Comparing and contrasting both versions of Romeo Juliet Essays

Comparing and contrasting both versions of Romeo Juliet Essays Comparing and contrasting both versions of Romeo Juliet Essay Comparing and contrasting both versions of Romeo Juliet Essay Essay Topic: Film For My essay I am going to compare and contrast the two different movies by two different directors made in two different decades. Although they are very different in setting, special effects and props, they still use the same story, Romeo and Juliet by Shakespeare. But If You were to watch the two films straight after each other you would not think there were based on the same story, and here is why. Zefferellis 1968 film is a traditional adaption of the Shakespearean Play, which from my point of view was probably aimed for younger audiences in 1968 but nowadays its audience will most likely to consist of the older generation. Whereas Luhrmans version is Shakespeare for the nineties, aimed at a younger generation but just like the Zefferellis version, in years to come its audiences will probably consist of the older generation of that time. Each director achieves their aim using completely different settings, techniques, props and special effects. Both films approached the opening scenes in completely different ways and moods. Zefferellis film had quite a slow and mind-numbing beginning, in contrast to the rapid and furious opening scenes by Luhrman. The settings in the two films are completely different from each other. The 1997 Baz Luhrman Version is set in a Petrol station in downtown Verona Beach, a made up seaside culturistic city slightly similar to Miami Beach in USA, with the same social gang warfare and Political aspects. Although Verona as some similarities with Miami Beach it does have its differences. In other words Verona is a made up place in a made up world, with no exact time era but sort of reflecting todays world with the same technology, styles and everyday images of 5O clock rush hours, shops etc. A world everyone today can comprehend. The 1968 Franco Zeffirelli version is the complete opposite as I said earlier. Zeffirelli tried to keep the settings as close to the original Shakespearean play as he possibly could. The Setting is in traditional Verona which as been made to look very similar to Tudor England. Zeffirelli set the opening scene within the castle walls amongst a very crowded market square. The market square was your typical fruit and veg stalls on a cobbled castle forecourt. It was very noisy and hectic with hundreds of people gathering. In the Luhrman film the characters needed to be changed to fit in with the setting. Luhrman changed the characters by their attitude, personality and the way they dressed. The Montagues are very similar to a stereotypical seventeen-year-old adolescent of today. The Montagues seem more mischievous and less aggressive of the two gangs, more of the lad next-door type who loves fast cars, girls, partying, having a laugh and continually causing a nuisance of themselves. The reason behind my statement is in the opening scenes when the Montagues were first introduced to us, they were introduced to us in a fast car, speeding down the highway, blasting out the latest music, and screaming with laughter this suggests to me they are very light-headed. On the other hand we have the Capulets who seem the more vicious of the two, and straight away as they first appeared on film you could sense the power and tension they gave out which put the viewers on edge every time they appeared. To me they see med more like a drug dealing gang with pistols hidden in the belts and socks, walking around ready to lash out at anyone who stood in there way. Another main difference is the way the characters have been changed to fit in with each film. In the 1997 movie, Luhrman dressed his characters in the latest fashions to fit in with the settings, in contrasts to the traditional wonderful, extravagant costumes of the Zefferelli film. In the Luhrman film, the Montagues were dressed in typical beachwear consisting of brightly patterned shirts and black trousers and trainers, the sort of modern fashions of today. The Capulets wore jeans, leather jackets, boots and vest tops with a religious icon on, especially Timbalt who modelled a red vest top with a huge crucifix on, which covered most of his vest top, this to me slightly resembles the Mafia who also have lives that religion plays a big part of. This also suggests to me that they idolise their religion, just like many fans of pop groups, artists etc who parade around in their favourite souvenir t-shirt of today. One thing I liked about the Luhrman film was the use of the newsreader at the very beginning of the film. Straight away you could tell this film was going to have a modern setting. The newsreader introduced the prologue and informed us on the latest freud and the history between the two