National Weather Service Weather Forecast Office Essay Example for Free

National Weather Service Weather Forecast Office Essay This website is one of the esiest websites I could check about the daily weather through it. I can feel comfotable while Im using the services which provided in the website. This website provide many things and they are very important for me as a pilot.You can be beneficial and awarnce about the weather any where in the United states of America by entring your city and the Zip code of your city then you will get all the information and forcasts about the daily weather in your city. When you open the website you will finde the current tempreture in (C/F ) of the current hour that you opened the website in. As we said it provides a lot of services and we will talk about the most usful and helpful one. Current hazerd service provides you about the warnings around United States map, like the red color for the tornado warnings and blue one for thunderstormes warinings. Also it gives you the freezed areas in blue color. Current condetions service provides the condtion of the weather in many maps like radar and satalite maps.Also you could find the snow condtion around the area and how is it converd and talks about the snow analyzis. Hydrology talks about the weather condition on the rivers and lakes which is very helpful for these people who are going to camping around lakes or rivers, so they be knowledgable about what is going on around that area to know exactley what they should brind to wear ‘ winter or summer clothes ‘. News link provides fresh stories about what happening around the area, if tornado or hurrcain estapleshed in some area you find the information about this news in this link. Useres also can add their reports and I see that its really good service to keep comuncation with people which may make it more accuret informations. You can as user creat your own account and start adding reports about weather and claimet. At the end I could say its really usfull website especially for me as a pilot and for people who are caring about the weather. You can be safe and aware about whats going on in the claimet to avoid thunderstorms and tornedo by seeing the warnings and alarms. Also goo for reguler people they can get information about the current weather and forcast for the whole day which make them aware about whats is going to wear in this whole day and avoiid the very cold weather at the morning in example.

Exposing Capitalism in Upton Sinclairs The Jungle Essay -- Sinclair J

Exposing Capitalism in The Jungle      Ã‚  Ã‚  Ã‚   While the works of Upton Sinclair are not widely read today because of their primacy of social change rather than aesthetic pleasure, works like The Jungle are important to understand in relation to the society that produced them.   Sinclair was considered a part of the muckraking era, an era when social critics observed all that was wrong and corrupt in business and politics and responded against it.   The Jungle was written primarily as a harsh indictment of wage slavery, but its vivid depictions of the deplorable lack of sanitation involved in the meatpacking industry in Chicago resulted in public outrage to the point where Congress passed the Pure Food and Drug Act and the Meat Inspection Act.      The Jungle is a product of the era when industry was rapidly evolving and millions of immigrants came to America, the perceived land of milk and honey.   What they often found instead were a lack of jobs, low paying jobs in deplorable conditions and the realization that the American dream was not equally accessible to all.   In the novel Sinclair denounces in brutal prose the deplorable conditions of the Chicago stockyard where the men and women workers are diminished to a level lower than the dumb beasts they must slaughter in the fields.   Many immigrants were forced to accept such conditions and low wages because they did not have other options.   Jurgis wrestles with this dilemma when he thinks of turning down a job in the lowest of all occupations, a fertilizer plant worker, "As poor as they were, and making all the sacrifices they were, would he dare to refuse any sort of work that was offered to him, be it as horrible as ever it could?   Would he dare to go home and eat bread tha... ...llows Sinclair to tack on an optimistic ending where often in life none was found.   Like Steinbeck's The Grapes of Wrath, the ending of Sinclair's novel is a victory for the common man, the working class man and woman who were so great in number, so indomitable in spirit, and so determined to survive that there was no force of oppression too great to be surmounted, "...then we will begin the rush that will never be checked, the tide that will never turn till it has reached its flood-that will be irresistible, overwhelming-the rallying of the outraged workingmen of Chicago to our standard!...We shall bear down the opposition, we shall sweep it before us-and Chicago will be outs!   Chicago will be ours!   CHICAGO WILL BE OURS!" (Sinclair   341). Works Cited Sinclair, U.   The Jungle.   (7th printing).   New York: The New America Library of World Literature, 1964.

