to its frank portrayal of lust, inter-class relationships and most significantly the idea of sex without love. It was therefore not performed in Sweden until Strindberg established his own Intima Teater in Stockholm in 1907, and remained banned in Britain until 1939. Strindberg wrote with furious intensity. Scathing attacks and startling reflections alternate with line after line of delightfully chiselled metaphors. He participated in the strident debate about gender equality but adopted the uncommon position that men were the more oppressed sex. As the ranks of the labour movement swelled and the Swedish Trade Union Confederation, the Social Democratic Party and the Swedish Employers? Confederation were founded, he turned the concepts of upper and lower class into everyday words. Between 1898 and his death from stomach cancer in 1912 he wrote thirty five plays, including To Damascus, Parts I II and III, Easter, A Dream Play, Storm, After the Fire, The Ghost Sonata, The Pelican and The Great Highway. A hundred years after Strindberg? death in 1912, his writing is as alive as ever. His plays are performed around the world; articles and books about the man and his works are published every year. ? 5? Miss Julie Characters Miss Julie Miss Julie is the Count? s daughter and the protagonist in the play. Although she is an aristocrat, she prefers to spend her time with the servants and tries to appear to be like one of them, rebelling against the class she was born in. When the audience ? rst sees her, she is noticeably drunk and has been dancing with the peasants at their Midsummers Eve party when she should be with her father visiting relatives. She speaks about a dream she often has, in which she is standing on top of a great pillar and longs to fall down, indicating a desire to escape her social position. However her attitude to her class position is clearly confused, as she alternates between giving orders to Jean and trying to convince him to treat her as an equal. In his Preface to the play, Strindberg describes Miss Julie as a man-hating â€Å"halfwoman†. Her hatred of men is blamed on her upbringing by her mother; a feminist who raised her as a boy, dressed her in boy? clothes and taught her male pursuits. However Miss Julie is simulanteously flirtatious and coquettish with Jean, using her feminine charms to pursue him throughout the first half of the play. She alternates between traditionally female behaviour and more aggressive, traditionally male behaviour. She also shows a sado-masochistic tendency: we hear from Jean that she trained her fiance like a dog by hitting him with a whip, and later she asks Jean to hit her and ultimately requests that he order her to kill herself. Jean Jean is the Count? valet; his personal man-servant who would help the Count dress, maintain his clothes and handle all money matters concerning his master? s household. Jean was born a farm-hand? s child in a very poor family and has managed to work his way up in the social rankings to what would be considered a prestigious job. Although he is still a servant, he is intelligent and has ambitions to attain an even higher social position. He has pretensions of gentility, drinking fine wine and dreaming about owning property and becoming a nobleman with a title. In spite of his genteel and charming behaviour, Jean? s desire for social advancement causes him to act ruthlessly when required. In Strindberg? s Preface to the play he says that Jean is â€Å"strong enough not to care who he stands on when he climbs. He? s already a stranger to his fellows: he despises them as part of the life he? s rejected†. Jean? s callousness is most evident in his treatment of Miss Julie. It is clear that beyond his sexual interest in her, his main desire is to use her as a stepping stone to a more powerful position. Ultimately, unlike Miss Julie, Jean survives the play unscathed. In Strindberg? s own words, Jean â€Å"will quite possibly end up as an hotelier; and even if he does not become a Romanian count, his son will probably get to university and very likely end up on the bench†. ? 6? Kristin Kristin is the Count? s cook and is betrothed to his valet, Jean. Unlike Jean and Miss Julie, she recognises her place in society and has no ambitions to move beyond her social position. Kristin is content to be a servant and wishes to retain the social order that she is accustomed to. At the start of the play she disapproves of the fact that Miss Julie is interacting with her social inferiors and later when she discovers that she has had sex with a servant she is appalled, declaring that she can no longer work for people with no sense of decency. However, she says that she still intends to marry Jean as planned, thus once again reflecting her desire to maintain order. Kristin is religious, attending church regularly and quoting passages from the bible. Strindberg describes her in his Preface as â€Å"a female slave, stuffed full of religion and morality†. She preaches morality but steals groceries from the household, attending church each Sunday to ask for forgiveness. PRACTICAL ACTIVITY Character Study 1. Split the students into three groups and allocate each group one character from the play. 2. Ask each group to go through the text and write down 10 significant things the character says about themselves in the play. 3. On another piece of paper ask the groups to write down 10 significant things the other characters say that about their character. 4. Ask each group to stand up and present their findings to the rest of the class, writing them on the board in two columns. 5. As a class, discuss the lists on the board and decide on 3 adjectives to describe each character. ? 7? Miss Julie Themes Social Class Much of the dramatic tension in Miss Julie is caused by characters trying to move beyond their social class. Miss Julie, the Count? s daughter, describes a recurring dream in which she stands on top of a high pillar and longs to fall down, indicating her desire to join the lower classes; while Jean, the Count? s valet, also has a recurring dream in which he tries desperately to climb a tree to plunder the golden eggs at the top, indicating his desire to rise above his lowly social origins. These dreams of transcending class barriers are re? ected in Jean and Miss Julie? s behaviour with each other. Although she is an aristocrat, Miss Julie prefers to stay at home with the servants and drink beer with Jean in the kitchen. By contrast, Jean tries to behave like a gentleman by dressing up in smart clothes, drinking ? ne wine, and speaking French. He also reveals a grand vision of his future in which he will own a hotel, become rich, buy a noble title and launch a family dynasty. However, when the bell rings at the end of the play he ultimately reverts to his role as a servant. The one character who is consistent in her attitude towards social class is Kristin. She understands that she belongs to the working classes and disapproves of anything that causes the dividing lines between the social classes to become blurred. Gender Roles and Identity In the play? s Preface, Strindberg describes Miss Julie as a â€Å"man-hating half-woman† and this ambiguity regarding her gender identity plays a large part in her downfall. We learn that her character has been shaped by the influence of her mother, a commoner who initially refused to marry Miss Julie? father but instead requested that he remain her lover. This refusal to conform to traditional female roles was evident in the way that Miss Julie? s mother ran her household. She forced men to carry out female tasks while women did the men? s work, causing ? nancial ruin for the estate. Her belief in sexual equality also led her to raise Miss Julie as a boy, making her wear male clothes and indulge in tradition ally male pursuits such as hunting. As well as reversing the traditional gender roles, Miss Julies mother taught her to despise men. This leads Miss Julie to treat her ? nce with contempt, making him jump over her riding whip and hitting him with it like an animal. Subsequently, when Jean kills Miss Julies green? nch, her rage at men is nakedly revealed as she shouts, â€Å"I? d like to see your whole sex swimming in a lake like that! †. It is clear that Strindberg believes that men and women have separate roles in society and he presents Miss Julie? s unladylike behaviour as unnatural and subversive. At the beginning of the play she pursues Jean and is the more dominant ? masculine? partner in their relationship, while he plays the coy, traditionally ? eminine? role. After their relationship is consummated their gender roles reverse and she becomes timid and more feminine, whereas Jean becomes stronger, more brutal and masculine. ? 