families, just like a real news report on a 6 Oclock news programme that me and you would watch today. Obviously this idea would no way work in the Zefferelli version because of the time era Zefferelli set it in as there was no televisions in the seventeenth century, so therefore there wasnt any daily televised news reports. The very first scenes start with a small television screen in the centre of a black backdrop, as the camera moves closer towards the television screen you realised that there is a newsreader, this is the same newsreader I mentioned earlier. After she has finished introducing the prologue of the play the camera quickly moves onto an overview of the city. The camera is speeding up, this only lasts for a matter of a few seconds, but during them few seconds you will of noticed several scenes of a huge statue of Jesus that towers over Verona this backs up my statement about Verona being a very Religious City. During them scenes there was music, this same piece of music is used during the introduction of the characters and works very well in building up tension straight away to the film. After the overview of the city, the words In Fair Verona in bold appear across the screen, again against a black backdrop the camera freezes for several seconds then continues to view the city and again p aying special attention to the statue of Jesus with lots of close ups. Luhrman keeps the modern theme alive still by using different types of medias to stress the recent conflict between the two families, as many newspaper headlines and Magazines covers slide across the screen, again stressing the hatred and conflictations between the two. As the music continues to build up tension, the cast of the film begin to appear, they appear with their character name as the camera takes a close up on them and freezes for a few seconds then continues to the next person. This is very similar to the beginning of many American soap operas for example Dynasty. In Dynasty there characters were introduced in the same way. When the Montagues were first introduced to the viewers there are in a car, the camera follows the car along the highway. Also the music changes to a more modern style. The first shots of the Capulets were of their feet. The camera focuses on a close up of Abras steel-heel boots putting out a cigarette end. Cowboy music starts to creep in as the tension begins to build up again. When the two gangs begin to fight the camera does an extreme close up on Abras Pistol as he opened his jacket so his gun was on full show. Then the camera pointed straight at Benvolio who was also holding a hand pistol, Luhrman also brought in some small amounts of humour because as Benvolio screamed put up your swords the camera did a close up of the gun so the viewer could read Sword 9mm. When Timbalt, the capulets leader arrived on scene, there was a lot of close ups involved especially on Benvolios face as you could sense the fear within his face as Timbalt pointed his gun at him. Unlike The Luhrman Version, Zefferllis film is very slow starting. The camera focuses for several seconds on the city of Verona a traditional Tudor like town a bit like what London would of looked like in the seventeenth century, then the camera slowly glides across the city, the graphics are very dated and the colour is sort of grey, old looking and broody. There is traditional Shakespearian music playing in the background which is not building up any sort of tension, whereas the music being used in the beginning of Luhrmans did. Most Of The shots were long or medium shots, the only real close ups were of Timbalt. I think the reason behind this was to show the importance and the strength of his character within the play. The shots of the fighting were as though you were there in the peak of it all. The first shots of the Capulets were of there feet, I also believe the reason behind this was similar to the reason behind the extreme close-ups of Timbalt, which was to show his characters importance and strength within the play. This is the end of my essay; my favourite of the two films would probably be the 1997 Luhrman version although I could understand what the characters were saying more clearly in the Zefferellie version. The Luhrman version kept me from falling a sleep where as the Zefferelli was very boring and slow. It was also something I could comprehend, because of the modern settings and styles in the movie. The Luhrman movie was full of tension throughout the introduction and kept you on the edge of your seat at all times. He also brought in some humour, although it was very mild it was better than nothing, and I think the bit where the nuns were hitting one of the Montagues over the head worked very well and fitted in nicely with the modern theme. I also liked the music at the beginning, im not sure exactly who it is composed by, but I think it played a huge part in building up the tension.