From History to Modern Era Essay

The great virtue of this estimate of Zionism is that it seems to succeed in providing the modern movement with a long history of which it is the heir. Zionism is made to stand in an unending line of messianic stirrings and rebellions against an evil destiny which began right after the destruction of the Temple by the Romans, with the Bar Kokba revolt in the next century. This theory highlights the story of frequent â€Å"ascents† of small groups of pietists from the Diaspora to the Holy Land, occurring in every century of the medieval and pre- modern age, as expressions of a main theme — indeed, of the main theme — of â€Å"return,† which gave meaning to Jewish experience in the exile. The bond between the people and its land, which it never gave up hope of resettling, was thus never broken, and Zionism is, therefore, the consummation of Jewish history under the long-awaited propitious circumstances afforded by the age of liberalism and nationalism. Despite its neatness and appeal, this construction, which is chiefly identified with the name of the distinguished Israeli historian, Ben Zion Dinur, must be subjected to serious criticism. In the first place, it is really a kind of synthetic Zionist ideology presented as history. The assumption of being in the midst of an â€Å"end of days,† of a final resolution of the tension between the Jew and the world, is as yet unprovable. To date, even after the creation of the state of Israel, Zionism has neither failed nor succeeded. The position of the Jew is still unique in the world, and only those who are certain that their theories foretell the future can be convinced that, for example, the Diaspora will soon be dissolved. This may, indeed, be true, but an interpretation of the meaning of Zionism in Jewish history which boldly asserts that it must come to pass — as this theory does — is suspect of being doctrinaire. Much more could be said in detail about the implications of this theory that Zionism is Jewish messianism in process of realizing itself through this-worldly means. This description fits that stream of Zionist thought which remained orthodox in religious outlook, and therefore limited its tinkering with the classical messianic conception of the Jewish religion to the question of means; but this thesis pretends to apply to the main body of the movement, and, as such, it is artificial and evasive. What is being obscured is the crucial problem of modern Zionist ideology, the tension between the inherited messianic concept and the radically new meaning that Zionism, at its most modern, was proposing to give it. Zionism: Messianic Era Religious messianism had always imagined the Redemption as a confrontation between the Jew and God. The gentile played a variety of roles in this drama — as chastising rod in the divine hand, as the enemy to be discomfited, or, at very least, as the spectator to pay homage at the end of the play — but none of these parts are indispensable to the plot. In the cutting edge of Zionism, in its most revolutionary expression, the essential dialogue is now between the Jew and the nations of the earth. What marks modern Zionism as a fresh beginning in Jewish history is that its ultimate values derive from the general milieu. The Messiah is now identified with the dream of an age of individual liberty, national freedom, and economic and social justice — i. e. , with the progressive faith of the nineteenth century. This is the true Copernican revolution which modern Zionism announced — and it patently represents a fundamental change not merely in the concept of the means to the Redemption but in end values. Every aspect of Jewish messianism has been completely transmuted by this new absolute. So, classical Judaism had, for the most part, imagined that at some propitious moment an inner turning by the Chosen People would be the preamble to evoking the saving grace of God. Zionism, too, knows that the Jewish people must be remade in order to be redeemed — indeed, its sweeping and passionate demands lent themselves to being spoken in language reminiscent of the prophets — but it is supremely aware that its millennium is out of reach without the assent and co-operation of the dominant political powers.

Breaking All the Rules

In How To Succeed In Business By Breaking All The Rules it states that to succeed in business one must be able to use an unorthodox style which allows that person to break free from ancient ways of thinking and be able to use new ideas in developing entrepreneurial and business skills. One way this will be proven is to look at how positive thinking and motivation hamper people in making tough business decisions. Secondly, this will be proven by examining the education system, and showing that one does not always need a university education to perform in a business environment. Thirdly, this will be proven by looking at the behavioral aspects of an entrepreneur, and how an entrepreneur's thinking pattern is quite unique compared to the average person. Finally, this will be proven by looking at the illusions of management and how managers have to adapt if they want to see results. â€Å"Forget just about everything you were told about positive thinking and motivation. † Positive thinking and motivation can encumber persons in business if not executed properly. People assume that by being positive they are in turn motivating people to work hard and complete tasks without impeding their space. This is not entirely true. There is a joke that many motivational speakers tell, as an illustration of positive thinking: â€Å"A guy has tripped and fallen off the roof of a thirty-story building. He is falling toward certain death. Some one yells out the fifteenth-story window, ‘how are you doing? ‘ And the falling fellow hollers back, ‘Okay so far! ‘† This joke is not an accurate representation of positive thinking. It illustrates stupidity. This joke has taken positive thinking way out of proportion. It is okay to be positive when approaching tough situations, but a constant bombarding of motivational thoughts may in turn impede the situation overall. People are taught from the start that there are no bad ideas, and in-turn people who criticize these bad ideas are looked upon as â€Å"negative thinkers† . Cynicism can actually be a healthy practice. By seeking out and eliminating bad ideas right from the get-go, the business or corporation is able appropriately deal with the problem and in a sense â€Å"nip it in the bud†. A person can think positive all that they want, but they are still going to spill coffee on their new tie. By over-motivating a person, the same effect can happen. A person has to want to be motivated for it to work properly. â€Å"The Old Testament† of motivation states that any person can do any thing as long as they are motivated to do so. This is not entirely true. In order for a person to be motivated they must believe the idea. Sounds like an oxy-moron, but a person needs to be inspired before motivation can take place. For instance, a person needs to want a post secondary education before they can be motivated to do so. A person does not necessarily need a university education to succeed in business. There is not really anything wrong with a university education as long as the person attending understands what it is and what it is not. For some careers a university education is essential. For instance, people do not look kindly to a self-taught brain surgeon. The problem is that a university education only offers you theoretical situations instead of practical life situations that can only be achieved through experiencing life. People tend to worry that without at least a degree in a particular field, they are unable to start their own lucrative business, and have the consumers take them seriously. Often people believe that without the proper credentials, it is impossible for their business to ever get off the ground. This is not true. There are many examples of companies that were started by supposedly â€Å"uneducated† people, who have turned their respective businesses into multi-million dollar corporations. For instance, Dave Thomas, founder and owner of the Wendy's Corporation. With nothing better than a grade 10 education Thomas took