8? Sexuality As soon as Miss Julie arrives on stage it is clear that she is driven to a large extent by sexual desire. She has been dancing wildly with Jean in the barn and continues pursuing him, forcing him to dance with her again. Ultimately, their ? irtation leads to Jean and Miss Julie having sex, but there is no sense that this carnal act is based on love. In the morning when they emerge from the bedroom, Jean admits that his romantic story of childhood longing for Miss Julie was invented to seduce her. Miss Julie is appalled at having been tricked. She asks Jean to say that he loves her but he refuses to make any sentimental gestures, accusing Miss Julie of simply trying to introduce romance into the relationship to alleviate her shame at having surrendered to lust. As con? ict develops between the two, Jean condemns Miss Julie, calling her a â€Å"slut† and a â€Å"whore†, and saying he has never before seen a woman â€Å"molest† a man like she did. Miss Julie reveals that her upbringing has made her despise men but that she still cannot control her weakness for them, and it is this unbridled sexual desire that destroys her. PRACTICAL ACTIVITY ?High Society? is a good exercise for introducing students to the concept of social class and status. 1. Use a set of numbered stickers, with one sticker for every member of the class. If there are 20 students in the class the stickers will be numbered from 1 to 20, where 1 represents the lowest possible status and 20 is the highest status. 2. Give each student a sticker to stick on his or her forehead. It is important that the student must not see the number of their sticker. 3. Explain that the students are about to enter a party and must behave towards each other with due regard to status. So for example, if they encounter someone with a very high number on their head they must be polite and deferential, whereas if they meet someone with low number they should dismiss them as quickly as possible. 4. Members of the group will naturally assess their status from the way in which others behave towards them and the high status characters will ? d themselves being offered seats and glasses of champagne while the low status characters will be expected to serve the champagne. 5. At the end of the exercise, ask the students to arrange themselves in their full hierarchy with the high status characters at one end of the room and the low status characters at the other. It is important that this portion of the exercise is done without talking so that each student can make a judgment of their status without being unduly in? uenced by the opinions of others. 6. This activity can be repeated in groups of three, using the characters from the play instead of numbered stickers. ? 9? Literary Theatrical Context Literary Naturalism The literary school of Naturalism developed in the mid to late 19th century and was largely guided by the new idea of Social Darwinism, which arrived in response to the scienti? c work of Charles Darwin. Social Darwinists believed in the ? survival of the ? ttest? , a process by which the strongest individuals in society survive and thrive while the weak individuals die off. Writers such as Emile Zola took this principle of Social Darwinism and applied it in a literary context by presenting characters in a struggle for survival. One of the key elements which sets Naturalism apart from other literary schools is the belief that man is not fully in control of his own will. Rather, he is driven by forces outside his control including heredity (the tendencies we inherit from our parents), environment (the culture in which we are born and raised) and chance. Because characters in Naturalism do not have full control of their actions, the work of Naturalistic writers can be seen as ? eterministic?. In other words, it is pre-determined that certain characters will succeed or fail based on their heritage, environment or other random factors over which they have no control. These dominant forces play a key role in the ? fate? which befalls Miss Julie. Her parental heritage and the environment of her upbringing makes her a â€Å"man-hating, half woman† in the mould of her mother, causing a confused gender identity which prevents her from occupying a ? normal? female role. Theatrical Naturalism Naturalism in the theatre developed not only in response to Social Darwinism and Naturalism in literature, it also sought to do away with outdated theatrical forms of romantic melodrama which had dominated theatre in the early part of the 19th century. Naturalistic theatre practitioners wanted to present life in all of its harsh reality and examine it in detail without making concessions to the polite sensibilities of theatregoers. For example, Strindberg did not shy away from presenting the animalistic passion of Miss Julie? sexual desire in spite of the obvious offence it would cause. He was also unafraid of leaving Kristen alone on stage in silence for several minutes while Julie and Jean are at the dance. In his stage directions he insists that this section must not be rushed and that Kristen must simply carry on her domestic tasks as if she were alone in the room, without making any acknowledgement of the audience? s presence. Strindberg? s commitment to showing harsh realities and presenting his drama in ? real life? etail without old fashioned theatrical devices like footlights made him a leading ?gure in theatrical Naturalism. His work in? uenced other Naturalistic writers like Maxim Gorky and Anton Chekhov, whose plays were subsequently produced by Konstantin Stanislavsky who is widely regarded as the most important practitioner in Naturalistic drama. ? 10? Tragedy Strindberg? s conception of Miss Julie as a ? awed character moving towards an inevitably destructive fate is ? rmly rooted in the literary tradition of tragedy that dates back to the ancient Greek drama of Aristotle. An important aspect of Aristotelean tragedy is the unity of time, space and action which dictates that the drama must take place on one day, in one place and with a sequence of events which logically follow on from one another. Strindberg? s play clearly adheres to this convention, taking place over the course of one night in the kitchen of the Count? s house with a series of events that lead inexorably to Miss Julie? s death. Although Miss Julie? s fatal downfall makes Strindberg? s play ? tragic? , it is not a tragedy in the strictest classical sense. In Greek drama characters are ruined because of a lapse in moral judgement, but Social Darwinists would argue that Miss Julie strays over social and sexual boundaries because of the irresistible hereditary and environmental forces that drive her rather than through poor moral decision-making. PRACTICAL ACTIVITY Theatrical Naturalism – Private Moments 1. Ask each student to choose an everyday activity that they can do on their own e. g washing the dishes, cleaning their bedroom. 2. Give the students 10 minutes to work on this in their own time. The aim is for the students to carry on with the activity as if they were alone in the room, just as Kristin is during the pantomime in Miss Julie. 