Perlocutionary Acts Definition and Examples

Perlocutionary Acts Definition and Examples In speech-act theory, a perlocutionary act is an action or state of mind brought about by, or as a consequence of, saying something. It is also known as  a perlocutionary effect. The distinction between the illocutionary act and the  perlocutionary act is  important, says Ruth M. Kempson: The  perlocutionary act is  the consequent effect on the hearer which the speaker intends should follow from his utterance. Kempson offers this summary of the three interrelated speech acts originally presented by John L. Austin in How to Do Things With Words published in 1962: A speaker utters sentences with a particular meaning (locutionary act), and with a particular force (illocutionary act), in order to achieve a certain effect on the hearer (perlocutionary act). Examples and Observations A. P. Martinich, in his book, Communication and Reference, defines a perlocutionary act as follows: Intuitively, a perlocutionary act is an act performed by saying something, and not in saying something. Persuading, angering, inciting, comforting and inspiring are often perlocutionary acts; but they would never begin an answer to the question What did he say? Perlocutionary acts, in contrast with locutionary and illocutionary acts, which are governed by conventions, are not conventional but natural acts (Austin [1955], p. 121). Persuading, angering, inciting, etc. cause physiological changes in the audience, either in their states or behavior; conventional acts do not. An Example of a Perlocutionary Effect Nicholas Allott gives this view of a perlocutionary act in his book, Key Terms in Pragmatics: Consider a negotiation with a hostage-taker under siege. The police negotiator says: If you release the children, well allow the press to publish your demands. In making that utterance she has offered a deal (illocutionary act).  Suppose the  hostage-taker accepts the deal  and as a consequence releases the children. In that case, we can say that by making the utterance, the negotiator brought about the release of the children, or in more technical terms, that this was a perlocutionary effect of the utterance. Shouting Fire In her book, Speaking Back: The Free Speech Versus Hate Speech Debate, Katharine Gelber explains the effect of shouting fire in a crowded venue: In the perlocutionary instance, an act is performed by saying something. For example, if someone shouts fire and by that act causes people to exit a building which they believe to be on fire, they have performed the perlocutionary act of convincing other people to exit the building....In another example, if a jury foreperson declares guilty in a courtroom in which an accused person sits, the illocutionary act of declaring a person guilty of a crime has been undertaken. The perlocutionary act related to that illocution is that, in reasonable circumstances, the accused person would be convinced that they were to be led from the courtroom into a jail cell. Perlocutionary acts are acts intrinsically related to the illocutionary act which precedes them, but discrete and able to be differentiated from the illocutionary act. The Accordion Effect Marina Sbis, in an essay titled, Locution, Illocution, Perlocution, notes why perlocution can have a surprising effect: Perlocution has no upper border: any consequential effect of a speech act may be considered as perlocutionary. If breaking news surprises you so that you trip and fall, my announcement has not only been believed true by you (which is already a perlocutionary effect) and thus surprised you, but has also made you trip. fall, and (say) injure your ankle. This aspect of the so-called accordion effect concerning actions and speech actions in particular (see Austin 1975: 110-115; Feinberg 1964) meets general consent, apart from those speech-act theorists who prefer to limit the notion of perlocutionary effect to intended perlocutionary effects.... Sources Allott, Nicholas. Key Terms in Pragmatics. Continuum, 2011.Gelber, Katharine. Speaking Back: The Free Speech Versus Hate Speech Debate. John Benjamins, 2002.Martinich, A. P.  Communication and Reference. Walter de Gruyter, 1984.Sbis, Marina. Locution, Illocution, Perlocution in Pragmatics of Speech Actions, ed. by  Marina Sbis and Ken Turner. Walter de Gruyter, 2013.

Sexual Harassment of Women in India Essay Example | Topics and Well Written Essays - 500 words

Sexual Harassment of Women in India - Essay Example India is predominantly a society where men are far more empowered than women. In spite of the fact that India is a rapidly developing country, yet most of the development is limited to few big cities. There are many regions within India where the cultural norms and lifestyle of people is very different from what is covered by the media or is known to people. India is largely a conservative society in which men are assigned the role of earning bread for the family and women are expected to take care of the family and look after domestic works. However, as the literacy rate of the Indian people has soared up over the decades, the tendency to let women work shoulder to shoulder with men has grown. Nevertheless, â€Å"these young people do not reject traditions governing relations between the sexes†. Accordingly, men see women as objects of sex even when they are their colleagues.