his first Wendy's that opened in 1969, and turned it into over 4000 locations across North America. Thomas was credited with hard work and life skills that helped him in his venture. From working as a busboy in a small town diner, to cooking for thousands as a chief in the army, Thomas learned the skills needed to create a lucrative business without any formal education. There are thousands of examples of entrepreneurs with no formal education that have made it in the business world. The most important thing to understand is that a business can only go as far as the people are willing to take them. Meaning that if you want to be successful you can encourage your self to take it to the next level without formal education. If you have a formal education, by all means make the most of it. But never use lack of formal education as an excuse and never let yourself feel inferior to those with better formal educations. There is abundant proof that you can reach just about any heights in business without college or even high school education if you will do the things necessary to otherwise obtain the information and master the skills specifically relevant to your objectives. Entrepreneurs are not always the best educated, but share a thinking pattern unlike those of regular people and are able to take any business with a solid foundation and turn it in to a productive money-making machine. In order to be a successful entrepreneur, one must be able to go against the grain of normal business practice and be able to perform at a pace where they leave the competition in the dust with no remorse. The old saying: â€Å"there are no rules when it comes to love and war† also applies to entrepreneurs in business. An entrepreneur must be able show no compassion towards anybody in order to get the job done. It sounds cruel, but some of the most successful people in business today have no remorse for their competition. For example, Mark McCormack the creator of International Management Group (an athlete management corporation) started off with little more than a $1000 and a hand shake, but developed his business into a multi-million dollar corporation by leaving his competition way behind. McCormack was able to do something that had never been attempted before. Many companies fail to place a premium on the real dollar worth of their expertise, or what it would cost an outsider to learn what they already know. McCormack was able to market his knowledge to companies that were unaware of what they really had inside. By showing them what they already new, but by changing the way that they marketed the product McCormack was able to, almost over night, turn a small company distributing out of a barn, into a power house in today's sports entertainment industry. McCormack did not accomplish such a feat by caring about the little guy. In most cases, entrepreneurs are able to set aside their morals and values and go in for the kill. Successful entrepreneurs have a different way of approaching tough business decisions than the average person. They do not look at the situation or problem as how it affects the other guy, but how it affects them. When making tough business decisions, an entrepreneur must ask if solution best suits him, or if it best suits morality? In order for the entrepreneur to succeed, the solution must best suit his needs and not the needs of the other guy. Unsuccessful entrepreneurs often find themselves debating on whether or not to charge customers most money the can for their product or service. They feel that by undercutting prices they are in-turn helping themselves to sleep better at night, but you cannot sleep if you cannot afford a place to sleep. In order to be self-sufficient, entrepreneurs must give up morales and values and be able to do what best suits them. The same is true for management in that if the want results from their workers then they must be able to adapt their style to best fit the interests at hand. There is a fairy tale about managers in business, especially big business: â€Å"that corporate leaders are conservative, rational, deliberate people who arrive at important decisions only after carefully weighing a wealth of data and information. † In most cases managers and corporate leaders rely on their staff to provide them with the information needed to make these tough business decisions. Mangers then are faced with the consequences if the result is less than â€Å"kosher. † As the old saying goes: â€Å"if you want something done right you have to do it yourself† applies when it comes to managing a top firm. In order for a manager to succeed, they must adapt their staff into a well-oiled machine that works for the most common goal. Managers have to set goals and limitations and make sure that their staff follow the guidelines appropriately for maximum production. Managers cannot baby their staff, as they cannot afford to lend the time in a high-speed industry or business. â€Å"If you can't take the heat, get out of the kitchen. † It is the managers responsibility to weed out those that are not able to perform with the rest of the unit, and in-turn hire people with the skills that best fit their own goals and ambitions. Managers also must be able to go on their own instincts and not always follow facts and figures alone. A good manager is able to assess the situation and then make a decision based on their gut reaction. With these tools a manger is able to â€Å"succeed in business by breaking all the rules. † Managers must use an unorthodox style which allows them to break free from ancient ways of thinking to develop new skills that will help them perform better in their respective businesses. By understanding that positive thinking and motivation can be taken out of context, one can be inspired to change the way that they approach tough business decisions. By also understanding that one does not necessarily need a university education to succeed in business, but by utilizing life experience they can relate business problems to real life situations, and can then solve the problem with their best interests in mind. Finally mangers and entrepreneurs must think of themselves first, and then, and only then, will they be able to successfully attack tough business decisions. Breaking All the Rules In How To Succeed In Business By Breaking All The Rules it states that to succeed in business one must be able to use an unorthodox style which allows that person to break free from ancient ways of thinking and be able to use new ideas in developing entrepreneurial and business skills. One way this will be proven is to look at how positive thinking and motivation hamper people in making tough business decisions. Secondly, this will be proven by examining the education system, and showing that one does not always need a university education to perform in a business environment. Thirdly, this will be proven by looking at the behavioral aspects of an entrepreneur, and how an entrepreneur's thinking pattern is quite unique compared to the average person. Finally, this will be proven by looking at the illusions of management and how managers have to adapt if they want to see results. â€Å"Forget just about everything you were told about positive thinking and motivation. † Positive thinking and motivation can encumber persons in business if not executed properly. People assume that by being positive they are in turn motivating people to work hard and complete tasks without impeding their space. This is not entirely true. There is a joke that many motivational speakers tell, as an illustration of positive thinking: â€Å"A guy has tripped and fallen off the roof of a thirty-story building. He is falling toward certain death. Some one yells out the fifteenth-story window, ‘how are you doing? ‘ And the falling fellow hollers back, ‘Okay so far! ‘† This joke is not an accurate representation of positive thinking. It illustrates stupidity. This joke has taken positive thinking way out of proportion. It is okay to be positive when approaching tough situations, but a constant bombarding of motivational thoughts may in turn impede the situation overall. People are taught from the start that there are no bad ideas, and in-turn people who criticize these bad ideas are looked upon