2. Share the activities with the rest of the group. Each student should perform their activity for 1 minute, with attention to detail, making their activity completely believable to the audience. They should not acknowledge the audience or attempt to entertain or amuse them in any way. ? 11? Historical Social Context Social Darwinism In 1859 Charles Darwin published The Origin of Species in which he described his theory of ? atural selection?. This theory is based on the idea that living species must compete with each other for survival. The weaker species will tend to die out while the stronger species survive and reproduce. Darwin called this process ? the survival of the ? ttest?. In spite of initial objections from religious groups, Darwin? s theories began to gain broader support; and although this thinking was based in the scienti? c sphere, the concept of ? survival of the ? ttest? started to have in? uence in other areas. In political thinking, the term ? Social Darwinism? came to prominence in the late 1800s. Social Darwinists saw the process of natural selection occurring in human society with ? strong? individuals rising to form the ruling classes and ? weak? individuals declining into poverty and dying out as a result. Those who were successful had achieved their status because they had naturally adapted to take advantage of their environment while the weak had achieved less because they were less well evolved. The in? uence of Social Darwinism can be clearly seen in Strindberg? s characters. Although Jean comes from lowly origins he has adapted to his environment by listening to the ? ne speech of his social betters and observing their behaviour. This has allowed him to adopt sophisticated manners, and although he does not currently occupy the position of a gentleman, he is suitably prepared to evolve into this role if the opportunity arises. By contrast, Miss Julie? s upbringing has made her poorly adapted to her surroundings. Her mother has forced her to become an â€Å"unnatural† (according to Strindberg) â€Å"half-woman†. As a result she is clearly un? for her social position and is naturally selected to fall. Marxism The Communist Manifesto was published by Karl Marx and Frederich Engels in 1848 and became a seminal text for all revolutionary thinkers and activists in their struggle to overthrow capitalism. Marx and Engels emphasised the need for the working classes to unite and act collectively and this began to stimulate a greater class consciousnes s among workers throughout Europe, leading to the development of Trade Unions. This political change was beginning to be felt in Sweden in the latter half of the 1800s. The position of the working classes was improving, with trade unions going on strike for higher wages and shorter working days, while in 1881 a law was passed to limit child labour in factories. The class tensions which were developing in Europe in the late 19th century are evident in Miss Julie. In his Preface, Strindberg wrote of â€Å"the old nobility giving way to a new nobility of nerve and intellect† which clearly refers to Jean, the intelligent servant, rising through society to replace the dying dynasty of Miss Julie? s family. ? 12? Feminism The position of women in Swedish society went through huge changes in the latter half of the 19th century. In 1845 women were given the right to own property and the following year they were given the right to hold certain speci? c jobs, such as teaching. In 1862 women were also given the right to vote and by the 1870s they were admitted to the universities for the ? rst time. Compared with other European countries, Sweden? s attitude to the role of women was extremely liberal. In Britain, by contrast, women were only given the right to vote in 1918. Beyond the legal provision of rights for women, major cultural changes were taking place in how they behaved socially. The ? New Woman? chose to take on the qualities of men by dressing in masculine clothing and behaving in a sexually aggressive way. The rise of feminism also saw women shunning the traditional role of housewife and home maker to live independently of the husband? s dominating in? uence. The rise of the ? New Woman? is a major issue in Miss Julie. Miss Julie? s mother clearly falls into this category, insisting that men and women are equal and orcing men to do household chores that would normally be done by women, while the women work in traditionally male roles. The fact that this policy leads to ? nancial disaster on the family estate suggests that Strindberg fundamentally disagrees with the notion of men and women being treated as equals. Miss Julie? s free thinking and sexually aggressive behaviour also position her in the ? New Woman? category and the fact that t hese actions lead to her destruction clearly indicates Strindberg? s opposition to liberal feminism. PRACTICAL ACTIVITY 19th century social and historical influences on the play 1. Split the students into three groups. Allocate each group one of the historical movements of Social Darwinism (Survival of the Fittest), Marxism and Feminism. 2. As a homework project, ask each group to research the historical movement they? ve been given and to find three examples of its influence on the characters in Miss Julie. 3. Ask the three groups to present their findings to the rest of the class in an engaging way, combining presentation and extracts from the text. ? 13? Watching the Play We hope that you are looking forward to your visit to see UK Touring Theatre? s production of Miss Julie. In order to maximise your students understanding of the show we have created a number of questions which your students can think about when watching the production. Some students may find it helpful to make notes during the show, others may prefer to concentrate fully on the production and make notes afterwards. Set †¢ †¢ †¢ †¢ Sketch the main scenic elements How is the 19th century kitchen created on stage? What are the visual qualities of the set? What colours and textures are used in the set and how do these create an atmosphere? Lighting †¢ †¢ How does the lighting affect the impact of the scenes? How would you describe the quality of the lighting? Costume †¢ How have costumes been used to help indicate different characters and their social class? Performance †¢ †¢ †¢ How would you describe the acting style? Identify the vocal techniques used throughout the show. i. e. pace, pitch, projection, inflection. How do the actors physicalise the characters? Narrative and Themes †¢ †¢ How are the themes of the play drawn out by the company? What decisions has the director made in the telling of the story? Music †¢ What effect does the music used in the play have on the atmosphere created? ? 14? Cast Biographies FELICITY RHYS – MISS JULIE Felicity trained at East 15 Acting School. Theatre includes: Enjoy (Theatre Royal Bath – Number One Tour); A Merrily Grimm Christmas, The Street and The Ramayana (all Redbridge Drama Centre); Oliver Twist (World Tour); The Lover, The Misanthrope, The Bear, The Bald Prima Donna, Teechers, A Christmas Carol (all Sevenoaks Playhouse – Repertory Season); Motherone (Oxford Playhouse Studio); Amazing Grace The Musical (Wales Theatre Company – Clwyd Theatr Cymru / Sherman Theatre / Swansea Grand Theatre); Roleplay (English Theatre of Hamburg); A Game of One Half (Jermyn Street Theatre), Dracula (English Theatre of Copenhagen); Blithe Spirit (Brewhouse Theatre Taunton); Macbeth (Courtyard Theatre). Television and Film includes: Two Series of 2 Dy a Ni (ITV Wales); Pobol y Cwm (BBC); Torchwood (BBC); 9 Steps to a New Start (Those People Productions – official selection Cardiff Screen Festival). Radio includes: A Dance to the Music of Time and Something Understood (both BBC Radio Four). ADAM REDMAYNE – JEAN Adam trained at LAMDA. Theatre includes: The Circle (Chichester Festival Theatre Number One Tour); A Merrily Grimm Christmas (Redbridge Drama Centre); Henry V and As You Like It (both British Shakespeare Company); The Misanthrope, The Lover, The Proposal, Teechers (all Sevenoaks Playhouse – Repertory Season); Take Two (Upstairs at the Gatehouse); Roleplay (English Theatre of Hamburg); You Couldn? t Make it Up (Guilded Balloon Edinburgh / New End Theatre Hampstead); The Crucible, Romeo and Juliet, Julius Caesar, Hedda Gabler (all Dramaworks UK – International Tours); Arcadia (ICA); Romeo and Juliet (Creation Theatre Company); What? Wrong With Angry (Wild Justice Company / Arts Theatre); The Hostage (European Tour). Television and Film includes: Things to Do Before You? re 30 (Samuelson Productions); Sweet Swan of Avon (Miramar); Something is Rotten (Kinomees Productions – Estonia); History? s Hardest Prison (National Geographic); Soldier Soldier and The Knock (ITV). Radio includes: Mob y Dick (BBC Radio Four); Northfields (Urban Scrawl / Theatre 503). ? 