Essay on Process Improvement Example | Topics and Well Written Essays - 1250 words

On Process Improvement - Essay Example Following a lengthy process, the recruitment process conducted by TS takes too long resulting in some interested candidates getting taken away by other companies. Within the framework of the company itself, some employees appear very dissatisfied with the services rendered by the company. The level of input appear to be dwindling among the employees of Talent Seek, reaching levels of failing to cooperate with the newly appointed manager of the Business Analysis and Improvement team. Objectives of the improvement process The purposes of performing a process improvement include identifying the processes that require improvement, analyzing the identified processes, and finally implementing the desired changes aimed at improving the processes. The processes reviewed for improvement ought to present a surmountable impact on the customer satisfaction or competitive advantage. While numerous reasons exist, for implementing process improvement, the case of Talent Seek would mainly aim at imp roving customer satisfaction with the services offered. The improvement of customer satisfaction, required by the company, remains reducing the time taken to complete requested recruitments. This duration appears to cause some qualified candidates to lose interest in the employment opportunities offered. Reducing the duration, therefore, remains essential to the overall improvement of the process and ensuring the recruitment of the best candidates within the specified job market. The improvements Disconnects could be defined as elements that appear to inhibit the efficient and proper functioning of a process (Rummler, 1996). They form the basis upon which improvements should target, as handling disconnects improves the entire process. Proper handling of the prevalent disconnects remains essential in ensuring improvement of the entire process. Within the TS recruitment process, majority of the delays result from processes considered protocol within the company. Majority of these â₠¬Ëœprotocol’ stages could be eliminated in order to quicken the process, hence improvement of the operations. In the preparation stages of the process, the client-end managers could be handed the task of determining terms and conditions for the various vacancies. This would efficiently cut the consultation period utilized when the TS team determines the terms, and the client-end managers have to counter-check before the process can proceed. A cost effective method for implementing such changes would be charging for the services of drawing conditions and terms. Companies willing to have conditions determined by TS would pay for the service, effectively; the TS Company would cater for the remunerations of the individuals performing the job through these payments, while making a profit. Within the recruitment process, TS could limit the duties performed by the recruitment panelists. The roles of the panelists could be reduced to only conducting the vis-a-vis interviews. The aspe ct of having the panelists’ review the applications could be done away with as it only consumes time. Since panelists must be sourced once applications have been received, the roles played by these individuals need to remain minimized to reduce the duration. The role of the panelist in the actual recruitment ought to remain limited to conducting the interview, on the specified period. Being expatriates, retaining panelists for long periods could prove costly to the recruiting company. In managing the costs