as â€Å"negative thinkers† . Cynicism can actually be a healthy practice. By seeking out and eliminating bad ideas right from the get-go, the business or corporation is able appropriately deal with the problem and in a sense â€Å"nip it in the bud†. A person can think positive all that they want, but they are still going to spill coffee on their new tie. By over-motivating a person, the same effect can happen. A person has to want to be motivated for it to work properly. â€Å"The Old Testament† of motivation states that any person can do any thing as long as they are motivated to do so. This is not entirely true. In order for a person to be motivated they must believe the idea. Sounds like an oxy-moron, but a person needs to be inspired before motivation can take place. For instance, a person needs to want a post secondary education before they can be motivated to do so. A person does not necessarily need a university education to succeed in business. There is not really anything wrong with a university education as long as the person attending understands what it is and what it is not. For some careers a university education is essential. For instance, people do not look kindly to a self-taught brain surgeon. The problem is that a university education only offers you theoretical situations instead of practical life situations that can only be achieved through experiencing life. People tend to worry that without at least a degree in a particular field, they are unable to start their own lucrative business, and have the consumers take them seriously. Often people believe that without the proper credentials, it is impossible for their business to ever get off the ground. This is not true. There are many examples of companies that were started by supposedly â€Å"uneducated† people, who have turned their respective businesses into multi-million dollar corporations. For instance, Dave Thomas, founder and owner of the Wendy's Corporation. With nothing better than a grade 10 education Thomas took his first Wendy's that opened in 1969, and turned it into over 4000 locations across North America. Thomas was credited with hard work and life skills that helped him in his venture. From working as a busboy in a small town diner, to cooking for thousands as a chief in the army, Thomas learned the skills needed to create a lucrative business without any formal education. There are thousands of examples of entrepreneurs with no formal education that have made it in the business world. The most important thing to understand is that a business can only go as far as the people are willing to take them. Meaning that if you want to be successful you can encourage your self to take it to the next level without formal education. If you have a formal education, by all means make the most of it. But never use lack of formal education as an excuse and never let yourself feel inferior to those with better formal educations. There is abundant proof that you can reach just about any heights in business without college or even high school education if you will do the things necessary to otherwise obtain the information and master the skills specifically relevant to your objectives. Entrepreneurs are not always the best educated, but share a thinking pattern unlike those of regular people and are able to take any business with a solid foundation and turn it in to a productive money-making machine. In order to be a successful entrepreneur, one must be able to go against the grain of normal business practice and be able to perform at a pace where they leave the competition in the dust with no remorse. The old saying: â€Å"there are no rules when it comes to love and war† also applies to entrepreneurs in business. An entrepreneur must be able show no compassion towards anybody in order to get the job done. It sounds cruel, but some of the most successful people in business today have no remorse for their competition. For example, Mark McCormack the creator of International Management Group (an athlete management corporation) started off with little more than a $1000 and a hand shake, but developed his business into a multi-million dollar corporation by leaving his competition way behind. McCormack was able to do something that had never been attempted before. Many companies fail to place a premium on the real dollar worth of their expertise, or what it would cost an outsider to learn what they already know. McCormack was able to market his knowledge to companies that were unaware of what they really had inside. By showing them what they already new, but by changing the way that they marketed the product McCormack was able to, almost over night, turn a small company distributing out of a barn, into a power house in today's sports entertainment industry. McCormack did not accomplish such a feat by caring about the little guy. In most cases, entrepreneurs are able to set aside their morals and values and go in for the kill. Successful entrepreneurs have a different way of approaching tough business decisions than the average person. They do not look at the situation or problem as how it affects the other guy, but how it affects them. When making tough business decisions, an entrepreneur must ask if solution best suits him, or if it best suits morality? In order for the entrepreneur to succeed, the solution must best suit his needs and not the needs of the other guy. Unsuccessful entrepreneurs often find themselves debating on whether or not to charge customers most money the can for their product or service. They feel that by undercutting prices they are in-turn helping themselves to sleep better at night, but you cannot sleep if you cannot afford a place to sleep. In order to be self-sufficient, entrepreneurs must give up morales and values and be able to do what best suits them. The same is true for management in that if the want results from their workers then they must be able to adapt their style to best fit the interests at hand. There is a fairy tale about managers in business, especially big business: â€Å"that corporate leaders are conservative, rational, deliberate people who arrive at important decisions only after carefully weighing a wealth of data and information. † In most cases managers and corporate leaders rely on their staff to provide them with the information needed to make these tough business decisions. Mangers then are faced with the consequences if the result is less than â€Å"kosher. † As the old saying goes: â€Å"if you want something done right you have to do it yourself† applies when it comes to managing a top firm. In order for a manager to succeed, they must adapt their staff into a well-oiled machine that works for the most common goal. Managers have to set goals and limitations and make sure that their staff follow the guidelines appropriately for maximum production. Managers cannot baby their staff, as they cannot afford to lend the time in a high-speed industry or business. â€Å"If you can't take the heat, get out of the kitchen. † It is the managers responsibility to weed out those that are not able to perform with the rest of the unit, and in-turn hire people with the skills that best fit their own goals and ambitions. Managers also must be able to go on their own instincts and not always follow facts and figures alone. A good manager is able to assess the situation and then make a decision based on their gut reaction. With these tools a manger is able to â€Å"succeed in business by breaking all the rules. † Managers must use an unorthodox style which allows them to break free from ancient ways of thinking to develop new skills that will help them perform better in their respective businesses. By understanding that positive thinking and motivation can be taken out of context, one can be inspired to change the way that they approach tough business decisions. By also understanding that one does not necessarily need a university education to succeed in business, but by utilizing life experience they can relate business problems to real life situations, and can then solve the problem with their best interests in mind. Finally mangers and entrepreneurs must think of themselves first, and then, and only then, will they be able to successfully attack tough business decisions.