15? Creative Team Biographies DENIS NOONAN – DIRECTOR Denis trained as an actor at East 15 Acting School in the 1960s, under Margaret Berry who founded the school. Following several years work as an actor he moved into directing and teaching. His acting experience included repertory seasons in Manchester, Leicester, Hornchurch, the Glasgow Citizens? Theatres and Pitlochry Festival Theatre; as well as productions at Birmingham Studio Theatre, the Roundhouse Theatre in London and on several occasions at the Edinburgh Festival. Denis was formerly Associate Director of Dramaworks UK, a touring theatre company which specialised in performing the works of Shakespeare and other classic plays in South East Asia. Productions directed included Hedda Gabler, Julius Caesar, Romeo and Juliet and The Crucible. He also directed Scrooge at the Hackney Empire Theatre (London); A. W. O. L. at the Jermyn Street Theatre; a season of American plays at the Camden Theatre and A Play About The Bronte Sisters, which toured major Arts Centres around Britain. Denis Noonan? work as an Acting Coach and teacher of the performing arts has taken him to many centres in the UK and abroad, including the London Academy of Music And Dramatic Art (LAMDA), The Italia Conti Academy Of Theatre Arts, Mountview Theatre School, The Academy Drama School In London. He is an inspirational and highly regarded acting coach, whose former students have included Kate Winslet, Russell Brand and Ethan Hawke. Denis also appeared in a television documentary a bout the Italia Conti Academy in which his acting classes were featured. MIKE LEES – PRODUCTION DESIGN Mike trained in production design at the Rose Bruford School of Speech and Drama. Mike has designed the sets and costumes for more than 200 productions in London, the UK, Europe, America and the Middle East. Recent designs include Gone (New Ambassadors Theatre, London Tour); Mathilde (Vauldeville Theatre London Edinburgh); Calendar Girls (Regional Tour); What I Heard About Iraq (Arts Theatre London Tour); Holding Hands at Paschendale (Lyric Belfast London transfer); The Little Mermaid (National Theatre of Dubai UAE Tour); the UK premier of Max Frischs Count Oederland (Arcola Theatre); Pete Dud: Come Again! Leicester Square Theatre Tour); The Drowsy Chaperone (American Theatre London); Anansi (Southwark Playhouse); A Tale of Two Cities The Musical (UK Tour directed by Paul Nicholas); Quality Street, A Day By The Sea, Myths Hymns (Finborough Theatre); Fred Astaire: His Daughters Tribute (London Palladium). Future productions include regional tours of The Adventures of Robin Ho od, Whistle Down the Wind (UK) Cinderella (USA). www. ikeleesdesigns. com ? 16? CRIN CLAXTON – LIGHTING DESIGN Crin? s lighting designs have been seen at numerous venues across the UK and abroad, ranging from Number One venues to small and mid-scale theatres. She has a strong background in touring theatre and companies she has worked for regularly include Paines Plough, RIFCO, Clean Break, Snap Theatre, Spare Tyre, Theatre Royal Stratford East, Julie Macnamara, Dance Umbrella and Stratford Circus. Theatres and spaces lit include: Manchester Arts Theatre, Belgrade Theatre Coventry, Westcliff Palace Theatre, Salisbury Playhouse, The Albany Deptford, Roundhouse London, Greenwich Theatre, Diorama London, The Arcola London, Riverside Studios, The Hawth Crawley, Hackney Empire Theatre, The Lyric Hammersmith, Contact Theatre Manchester, the Lighthouse Poole, Mumford Theatre Cambridge, Lawrence Batley Theatre Huddersfield, Soho Theatre Studio London. For eleven years Crin was the Technical Manager at the Ovalhouse Theatre London. UK TOURING THEATRE PRODUCER UK Touring Theatre was founded in 2012 by Adam Redmayne and Felicity Rhys, who together have over 25 years experience of working in the theatre. The company is committed to developing exciting new adaptations of classic European plays; touring to theatres across the UK, Europe and beyond. UK Touring Theatre is an offshoot of another theatre company, Dramaworks UK, which was run by Adam Redmayne and Denis Noonan from 2000-2004, and toured classic theatre to Singapore and South East Asia. Previous productions included Romeo and Juliet, Julius Caesar, Hedda Gabler and The Crucible. UK Touring Theatre? s focus is on producing powerful new English language translations and adaptations of classic European plays, with wide appeal for a contemporary audience, to tour nationally and internationally. We aim to produce productions for native English speakers here in the UK and English speaking audiences overseas, which are innovative and accessible yet challenging; with the focus strongly on the original text, language and themes. We believe that a great classic play will stand the test of time, nd can be adapted for a 21st century audience without obscuring the writing. We aim to develop scripts that are powerful and exciting, while still reflecting the playwrights? original intentions. UK Touring Theatre? s focus is on excellence and quality. Quality of text, quality of production and quality of acting. All our actors have trained at the foremost drama schools in the UK and worked extensively in the theatre in the UK and abroad. We aim to bring the best of British th eatre to venues large and small across the world. www. uktouringtheatre. o. uk ? 17? Translating Strindberg An interview with the director Denis Noonan What made you want to direct this play? I actually played the role of Jean in Miss Julie many years ago, when I was a student at East 15 Acting School in the sixties. It? s a play that I? ve always wanted to revisit ever since. I am a huge fan of Strindberg? s work as a whole and I think that the issues and themes in Miss Julie are still very relevant today. It? s a powerful piece. Exactly what relevance do the themes and issues in Miss Julie have to today? s society? Well firstly the issue of class hierarchy and status. People may think that the class system doesn? t exist in this country today, but as an Irishman who grew up in a working class family and then moved over to London, I can tell you that it most certainly does. For me social class, and wanting to escape one? s social class, is the central theme of the play. And that? s something you see all the time today aspirational people like Jean who want to climb up in the world, seeking fame and fortune, as well as the upper classes who try to pretend they? re not â€Å"posh†. Strindberg? bitterness about the upper classes is something that comes through extremely strongly through the voice of Jean in Miss Julie, it? s almost autobiographical, after all he was the son of a servant himself. Then of course there are the other themes in the play lust, power struggle, the battle of the sexes – they are all issues that we can relate to today. Like all great playwrights, Strindberg? s message is still pertinent to society today. This production is a brand new translation of the play. Can you describe the process of translating the play from Swedish? First of all Felicity (who plays Miss Julie) and our