Criminology Research Methods

Criminology Research Methods Using examples from published research, critically consider that way that choice of study design might influence research findings and conclusions.   A study design is a fundamental component of any piece of research, providing a structure within which to implement a suitable methodology for the collection and analysis of information and data. The choice of study design employed in criminological research will inevitably influence the findings and conclusions drawn, which may subsequently be used to shape the direction of future policies and interventions within the sphere of criminal justice. This is particularly the case in relation to domestic violence, which remains a socially and politically contested area with regards to the extent to which it merits and requires criminalisation. I therefore intend, with reference to published research, to critically examine how choice of study design may yield different findings and contributions to contemporary understandings of domestic violence. Before considering the various types of study design, it is necessary to provide a brief account of the nature and context of domestic violence. Academics highlight that it is a distinct phenomenon from other forms of conventional violence, often characterised by a series of ongoing violent episodes as opposed to one discrete event and a typical reluctance on the part of victims to recognise and voice their victimisation (Mirrlees-Black, 1999). Criminological research in this area has assumed heightened importance in recent years due to shifts in Government policy towards criminalisation  [1]  . It is therefore vital that any research in this area necessitates an appreciation of the contextual circumstances within which perpetrators and victims operate. A number of study designs are available for the purposes of criminological research, the primary distinction existing between experimental and non-experimental designs; which include randomised control trials, quasi-experiments, cross-sectional and longitudinal designs as well as ethnographic studies. The choice of design will affect the strength of both the internal  [2]  and external  [3]  validity of the findings and conclusions. Bryman notes that the study design chosen reflects a decision about the priority being given to an array of dimensions. These include articulating causal connections, generalising the findings, understanding behaviour in a specific context and having a temporal awareness of social phenomena (2008:35). In addition, certain designs may lend themselves more easily to quantitative or qualitative data, which may impact upon a researchers choice of design given the fundamentally diverse characteristics of both.  [4]   The true experimental design is often referred to as the gold standard (Bryman, 2008:38), despite being rarely employed in criminological research (Wesiburd, 2000:181) due to its potential to yield findings with strong internal validity, particularly if randomised control trials are employed. The experimental design involves the manipulation of the independent variable in order to elicit variation in the dependent variable, a classic example being Bushmans (1995) investigation into the impact of violent films on those pre-disposed to aggression. In randomly assigning subjects to control and experimental groups, he was able to control for rival causal factors, resulting in findings with strong internal validity. True experiments may be either laboratory experiments  [5]  or field experiments  [6]  , although it can be argued that conclusions drawn from laboratory experiments may not have the same level of generalisation due to their artificial setting. However, it is argued th at it is the theoretical principles that are being generalised, not the specific characteristics of the sample, setting or measure (Anderson and Bushman, 1997:22). The experimental design was utilised by Sherman (1984) in investigating the specific deterrent effects of arrest on perpetrators of domestic violence, whereby three types of police response (arrest, mediation ad separation) were randomly assigned to legally eligible cases. The dependent variable, in this case recidivism, was measured over the course of 6months following police intervention using both official data and victim reports. The studys conclusion, that swift imposition of a sanction of temporary incarceration may deter male offenders in domestic violence cases (Sherman, 1984:270), is often cited in support of mandatory arrest policies. However, given that experimental designs are notorious for their weaker external validity  [7]  , it is questionable whether Shermans findings lend themselves to such a sweeping generalisation. Indeed, follow up studies in other US cities revealed more mixed results, with some concluding that arrest had negative effects for victims (Garner et al. 1995). The findings and conclusions by Sherman have been attacked on a number of grounds. Dobash contends that the experiments were designed and carried out with little knowledge of existing and theoretical positions regarding violence against women (2000:254). Indeed, it can be argued that the failure to appreciate the possibility that the reason the arrest of perpetrators resulted in lesser recidivism was not due to its deterrent effects but a result of the victim failing to call the police again or to report their victimisation to interviewers due to fear of a repeated retaliation by the perpetrator that might have followed the initial arrest. This is particularly since qualitative studies have revealed the extent to which victims reluctance to involve the police are a direct product of their fear that an arrest will lead to an escalation of the violence (Felson et al.2002). In addition, Fagan highlights that the short follow-up period of 6months failed to take into account the episodic and cyclical patterns of family violence (1989:382). It therefore appears that Shermans pre-occupation with experimental form, in this case a randomised control experiment, precluded a proper consideration of the nature and contextual characteristics of domestic violence. A variation of the true experimental design is the quasi-experiment, commonly employed in the evaluation of criminal justice interventions due to the ethical difficulties associated with random assignment. Such experiments have been used to research the effect of rape law reforms on the number of rapes reported to the police.  [8]  However, due to the absence of random assignment, such a design may not yield findings that are considered as strong in terms of their internal validity due to the lack of control over intervening causal variables. The Violent Men Study (Dobash, 2000) employed a non-equivalent control group design to evaluate the impact of different criminal justice sanctions on domestic violence, involving the matching of subjects within the different groups. The qualitative data revealed much higher rates of re-offending than the quantitative arrest records portrayed, leading the authors to remark that these stark differences cast grave doubt on the veracity of criminal justice statistics as indicators of the levels of violence or of the effectiveness of interventions (Dobash, 2000:267). In addition, in contrast to the experimental study of arrest that merely speculated the reasons for reduced levels of recidivism following arrest (Sherman, 1984), the Violent Men Study was able to contribute to an understanding of both how and why certain interventions could lead to a cessation of violence (Dobash, 2000). Such findings were arguably facilitated by the fact that the study design was more attuned to the context and dynamics of domestic violence, such as the fact that it was longitudinal in nature, tracing victims experiences and perpetrators criminal involvement over a period of 12months at regular intervals and drawing a comparison between the two sets of data  [9]  . The advantages associated with this design have led to a replication of it in subsequent research.  [10]   An example of a non-experimental study design is the cross-sectional, involving the collection of information and data relating to a designated phenomenon at a particular instance in time. A classic example is the investigation of the effects of visible public and social order on evolving crime rates in Chicago (Sampson and Raudenbush, 2001). However, the problems associated with such a design relate to both the internal validity and the ambiguity of the direction of causality, which may therefore significantly influence any conclusions drawn, as was the case in the Chicago study which could not establish whether the high crime rates resulted before or after a variation in social control (Bachman and Schutt, 2007:154). A study by Hoyle and Sanders (2000) of victims within Thames Valley police force areas utilised a cross-sectional non-experimental design to investigate victims perceptions of the value of various criminal justice interventions. The non-experimental dimension facilitated a more in-depth exploration of victims experiences and beliefs and a deeper contextual understanding of the nature and effects of domestic violence, with the authors highlighting that the more powerful the controlling behaviour of their partners, the less likely it is women will seek to involve the criminal justice system (2000:21). However, a significant drawback of the cross-sectional design is that it results in findings that inevitably fail to capture the recurring and ongoing nature of domestic violence. By contrast, a longitudinal design, involves the collection of information and data at several points in time, which can also resolve any ambiguity concerning the direction of causal influence. Thus, academics assert that the value of longitudinal data is so great that every effort should be made to develop longitudinal research designs whenà ¢Ã¢â€š ¬Ã‚ ¦appropriate (Bachman and Schutt, 2007:155). A study by Sullivan and Bybee (2004) interviewed 278 women, who has just left a domestic violence shelter, at various intervals for three years. By collecting and analysing data over a substantial period of time, the study was able to provide a greater understanding of the unique trajectory of domestic violence. However, the problem of attrition is particularly salient for longitudinal designs, with Bachman and Schutt highlighting that those in greatest need are often the most likely to drop-out (2007:159). This has obvious implications for the validity of findings, since a drop-out of the most domestically victimised subjects could mask the extent and seriousness of domestic violence. An interesting study design that is rarely employed, but could nevertheless provide a valuable insight into the phenomenon of domestic violence, relates to ethnography. The purpose of which is to look more in-depth at the mechanisms underlying a social process and to gain an insight into the interpretations and perceptions of actors (Crow and Semmens, 2008:37). Such an approach was taken by Websdale, who provided a critical ethnography of how rural patriarchy shapes the perpetration and policing of domestic violence (Adelman, 2004:135). Although such findings and conclusions cannot obviously be generalised, ethnographic designs serve to reveal important details about the experiences of particular sub-groups of the population, which may not be adequately reflected in the findings of more conventional study designs. In conclusion, it is apparent that choice of study design in criminological research can have a marked influence on the findings and conclusions drawn. In relation to domestic violence, whilst it appears that true experiments yield results with the strongest internal validity, they nevertheless fail to account for the dynamic processes operating which trigger the variation in the dependent variable. The context-specific approach taken by other designs may have the potential to fill this gap by affording a greater emphasis on process as opposed to outcome. In addition, longitudinal designs are vital in capturing the intrinsic trajectory nature of domestic violence which is often ignored by cross-sectional designs. However, it is apparent that a deeper and proper understanding of domestic violence, in order to implement effective policies, necessitates the exploitation of the various strengths of both experimental and non-experimental study designs. To conclude otherwise would be to ig nore the inherent nature of domestic violence and to relegate it to the status of any ordinary violent crime, from which it is clearly distinct. Word Count: 1992