Types of Theatres Essay Example

Types of Theatres Essay Example Types of Theatres Essay Types of Theatres Essay Types Of Theatres The word  theatre  means place for seeing. The first recorded theatrical event was a performance of the sacred plays of themyth of Osiris and Isis  in 2500 BC in  Egypt. This story of the god Osiris was performed annually at festivals throughout the civilization, marking the beginning of a long relationship between theatre and religion. There are several types of theatres in India. Each state in India has its own distinct theaterical form of itself. India has a longest and richest tradition in theatre going back to at least 5000 years. The origin of Indian theatre is closely related to ancient rituals and seasonal festivities of the country. Bharatas Natya Shastra (2000 BC to 4th Century AD) was the earliest and most elaborate treatise on dramaturgy written anywhere in the world. The traditional account in Bharatas Natya Shastra gives a divine origin to Indian Theatre, attributing it to the Natyaveda, the holy book of dramaturgy created by Lord Brahma. Theatre in India started as a narrative form, with recitation, singing and dancing becoming integral elements of the theatre. This emphasis on narrative elements made our theatre essentially theatrical right from the beginning. That is why the theatre in India has encompassed all the other forms of literature and fine arts into its physical presentation: literature, mime, music, dance, movement, painting, sculpture and architecture all mixed into one and being called ‘Natya’ or Theatre in English. SANSKRIT OR CLASSICAL THEATRE It is difficult to determine the precise origins of the Sanskrit drama. Fragments of the earliest known plays have been traced to the 1st century AD. However, scholars believe that a living theatre tradition must have existed in India much earlier. Unfortunately, although the Indus Valley people left behind an enormous wealth of archaeological evidence, they give no signs of any theatrical activity. Dance and music seem to have been their mainstay, perhaps as part of their religious celebrations. A search of the Vedas, dating from approximately 1500-1000 BC, yields no trace either, although a few texts are composed in short, elementary dialogue. Shudraka, Harsha, Visakhadatta, Bhasa, Kalidasa and Bhavabhuti were, undoubtedly, the ix outstanding Sanskrit playwrights of all times who have contributed in a great measure through their dramatic pieces in Sanskrit. Kalidasas Shakuntala, King Harshas Ratnavali, Bhasas Swapna-vasavadatta, Bhavabhutis Uttara-rama-charita and Mahavira-charita, Visakhadattas Mudrarakshasa are some of the outstanding Sanskrit plays. There are said to be ten types of Sanskrit plays: Nataka, Prakarna, Anka, Vya yoga, Bhana, Samvakara, Vithi, Prahasana, Dima and Ithamgra. The Natyashastra focuses on only two of these types the Nataka and Prakarna. Swapanavasavadatta, Uttaramcharitra and Shakuntala fall into the category of the Nataka. These plays deal with the exploits of a hero, either a royal sage or king, who is always successful in the end. The dominant sentiment is love and heroism. The plays range between five and seven acts. Plays falling into the category of Prakarna narrate stories that were invented by their authors. The hero is a Brahmin, minister or merchant while the heroine is a courtesan. Love is the predominant sentiment. Anka (act) involves a change in the heros basic situation as the plot develops. It is made up of a series on incidents that are related to the major character. Certain events are never depicted in an anka, like a battle, marriage, death, loss of kingdom and the pronouncement of a curse. KOODIYATTAM Koodiyattam (Koothiyattam) is derived from the Sanskrit word Kurd, meaning to to play, and is considered to have been introduced in India by the Aryans. Koodiyattam is the oldest existing classical theatre form in the entire world, having originated much before Kathakali and most other theatrical forms. It is considered to be at least 2000 years old. This theatre form originated in Kerala but the exact date of its inception is not known. It is widely believed that Kulasekhara Varma Cheraman Perumal, an ancient King of Kerala, was the creator of Koodiyattam in the present form. His book Aattaprakaram is considered as the most authoritative work on the art form till date. The 10th century chronicles of the Varman dynasty record the art form in its advanced stages, pointing to its much earlier origin. The dance also finds a mention in Ilangovans 1500-year old Tamil Classic Chilappathikaram as Kerala Chakkian Sivanadanam. In May 2001, Koodiyattam earned a rare honour when UNESCO declared it a masterpiece of human heritage to be protected and preserved. There were 31 other contestants from the world over, including Japans Nogaku theatre, Chinas Kunqu opera and Spains Elche play, but it was Keralas theatre art that UNESCO selected as the endangered heritage art form worthy of its support. The UNESCO jury in Paris decided to honour Koodiyattam after watching 15 minutes of a 3-hour documentary film made by the veteran film-maker Adoor Gopalakrishnan on the request of Margi, a Thiruvananthapuram-based dance school. In its citation the UNESCO mentioned that Koodiyattam represents a vital link to ancient heritage and is an outstanding example of tradition-based creation of a cultural community. This was the first time that the UN body had conferred the heritage status on an art form. FOLK THEATRE This was the second phase of the evolution of theatre in India, which was based on oral traditions. This form of theatre was being performed from about 1000 AD onwards up to 1700 AD and continued further until today in almost every part of India. Emergence of this kind of theatre is linked with the change of political set up in India as well as the coming into existence of different regional languages in all parts of the country. The classical theatre was based on Natya Shastra was much more sophisticated in its form and nature and totally urban-oriented. On the contrary, the traditional theatre evolved out of rural roots and was more simple, immediate and closer to the rural milieu. Historically speaking, it was during the 15-16 century that the folk theatre emerged forcefully in different regions. It used different languages, the languages of the regions in which it emerged. Initially these were purely devotional in tenor and typically revolved around religion, local