Swedish language advisor Kristina wrote a literal translation of the text, word for word from the original Swedish script. By going back to the original Swedish text we discovered that Strindberg? s original script is much more direct and fast paced than many other English translations we had read. Almost every line finishes with an exclamation mark, which implies a sense of directness and urgency. Myself, Felicity and Adam (who plays Jean) then worked through the literal translation, rewriting the lines in such a way that retained Strindberg? original intentions while making them actor-friendly and also accessible for a modern audience. We also improvised around some of the lines to enable the text to flow and for the actors to embody the voices of the characters. The whole process took about 8 months and numerous drafts, but the result is a script that I think really reflects what Strindberg originally wanted to achieve with the play, a script that flows, is exciting and accessible to a modern audience and that the actors have a real ownership of. What are the challenges involved in translating Strindberg? The main challenges are obviously the linguistic ones, the fundamental differences between Swedish and English. For example Strindberg uses the Swedish formal and informal â€Å"you† throughout the play to show the changing balance of power between ? 18? Miss Julie and Jean. In English we don? t really use that, so we had to find other ways of marking the shifts in power through the language used. Idioms are also obviously difficult, as they don? t translate literally, but it? s quite fun trying to make up your own English ones that mean the same thing! I think the benefits of doing your own translation massively outweigh the challenges though – firstly there are many more words in the English language than in Swedish, which meant that we often had a lot of choice when translating a specific word, which can affect the line as a whole and then the effect it has on the other character in the scene who hears it. We always tried to retain Strindberg? s original intentions in the lines though, to make the boldest choices, which are ultimately more exciting and engaging for the actors and the audience. What is your overall vision and intention in this production of Miss Julie? My production strives to be true to Strindberg? s original intentions, to be direct and have an immediacy to the audience which is watching it. I want the audience to be involved and affected by what they see on stage, much like Strindberg? s audience was back in 1889. I am a strong believer in what Peter Brook once said, that the audience should come out of the theatre feeling and thinking differently to when they went in – otherwise it? s a waste of time. If you could direct any play in the world, what would it be? August Strindberg? s Miss Julie. ? 19? Evaluation and Follow-Up Activities Put the students into pairs and ask them to discuss their favourite moments from the production. Then share these with the rest of group. Ask the students to each come up with one question they would like to ask the director about the production. Ask the students to each write a review of the production, discussing different aspects such as set design, performance and direction. Allocate th e students different roles; such as director, set designer or actor and ask them to describe how they would they would approach their own production of Miss Julie in this role. Put the students into groups of four, then nominate one student as the director and the other three as the actors in the play. Give each group a scene from the play to work on and encourage them to work together to come up with their own practical interpretation of the scene. Divide the class into two halves. One half has the responsibility for planning a ? defence? of Miss Julie as an innocent girl who has been corrupted by Jean. The other half must plan a ? prosecution? of Miss Julie, arguing that she sows the seeds of her own downfall. The prosecution must be allowed to make their case ? rst after which the defence will respond to the accusations that are made. In order to prevent this exercise from becoming a dry intellectual discussion of Miss Julie? s behaviour, the groups should be invited to add as much dramatic content to their presentations as possible. They may decide to reconstruct excerpts from the play that serve their cause or even call witnesses to testify. Based on the performances of the two teams the teacher must either condemn Miss Julie or Jean. †¢ †¢ †¢ †¢ †¢ Further Information Workshops UK Touring Theatre has devised a series of practical drama workshops to accompany the play, which can be held at your school. Workshops are run by the director of the play and/or members of the cast, and can be booked as follows: Full day workshops (? 500) – available January to March 2013 2 hr workshops (? 200) – available during the tour period (subject to tour schedule) For further information or to book your workshop, please contact: UK Touring Theatre Tel: 020 8318 3630 / 07970 042190 E-mail: [emailprotected] co. uk Website: www. uktouringtheatre. co. uk ? 20?

Self-Assessment Essay - Your Personal Essay Sample

Self-Assessment Essay - Your Personal Essay SampleSelf-assessment essay samples are an excellent way to learn about reflective writing and some of the important differences between reflective and research essays. While self-assessment can be a great tool to help you learn about writing for the ACT, it is also a great way to teach students how to write their own essays and how to use reflective writing techniques.When you write your self-assessment essay, you will find that you have a lot of freedom. Because you are the author of the essay, you have complete control over what you include in the essay and how you word things.If you choose to write about yourself, you can include much more information than if you were writing about someone else. You can include detailed information about your academic and personal experiences, including grades, teachers, professors, and any special activities or projects that you did that developing your personality. You may even include your accomplish ments in a broad way, not just as a matter of making you an outstanding student.Reflective essays are known to give students a deeper insight into who they are as students. Since your essay is an objective reflection of who you are as a student, you want to make sure that you give students facts that are true and accurate. Your self-assessment essay can also include more philosophical thoughts and opinions, so you may want to give students more information on topics that are more subjective.Your assessment essay must stand out from the others, so you should think carefully about the topic and what you are going to say before you start writing. If you have a favorite topic or subject that you feel very strongly about, you should use that information as a theme in your essay. Your essay should also be a reflection of the academic environment you are studying in, so you may want to include information on your class life or the school's academic reputation.There are many ways that a ref lective essay can be different from a research essay. Some of the common ways to create a reflection essay include writing in the first person to convey a personal view, using metaphors, and not including information about classmates or professors. Because there are so many different ways to compose a reflective essay, it is important to find a way that is most effective for you.As you begin to write your reflection essay, you should find a way to use your opinion in order to reflect about something in which you are interested and passionate. Using these steps to help you prepare for your reflective essay is very important so that you do not put yourself or your classmates at risk by choosing to write an essay that is just reflective of your strengths.