My first trip

Immediately they unloaded Eider's shiny black Ford Focus, and headed to their hotel suite. Once they were inside they all picked out a room, and went to get a nights rest. Allison woke up before anyone else, so she went to make coffee. As the smell of the strong, coffee filled the suite, everyone began to awake. Dillon looked like half awaken zombie as he made his way to the kitchen. Allison poured everyone a cup of coffee, and turned on the TV Just as the breath taking image of snow fell across the screen. It seemed to be the weather forecast for that very day.They all began to listen carefully as the weather man described the windy, wet, and snowy day that was ahead of them. They couldn't help but cringe. Weather conditions like that make for a harsh day on the side of the mountain. Allison seemed to be out her daze and back into her own head again, as Dillon started laughing. â€Å"What's that funny' Allison replied. â€Å"The look of anxiety on your face, Just stay calm, today will be fine! † Dillon said. He was right, maybe not the ideal weather for skiing but they would still enjoy it. Before Allison could say anything, Dillon started digging through the gear on the table.Looking at the mound of gear thrown everywhere it reminded them of a post tornado. Jackets, boots, goggles, gloves, helmets, and bibs completely dispersed. Allison knew that her bright silver boots would stand out, she backed up and evaluated the whole table. Sure enough she found them. Dillon then started complaining about his bindings on his board and criticized the salesman for his lack of knowledge about the gear he sales. As the knocking noise of the ski-lift drifted through the mountains, they all held on carefully, looking down at all the steep, scary, slopes below them.This was Ellison's first time skiing, so she was extremely excited to try it out! While the ski-lift rocked back and forth Dillon, told Allison some advice for surviving the slopes on the mountain. She coul dn't pay attention because she was so ecstatic to ski that his advice went in one ear and out the other. They came to the top of the lift and Jumped off, Allison fell onto her back as her skis slide out from under her feet, while Dillon lidded smoothly down the slick little hill proceeding the lift.Allison stood up in time to see the shiny snow start to fall down on the slopes. She snapped her feet back into the skis and looked down at the terrifyingly, steep mountains. Allison took a deep slow breath, no turning back now. Ellison's adrenaline picked up and flew through her body faster than the speed of lightening. She was amazed and terrified all together. Going down slopes made her feel like she is floating on air. With the snow leaving fresh layers of white dust laying al about, it felt like being shot straight out of a rocket.The slopes seemed endless. Her goggles kept fogging up, and the thought of falling off the side of the mountain or hitting a tree kept crossing her mind. W ith her face covered in freezing ice, she tried to clear her goggles while keeping her balance. She hadn't learned to slow down or stop on her skis yet, and instantly regretted it. While she attempted to swerve around the other hundreds of skiers, her speed had picked up so much that she became afraid of the next couple of actions that could cake place on the gigantic slope.Gaining even more speed, and losing more balance, she knew that she would have to stop herself soon before the speed took over her body and became dangerous. Taking a huge breath in, trying to stop her skis she was flung forward out of her skis, tumbling down the horrific hill. Completely disoriented from the fall, she tried to stand up but her legs were shaking like an uncontrollable seizure. She was soaking wet from the beyond freezing snow that covered her whole body. Dillon quickly approached her, carrying her skis, along with his board; His face seemed terrified. Are you okay, Ally? † Dillon asked, â⠂¬Å"I'm fine, Just a little shaken up† replied Allison. She knew she couldn't give up, finally standing back up but still feeling wobbly from the accident, she gave it another try. Knowing things could have ended much worse, she attempted it over and over again, until she got it right. Even though she had fallen down multiple times, skiing couldn't compare to any other feeling in the world, and she had a great time on her first skiing adventure!

Business Practices Omega Consolidated Industries ( Oci )

Organizations are constantly seeking ways to enhance its operations by developing its business practices on a global scale, which often requires building additional facilities to effectively serve its customers. Omega Consolidated Industries (OCI) is a worldwide corporation who has plans of constructing a new manufacturing facility in China. Faced with a construction completion timeframe of two years - from start to finish - the OCI president formed a well-rounded team to head the project. The newly formed project team was comprised of a Chief Financial Officer (CFO), Vice President of Engineering (VPE), Procurement Manager (PCM), and the Plant Manager (PLM) who will oversee the new facility. The team members from various departments, with various skillsets, would help define the project’s requirements, oversee the construction, and monitor the progress to ensure requirements were being addressed. Inclusive to the project team’s duties was the task of developing a reque st for proposal (RFP) to solicit proposals from a number of qualified contractors to build the manufacturing facility. This paper seeks to address OCI’s approach to implementing a plan to ensure the new manufacturing facility was constructed based on the organization’s requirements and specifications, within budget, and on schedule. The discussion will review the OCI project team’s approach to soliciting the support required to complete the project, the vendor selection process, and potential alternative