legends and mythology. Later, with changing times it became more secular in content and began to focus on folk stories of romance and valour and biographical accounts of local heroes. Indian folk theatre can be broadly divided into two broad categories religious and secular giving rise to the Ritual Theatre and Theatre of Entertainment respectively. The two forms thrived together, mutually influencing each other. Although they are considered as Folk theatre traditions, some of them have all the attributes of a classical theatre. Most often the folk and traditional forms are mainly narrative or vocal, i. e. singing and recitation-based like Ramlila, Rasleela, Bhand Nautanki and Wang, without any complicated gestures or movements and elements of dance. India is also rich in ballad-singing traditions such as Pabuji-ki-phar of Rajastan and Nupipaalaa of Manipur. Dramatic art can also be found in some of the solo forms of Indian classical dance, like Bharat Natyam, Kathak, Odissi and Mohiniattam, and folk dances like the Gambhira and Purulia Chhau of Bengal, Seraikella Chhau of Bihar and Mayurbhanj Chhau of Orissa. Dramatic content is even woven into the ritual ceremonies in some areas, particularly those of Kerala, with its Mudiyettu and Teyyam. THEATRE OF ENTERTAINMENT This form of folk theatre has secular themes ranging from romance, love and valour to social and cultural traditions. Its sole purpose was to provide entertainment for the masses. Nautanki, Tamasha and Jatra are some examples. Bhavai  : Bhavai is the popular folk theatrical form of Rajasthan and Gujarat. The pioneer of Bhavai was a Brahmin known as Asait Thakore or Ashram Maharaja, who lived in a village of Gujarat called Unjha. Initially, the Bhavai performance was presented as a religious ritual to propitiate the Goddess Amba and it took place only during the religious festivals of Navratra. Very soon it got converted as an important form of the theatre of entertainment. The Bhavai has a series of playlets known as Vesha or Swanga. Each Vesha has its own plot and locale. There need not be any continuity of homogeneity among them. The Veshas has four broad category of themes i. e. mythological, social, royal Rajput and contemporary. The Veshas of Krishna and Gopi, the Veshas Zanda-Zulana and Chhela-Vatau, the Vesha of Ramdev and the Veshas of Vanazaro and Purabio are examples of each of these categories. Daskathia and Chhaiti Ghoda: Daskathia is one of the several narrative forms that flourished in Orissa. It is a performance in which a devotee narrates a story dramatically to the accompaniment of a wooden musical instrument called kathia. This is a performance of two narrators, Gayaka (chief singer) and Palia (assistant) who is the co-narrator. The Chhaiti Ghoda troupe of erformers comprises of two players on the musical instruments dhol and mohuri and three other characters. A dummy horse is improvised out of bamboo and cloth and the dancer enters into the hollow body and dances, while the main singer along with co-singer delivers discourses, mainly from mythology. Gondhal: In Maharashtra, the dramatic narration of mythological stories, hero-lauds and folk legends form a part of a ritual dedicated to various d eities. This interesting ritual with its narrative performance has deeply influenced the dramatic and narrative traditions in Maharashtra and its neighbouring regions. Garodas: In Gujarat the members of the Garoda community practice the art of narrating stories with the help of painted pictures. It is performed with a paper scroll with pictures painted in water-colours one below the other and separated with a thick black line. Jatra (Yatra): The popular folk drama form of Eastern India is the Yatra or Jatra, as it is known in Bengal. It assumes different forms in different regions within the eastern parts of India, which include mainly the states of Assam, West Bengal and Orissa. Yatra literally means a procession or a pilgrimage from one point to another. It is generally an open-air performance. Jatra originated in Bengal as a ritual theatre devoted mainly on themes relating to the life of Lord Krishna. The illustrious Vaishnava saint and religious performer Chaitanya used the medium of Jatra to propagate his teachings of Krishna by inspiring his devotees to participate in communal singing and dancing. Apart from the exploits of Krishna, the Jatras dramatised the Puranic legends, folk-tales and episodes from Ramayana and Mahabharata. Kariyila: This is the most interesting and popular folk drama form of Himachal Pradesh. It is most popular in the districts of Shimla, Solan and Sirmour. The season of Kariyala generally starts after the festival of Deepavali. Kariyala is an open-air theatre, which consists of an entertaining series of small playlets, farces, skits, revues and burlesques. It is generally staged during village fairs and on some festive occasions. The Kariyala entertainment starts in the evening and goes on throughout the night staging various popular items one after other. The square-performing arena is called Khada. In the centre of Khada, a bonfire is lit which is considered very sacred. A number of musical instruments like chimta, nagara, karnal, ranasingha, shahanai, basuri, dholak and khanjiri are used to provide background music. Keertan: Keertan is the most popular narrative form which is prevalent in almost all parts of the country under different names such as Katha Kalakshepam and Harikatha. Keertan means to laud, extol, exalt, worshipping of the deity by chanting his praises and celebrating the praises of god with music and singing. Khyal: It is a popular folk dramatic form of Rajasthan and is full of dancing, singing and music. Khyal has assumed different names in different regions of Rajasthan. It is also known as Tamasha, Rammat, Nautanki, Maach and Swang. Maanch: Maanch is an enchanting folk opera of Malwa region in the state of Madhya Pradesh. It evolved about two centuries ago in Ujjain. The themes are usually based on mythological events or romantic folk tales. Nachya: It is an interesting folk theatre form of Madhya Pradesh, the urbanised version of which reached the metropolitan centres and became quite popular. The play begins with an invocation song sung in honour of Lord Ganesha, Saraswati and other deities venerated by the local folk. There are two types of Nachya theatre. One is the humorous Gammat Skit and the other one is the Jokkad Pari performance. Nautanki: Nautanki is an