Baroque Era Test Essays

Baroque Era Test Essays Baroque Era Test Paper Baroque Era Test Paper Essay Topic: Poetry During the seventeenth century, women who desired a public voice through music often joined a: convent Which of the following was a reason that a woman would join a convent during the seventeenth century? a. to avoid an unwanted marriage b. to seek asylum after being widowed c. to have an outlet for musical talent d. all of the above d. all of the above the canticle of Mary is generally known as the Magnificat during which service does the magnificat occur? vespers what services did Chiara Margarita Cozzolani provide for the convent of St. Radegonda? a. director of choirs b. abbess and prioress c. composer d. all of the above d. all of the above what is a type of music NOT composed by Chiara Margarita Cozzolani? the secular cantata the dramatic and mystical qualities of Cozzolanis setting of the Magnificat are similar to those of what other significant artwork? Beninis Ecstasy of Teresa Of the following, which characterizes Cozzolanis music for the Magnificat? a. imitative polyphony throughout b. an ABA structure c. expressive and rich in word-painting d. all of the above a? imitative polyphony throughout? (I wasnt sure about this one) what are the performing forces for Cozzolanis magnificat? two choirs, two soprano soloists, and organ and strings the prayer of praise at the end of the Magnificat is called the doxology a drama that is sung is called a opera the vocal style in opera that imitates the natural inflections of speech is called recitative a highly emotional song in an opera is called a aria the orchestral introduction at the beginning of an opera is called the overture the text of an opera is called the libretto what composer is regarded as the first master of opera? ? which cultural center rejected italian opera? France a type of English entertainment combining music, poetry, and dance was called the masque the greatest native-born English composer of Baroque was Henry Purcell Purcells opera Dido and Aeneas was composed for a production at a girls school who was the librettist of Purcells Dido and Aeneas? Nahum Tate what epic poem was the basis for Purcells opera Dido and Aeneas? Virgils Aeneid Dido sings her famous lament in Purcells opera Dido and Aeneas just prior to: killing herself Didos lament for Purcells opera Dido and Aeneas is composed over a ground base Luther believed that music belonged to the congregation in the Lutheran church, the weekly hymns sung by the congregation were called chorales which of the following does NOT describe the chorale? a. intended to be sung by the congregation b. four part harmony c. text in german d. simple and memorable melodies b. sang in four part harmonies the sacred cantata was an integral part of the lutheran church service the expansion of the chorale with new poetry resulted in the cantata during his musical career, Johann Sebastian Bach held position of: a. cantor of St. Thomans Church in Leipzig b. court organist and chamber musician to the duke of Weimar c. court musician to the prince of Ahjalt-Cothen d. all of the above d. all of the above Johann Sebastian Bach was most famous in his day as a performer on the organ what would listeners hear in a typical Bach chorale? intricate choral movements what is the form of the chorale tune Wachet Auf? bar form (AAB) Bachs cantata no. 140, Wachet Auf, has how many movements? seven the opening movement of Bachs cantata Wachet Auf is best described as a grand chorale fantasia the fourth movement of Bachs cantata Wachet Auf has three musical lines: unison choir, unison strings, and continuo Handels Messiah is a oratorio What is Handels most famous oratorio, frequently performed today? Messiah Why is Messiah so popular in Britain and America today? a. sung in english b. first part is appropriate for the christmas season c. it combines vocal soloists, chorus, and orchestra d. all of the above d. all of the above which of the following does NOT characterize an oratorio? a. elaborate scenery b. recitatives c. arias d. choruses a. elaborate scenery the stories for oratorios are generally drawn from the Bible George Frideric Handel is considered master of the oratorio Who was born in Germany and studied in Italy, but spend much of his creative life in England? Handel When Handel arrived in London, he established his fame by composing oratorios Later in life, Handel turned his efforts from the opera to the oratorio the subject of the second part of Messiah is the death of christ the orchestra for Messiah relies primarily on the strings Rejoice greatly, O daughter of Zion from Messiah is an example of a da capo aria what is ritornello? an instrumental refrain in an aria the famous choral climax of Handels Messiah is the Hallelujah Chorus which of the following does NOT characterize the Hallelujah Chorus? a. varied dynamics b. fugal passages c. homophonic passages d. a cappella setting d. a cappella setting in seventeenth century New England, the puritan practice of singing that is based on call and response was called lining-out what is the basic texture of the practice of lining-out? monophonic why was lining-out developed? a. most people could not read music b. most people could not afford to buy a psalm book c. the church wanted everyone to participate equally in services d. all of the above d. all of the above what is heterophonic texture? the simultaneous performance of slight variants of the same melody which of the following was NOT a musical development in the seventeenth century? a. polyphonic settings of sacred music began to appear b, singing schools began teaching music c. american composers were discouraged from writing music d. shape-note singing was developed a. polyphonic settings of sacred music began to appear which of the following does NOT characterize shape-note notation? a. it was created in order to standardize sacred melodies b. it was based on solfege, syllables used to memorize music c. the shape of a note denoted its solfege syllable d. it was first applied to tutorials for piano playing d. it was first applied to tutorials for piano playing how can the career of William Billings be described? he knew several leaders of the American Revolution Billingss best-known publication is The New England Psalm Singer the form of Billingss Davids Lamentation is ABB what is the texture of Billingss Davids Lamentation? homophonic with solos and duets of the following, what contributes to the simplicity of Billingss Davids Lamentation? a. mostly stepwise melodies b. consonant harmonies c. duple meter and regular rhythmic patterns d. all of these d. all of these what describes Spanish attitudes toward indigenous American peoples? they tried to reconcile local beliefs and christianity which of the following musical activities in NOT associated with Gaspar Fernanded? a. playing organ b. composing operas c. teaching music to choirboys d. collecting music performed in Mexico at the time b. composing operas which of the following does NOT characterize the villancico by Fernandes? a. images of christianity mixed with those of the aztec religion b. an ensemble refrain c. notation that includes parts for organ and other instruments d. a frequent short-long rhythm c. notation that includes parts for organ and other instruments the first era of western music history in which instrumental music was a major focus for composers was the Baroque which of the following does NOT describe instrumental music in the Baroque era? a. the flowering of instrumental music was largely encouraged by wealthy patrons b. elaborate instrumental music often accompanied grand celebrations c. new technologies made more sophisticated instruments possible d. instrumental music became the central focus of western concert music at this time d. instrumental music became the central focus of western concert music at this time which of the following is NOT a major difference between Baroque and modern violins? a. the general shape of the instrument b. the type of strings c. the playing techniques d. the cost of the instrument a. the general shape of the instrument during the Baroque, which of the woodwind instruments became associated with a somber mood? bassoon which of the following instruments was NOT made of wood during Baroque? a. recorder b. oboe c. trumpet d. flute c. trumpet which of the following does NOT characterize the Baroque suite? a. consists of a series of dances b. movements are in contrasting keys c. each movements is a dance type from a different country d. the movements have contrasts of tempo and character b. movements are in contrasting keys which of the following dance types was NOT standard in a Baroque suite? a. allemande b. sarabande c. courante d. tarantella d. tarantella what is the most common form of the individual movement in a suite? binary baroque composers applied the concept of the suite to: a. solo instrumental music b. keyboard music c. orchestral music d. all of the above d. all of the above handels Water Music is best described as suite why is the music for Handels Water Music marked by lively rhythms and catchy melodies? it was written to be performed outdoors on barges the Alla hornpipe movement from Water Music is characterized by instrumental groups exchanging motivic ideas the instrumental form based on the contrast of two dissimilar bodies of sound is called a concerto the typical solo concerto has how many movements? 3 the *blank* form in a concerto is loosely based on the alternation between orchestral statements and virtuosic passages for the soloist. ritornello a ritornello form in a concerto is typically found in the first and third movements who was the greatest and most prolific italian composer of concertos? Vivaldi antonia vivaldi was known as the red priest for the color of his hair vivaldi lived and worked in Venice What is Vivaldis best-known set of concertos? The Four Seasons the solo instrument in Spring from The Four Seasons is the violin Which of the following does NOT characterize Vivaldis Four Seasons? a. based on poems b. avoid ritornello form c. convey pictoral images d. structured in three movement forms b. avoid ritornello the opening movement of Spring from The Four Seasons is in what form? ritornello in the slow movement of Spring, Vivaldi evokes a dogs parking through an ostinato rhythm which of the following was NOT an important keyboard instrument during the Baroque? a. harpsichord b. piano c. organ d. clavichord b. piano What keyboard instrument is plucked by quills? harpsichord the harpsichord is different from the piano because: a. sometimes has two keyboards b. strings are plucked c. not capable of wide dynamic range d. all of the above d. all of the above the keyboard instrument that uses various sets of pipes to create contrasting colors is? organ what is toccata? an improvisatory, virtuosic keyboard work what is the keyboard form that is based on the principle of voices imitating each other? fugue what is the principal element of a fugue? counterpoint after the first statement of the fugue subject, the second entrance of the subject is called the answer the opening section of a fugue, in which all voices successively introduce the subject is called the exposition in a fugue, the areas of relaxation where the subject is not heard are called episodes which of the following is NOT a contrapuntal device that alters the orginal theme of a fugue? a. augmenation b. retrograde c. prelude d. diminution c. prelude in a fugue, the technique of stating the theme in shorter time values that go faster is called diminution in the field of keyboard music, Bachs most important collection was the well-tempered clavier what is the title of a set of 48 preludes and fugues by Bach? the well-tempered clavier how many preludes and fugues are contained in the two well tempered clavier volumes? 48 Bachs last demonstration of contrapuntal mastery was the art of the fugue how many voices or individual lines are there in Bachs contrapunctus 1, from the art of the fugue? four by which voice is the subject first stated in contrapunctus 1 from the art of the fugue? alto TRUE or FALSE: Creative voices from groups excluded from equal opportunity seldom have any emotional impact. False TRUE or FALSE: Women who made a name for themselves as professional musicians were often viewed as having low morals. True TRUE or FALSE: The convent of St. Radegonda in Milan was famous for its music-making. True TRUE or FALSE: The Catholic Church supported the performances of nuns in public and their use of polyphony. False TRUE or FALSE: In convents, men frequently joined the nuns choir in order to perform the bass parts. False TRUE or FALSE: Although coming from the family of a wealthy Milanese merchant, Chiara Margarita Cozzolani entered a convent and professed her final vows at age eighteen. True TRUE or FALSE: In Cozzolanis Magnificat, the choirs often sing in homophony. True TRUE or FALSE: In opera, the lyric melodies that release emotional tension are called recitatives. False TRUE or FALSE: Early operas, such as Monteverdis Orfeo, were simple productions for intimate gatherings. False TRUE or FALSE: The first public opera houses opened in Venice. True TRUE or FALSE: In seventeenth-century England, the masque was a popular type of aristocratic entertainment that combined vocal instrumental music with poetry and dance. True TRUE or FALSE: Purcells Dido and Aeneas was first performed in a public opera house. False TRUE or FALSE: The aria When I am laid in earth is unified by a ground bass on a descending chromatic scale. True TRUE or FALSE: The aria When I am laid in earth is accompanied by continuo only. False TRUE or FALSE: Luther believed that professional musicians had no place in a church service. False TRUE or False: A chorale is a hymn tune associated with German Protestantism. True TRUE or FALSE: Chorales were intended to be sung by a trained choir. False TRUE or FALSE: The texts for chorales were always taken directly from the Bible. False TRUE or FALSE: Bach completed over two hundred cantatas. True TRUE or FALSE: Johann Sebastian Bach lived a short, unhappy life and had no children. False TRUE or FALSE: During his lifetime, Johann Sebastian Bach was known primarily as a great organist. True TRUE or FALSE: All the movements of Bachs Cantata No. 140 make use of the chorale tune Wachet auf. False TRUE or FALSE: In Wachet auf, Bach avoids mirroring the form of the chorale in his chorale movements. False TRUE or FALSE: A bar form has the structure of A-A-B. True TRUE or FALSE: An oratorio is a dramatic, staged work with elaborate scenery and costumes. False TRUE or FALSE: The role of a chorus is especially important in the oratorio. True TRUE or FALSE: Handel wrote his oratorio Messiah over a period of four years. False TRUE or FALSE: The libretto for Handels oratorio Messiah is a compilation of verses from the Old and New Testaments. True TRUE or FALSE: Handels Messiah is divided into three parts. True TRUE or FALSE: Rejoice greatly, O daughter of Zion is in bar form. False TRUE or FALSE: The Hallelujah Chorus is the climax of the Christmas section of Messiah. False TRUE or FALSE: Handels Hallelujah Chorus includes a variety of textures. True TRUE or FALSE: Lining-out was a system designed to promote polyphony in America. False TRUE or FALSE: Lining-out often involved heterophony. True TRUE or FALSE: Shape-note notation was designed to help the general public read music. True TRUE or FALSE: William Billings was the first highly trained composer active in America. False TRUE or FALSE: Billingss four-part compositions generally placed the main melody in the soprano. False TRUE or FALSE: The text for Billingss Davids Lamentation is derived from the Bible. True TRUE or FALSE: Missionaries taught American natives plainchant exclusively in Latin. False TRUE or FALSE: The incorporation of percussion instruments in Fernandess villancico is not indicated in the score but suggested by various historical documents. True TRUE or FALSE: The Renaissance period was the first in which instrumental music was comparable in importance to vocal music. False TRUE or FALSE: Stradivarius, Guarneri, and Amati were famous makers of violins during the Baroque era. True TRUE or FALSE: The invention of valves enable Baroque trumpet players to become virtuosos. False TRUE or FALSE: Today, Baroque music is played exclusively on modern instruments. False TRUE or FALSE: The standard Baroque suite consists of a variety of international dance types. True TRUE or FALSE: Baroque suites were composed for orchestra only. False TRUE or FALSE: Handels Water Music received its name because of the depiction of waves in the Alla hornpipe. False TRUE or FALSE: The Alla hornpipe from Handels Water Music is in ternary form. True TRUE or FALSE: The typical Baroque concerto is written for a solo instrument with a continuo accompaniment. False TRUE or FALSE: The concerto lends itself to virtuoso playing. True TRUE or FALSE: The tempos in a three-movement concerto are Adagio-Allegro-Andante. False TRUE or FALSE: Antonio Vivaldi composed over two hundred concertos for solo violin. True TRUE or FALSE: Vivaldi lived in Rome, where he taught music at a girls school. False TRUE or FALSE: Bach composed the famous set of works known as the Brandenburg Concertos. True TRUE or FALSE: The Four Seasons is considered to be program music. True TRUE or FALSE: In Spring from The Four Seasons, all of the images are created in the orchestra passages. True TRUE or FALSE: The most important keyboard instruments of the Baroque were the harpsichord, organ and piano. False TRUE or FALSE: The strings of a harpsichord are plucked by quills. True TRUE or FALSE: The advantage of the harpsichord was its ability to produce crescendos and diminuendos. False TRUE or FALSE: The organ has multiple keyboards. True TRUE or FALSE: A fugue is a contrapuntal composition in which a single subject is the focal point that unifies the work. True TRUE or FALSE: A fugue is a form intended exclusively for solo keyboard performance. False TRUE or FALSE: At the beginning of a fugue, the countersubject is stated alone. False TRUE or FALSE: Johann Sebastian Bachs Art of Fugue is now generally considered to be a keyboard work. False