offshoot of the Swang or Sang. It is very popular in Haryana and other parts of North India. Oja-Pali: Oja-Pali of Assam is a very interesting form of story telling which utilises many dramatic techniques to illustrate the narrative and enhance its visual impact. This art form is associated with the worship of Manasa, the serpent goddess of Assam. The performers take many days to narrate the story, which is divided into three parts: Deva Khanda, Baniya Khanda and Bhatiyali Khanda. The Oja is the main narrator-singer and the Palis are his ssociates or members of his chorus. There is yet another type of Oja-Pali parties in Assam, known as the Vyah-Gowa Oja-Pali, which narrates stories from the Assamese version of Puranas and the epics. Pandavani: It is a form of story telling evolved by the tribals of the Chhatisgarh region of Madhya Pradesh to amuse and instruct the people. This narrative form was developed to tell the story of the five Pandava brothers and considered to be of two types Kapilak and Vedamati. A team of Pandavani performers is composed of one main narrator-singer, one or two co-singers, who also play on musical instruments like tabla and harmonium. Pandavani is a performance of a story, which did not quite develop into a regular dramatic form. Picture Showmen: The Picture Showman in ancient India was known as Mankha, and this art of narrating the story with the help of pictures was known as Mankha Vidha. This art dates back to 6th century BC. Powada: In Maharashtra the narrative hero-laud is called Powada. The first available Powada in Marathi was written on the thrilling episode of Shivaji killing his adversary Afzal Khan. The tradition of Powada singing was kept alive by the folk singers of Maharashtra known as Gondhalis and Shahirs. The Powada is presented in a most dramatic manner. High pitch singing and melodramatic acting is its soul. Swang: The major theatrical tradition of folk entertainment in North India, especially Haryana, is that of Swang. It is a musical folk drama which enacts near similar stories in all its related regional variations. These stories are in verse and are sung in different classical, semi-classical but mostly in popular folk musical modes. A number of musical instruments like the ektara, dholak, kharta, sarangi and harmonium put flavour to the dialogues. Ali Baksh of Rewari, who is regarded as the father of folk theatre in Haryana, is the pioneer of the Swang tradition. Pandit Deep Chand, known as the Kalidasa of Haryana, modified and polished Ali Baksh style of folk theatre. Other luminaries of Swang include Swami Har Dev, Qutabi, Dhoom, Pandit Bhartu and Pandit Lakshmi Chand. Tamasha: Tamasha evolved itself from the earlier forms of folk entertainment in Maharashtra. It is known for its humour and erotic singing and dancing. It is one of the rare folk theatre forms of India in which women play the feminine roles. Naughty episodes of Krishna Leela are invariably enacted in the opening part of a Tamasha play. The Lavani songs, which are sung along with dancing, are delightfully naughty and erotic. Villu Pattu: Villu Pattu literally means bow-song. This form of recitation (using a bow-shaped musical instrument) of Tamil Nadu developed in the 15th century. There are seven to eight persons in a bow-song party who form a kind of chorus that supports the main singer-narrator. The stories from Ramayana, Mahabharata and the Puranas are told in these ballad style songs. PUPPETRY IN INDIA Puppet Theatre as a form of entertainment is found practically in all parts of the world. In Puppet Theatre various forms, known as puppets, are used to illustrate the narratives. In India, the roots of the puppet theatre lie in a dancers mask. There are several Mesolithic paintings that illustrate a number of masked dancers performing singly or in groups. Excavations at several Harappan sites have revealed a number of toys whose body parts can be manipulated with strings. There are numerous references to different kinds of puppets in the Mahabharata and a Buddhist work called Therigatha. There are basic four kinds of puppets glove, string, rod and shadow. The glove puppets are found mainly in Orissa, Kerala and Tamil Nadu. These puppets are worn on the hand and the puppeteer manipulates their heads and arms with his fingers. The puppeteer narrates his story in verse or prose, while the puppets provide the visual treat. The glove puppet in Orissa is called Kundhei Nacha. The glove puppets of Kerala are more ornate, colourful and resemble the actors on the Kathakali stage in their make-up and costume. Their performance is known as Pava Koothu or Pava Kathakali. The stories of this theatre are mainly Radha Krishna stories and episodes from the Ramayana. SHADOW THEATRE IN INDIA Shadow theatre is a unique kind of performing art which is close to puppetry, but differs from it in the sense that while in puppet theatre the audience directly sees the puppet figures, in shadow theatre they only see the shadow cast on the screen. There is a light source and a screen and in between the manipulator inserts the flat figures by lightly pressing them on the screen so that a sharp shadow is formed. Usually, the figures in the shadow theatre are made of leather. They are carefully stenciled so that their shadows suggest their clothing, jewellery and other accoutrements. Some of the figures have jointed limbs which, when manipulated, give the appearance of beautiful moving shadows. India has a very long and rich tradition of Shadow theatre. According to many scholars, this art originated in India. Reference to shadow theatre is found in the Tamil classic Shilappadikaaram. Many Western Indologists such as Pischel, Luders and Winternitz are of the opinion that the well-known Sanskrit drama Mahaanaataka was originally written as a play for the Shadow Theatre. This art form is, thus, at least one thousand years old. Apparently it went to Southeast Asia, Turkey and other places from India. MODERN THEATRE The development of Modern Theatre in India may be attributed to a change in the political set up in India. The 200 years of the British rule brought the Indian theatre into direct contact with the western theatre. The seeds of Modern Theatre were sown in the late 18th century, with the consolidation of British power in Bengal, Maharashtra and Tamil Nadu. It was in the thriving metropolises of Bombay, Calcutta and Madras that they first introduced their brand of theatre, based on London models.