Locate and Identify Black Locust in North America

Locate and Identify Black Locust in North America Robinia pseudoacacia, commonly known as the black locust, is a prickly tree within the subfamily Faboideae of the pea family called  Fabaceae and is considered to be a legume with flattened pea pods several inches long. Black locust is native to the southeastern United States, but has been widely planted and naturalized elsewhere in temperate North America, Europe and Asia. The original range of the locust is in the Appalachian, Ozark and Ouachita range  located in the middle mountains of Eastern North America.  They are now considered an invasive species in some areas even within the natural range. Black locust was introduced into Britain in 1636 where it has slowly garnered a universal appeal to tree lovers. Black Locust Identification One major identifier is the long compound leaves with up to 19 leaflets which present  the typical and unique locust leaf profile (not to be confused with the twice compound leaves of honey locust). The other ID marker is a small stout briar spine  on branches, often curved and in pairs at each leaf node. Late spring to early summer flowers can be showy, white and drooping  with 5-inch flower clusters. These flowers are fragrant with a vanilla and honey scent. The leguminous fruit developing from the flower has 4-inch papery thin pods with small, dark-brown, kidney-shaped seeds. These autumn seeds will persist until the next spring. You will find this tree primarily  in areas where it colonizes open fields and roadsides. Its ability to grow in poor soils, fast growth, ornamental foliage and fragrant flowers make for a favorite tree to plant. More on Black Locust Black locust is sometimes called yellow locust and grows naturally on a wide range of sites but does best on rich moist limestone soils.  Black locust is not a commercial timber species but is useful for many other purposes. Because it is a nitrogen fixer and has rapid juvenile growth, it is widely planted as an ornamental, for shelterbelts, and for land reclamation. It is suitable for fuelwood and pulp and provides cover for wildlife, browse for deer, and cavities for birds. We must recognize that black locust is not an important tree for logging purposes as there is very little timber value and it has little lumber or paper pulp potential. We still need to remember that the tree has and is used  in the United States to be manufactured into a wide variety of products. Robinia pseudoacacia is planted for many specialized purposes. Black locust is used for fence posts, mine timbers, poles, railroad ties, insulator pins, ship timber, tree nails for wooden ship construction, boxes, crates, pegs, stakes, and novelties. Pulp with satisfactory mechanical properties can be made from the tree, particularly by the sulfate process but commercial value awaits  further investigation.

Organisational behaviour Case Study Example | Topics and Well Written Essays - 1500 words

Organisational behaviour - Case Study Example The employees became aware that the company paid low salary, overworked employees, and fired them without valid reason. This paper will present a case analysis of the situation facing the Nordstrom Company. Evidently, there is a critical problem in the Nordstrom Company. Over the years, the Nordstrom Company has exhibited a poor organizational culture. More specifically, the company does not have rewarding compensation schemes for the employees who have ensured that the company is successful. According to the case study, the employees face the compulsion of putting more hours without any overtime. In other cases, employees work for many days without having an opportunity to rest. The pay they receive does not match with the number of hours they put in as well as the increasing demands of their jobs. Many of the employees feel that their job is continually in jeopardy. They are constantly in fear of being laid off (Aquinas, 2006). For example, Ms. Lucas highlights that working at Nordstrom Company translated into working for free. The increasing demands of the ability to produce thank-you letters and other customer service books took so much time, but the pay was minimal. As a result, s he developed ulcers because of the continued stress from her job. Her case is not unique because many other employees described in the case study have highlighted that the company did not reward them as expected. Therefore, the poor organizational culture has contributed to limited levels of employee satisfaction and increased employee turnover (Fox, 2006). Although the company is highly committed to delivering exemplary customer service, it does not promote employee satisfaction and loyalty because many workers operate under stress. The accusations filed against the company indicate that it has poor labor practices. One of the potential solutions for the company is to hire a consultant who can investigate

Interpretation of The Rich Brother by Tobias Wolff Essay

Interpretation of The Rich Brother by Tobias Wolff - Essay Example Much as he behaves in the story, I conjured up the image of a selfish, mean, and rude guy with a lot of money for Pete. The facts of the story that led me to draw this image of Pete in my mind were his distaste for Donald’s act of giving away his $100 that he expressed by throwing Donald out of the car and not even realizing how bad he has behaved. Instead, Pete says to Donald, â€Å"you’d better go† (Wolff 12), thus deceiving himself that he does not need Donald. Pete has the audacity to nod to the music in his car after throwing his brother out of it. While the overall impression of Donald was that of a good guy without money, I missed out some of the most important underlying messages in the story like the real meaning of being rich unless I had discussion about this story with my friends. After discussing the story’s interpretation with my friends and listening to theirs, I reached the conclusion that the story contains some very important messages tha t make it more meaningful and sophisticated than I had presumed. My friends came up with their own opinions and conclusions they had drawn from the story, all of which sparked a number of questions in my mind; who of the two brothers is really rich; the one with more money or the one with the better character? Does Donald really need Pete to make a living or is Pete really in need of somebody with a high character like Donald? Is money so powerful that it deprives man of all sensitivity, sensibility, and humanity? Does money do that to everybody or there was something very wrong about Pete that it did that to him? These and many more questions were discussed with the peers. Comparison of the two interpretations has led me to the conclusion that when we read something and interpret it by ourselves without consulting anybody, we are likely to adopt a biased approach toward interpreting it so as to draw the meaning that we want out of it. We approach the reading in a certain way and th ings seem to make sense that way. While we definitely have a viewpoint, we tend to overlook, if not completely ignore, various other meanings that can be derived from the same reading. The state of mind in which we read a story plays a decisive role in what conclusions we draw from it. In order to get the most out of a reading, it is advisable to discuss the story with peers so as to get their opinion. While the best results can be achieved if all peers have personally read the story at least once, the reader should at least summarize the story to the peers so as to ensure that everybody gets to know about it even if he/she has not personally read it. When I discussed the story and my interpretation of it with my peers, not only that practice exposed me to a variety of themes, ideas, moral lessons, and conclusions hidden in the opinions of my peers, but I also noticed a widening of the horizon of my own thoughts. The practice opened my mind and I also came up with new conclusions th at I might not have been able to do alone. The strengths of personal interpretation include surfacing of a well-defined opinion of the reader that might be unique, sharpening of mind as one ponders over the facts of the story alone without anybody’s guidance or help, and maximization of learning as no other activity is as strong as building memory and interpretation skills as personal interpre