Citing Primary Sources in OSCOLA Referencing

Citing Primary Sources in OSCOLA Referencing Citing Primary Sources in OSCOLA Referencing citation systems as well. In the UK, the most common form of legal referencing is OSCOLA (or the Oxford Standard for Citation of Legal Authorities). And in this post, we look at how to cite primary sources with OSCOLA. First, though, what exactly is a primary source? Primary and Secondary Sources OSCOLA classes sources as either â€Å"primary† or â€Å"secondary.† Primary sources are legal sources, such as cases and legislative documents. Secondary sources cover everything else, including books, journal articles, and websites. In either case, you will use superscript numbers (e.g., 1, 2, 3) to indicate a citation, with details of the source given in a footnote. But the information you give here will depend on the source in question. For primary sources, this usually means either a case report or a legislative act. Citing Case Reports in OSCOLA When citing a UK case with a neutral citation, you will need to provide the following information in the accompanying footnote: Case Name | [Year] | Court | Number,| [Year] | Volume | Report Abbreviation | First Page However, you only need to include the case name in the footnote if it is not used in the text. And as shown, the neutral citation should be separated from the law report citation by a comma. Cases from before 2001 will not have a neutral citation, so footnotes for older cases should only include the following details: Case Name | [Year] | Volume | Report Abbreviation | First Page | (Court) Examples of the above would thus appear as follows in footnote citations: Neutral Citation: PI vs Walls [2008] UKHL 15, [2008] 4 AC 1284 No Neutral Citation: GM vs Nissan [1983] 1 AC 154 (UKHL) Citing Legislation in OSCOLA Other than cases, the main primary sources in OSCOLA referencing are legislative acts and statutory instruments. When citing a UK legislative act, all you need is the short title and year. For instance: Act of Supremacy 1558 To reference a particular section, meanwhile, simply add it after the year: Human Rights Act 1998 s 7 The â€Å"s† before the â€Å"7† above is short for â€Å"section.† However, the correct abbreviation here may depend on what you’re citing: part/parts pt/pts section/sections s/ss subsection/subsections sub-s/sub-ss paragraph/paragraphs para/paras subparagraph/subparagraphs subpara/subparas schedule/schedules sch/schs You may also need to cite a statutory instrument at some point. To do this, the footnote should include the title, year and the SI number (after a comma). So, for instance, we could cite a statutory instrument as follows: The Deregulation Act 2015 (Commencement No. 4) Order 2015, SI 2015  2074 (C.  130) Cases and Legislation in an OSCOLA Bibliography As well as footnote citations, you will need to list all primary sources in a bibliography at the end of your document. For primary sources, the general rules in an OSCOLA bibliography are: Provide full information for each source. Divide primary sources into a Table of Cases and a Table of Legislation (you may also want to separate acts of legislation from legislative instruments). Sort cases/acts into separate sections by jurisdiction (unless you have not cited many sources, in which case they can be combined). List sources within their categories alphabetically by case name/title. List secondary sources separately under the heading â€Å"Bibliography.† This will make it easy for readers to find the various primary sources you have used in your work. And if you’d like someone to double check your referencing when youve finished writing, we’re always happy to help.

Southwest Airlines Essay Example | Topics and Well Written Essays - 1750 words

Southwest Airlines - Essay Example This paper illustrates Southwest Airlines which is considered as low cost airlines demonstrated a stable growth in the airline industry and the average growth in the number of the customers had been approximately 9%. It can be mentioned that there was high competition in the deregulated airline industry since the airline routes were competing among each other and there was rise in the low-cost carriers such as Southwest Air lines. Although it has been almost thirty years of the deregulation, the services provided by the Southwest Airlines has been satisfactory to draw on the passengers with a pleasant experience. In this period of time, a number of airlines have been losing money because of lack of adequate service and certain other reasons. However, the best part to note in this regard is that Southwest Airlines is continuing to earn profits because of its hedging programs. It is worthy of mentioning that Southwest airlines does not adopt the â€Å"hub and spoke† approach. Th e company instead tries to focus upon the short haul as well as point-to-point approach. The takeover of Transtar Airlines by Southwest Airlines in 1994 assisted the company to develop stronger edge in the market place. It can be mentioned that deregulation has allowed the companies to burgeon and has lowered the travelling cost of the air-passengers travel. One of the significant issues that Southwest Airlines faces is related to maintenance of its flights. ... Most of the policy makers had been quite worried with this which triggered the creation of the National Commission. This led to well-built competitive airline industry in the year 1993 (Morrison & Winston, 1996). Southwest Airlines which is considered as low cost airlines demonstrated a stable growth in the airline industry and the average growth in the number of the customers had been approximately 9%. It can be mentioned that there was high competition in the deregulated airline industry since the airline routes were competing among each other and there was rise in the low-cost carriers such as Southwest Air lines (US Government Printing Office, 2003). Although it has been almost thirty years of the deregulation, the services provided by the Southwest Airlines has been satisfactory to draw on the passengers with a pleasant experience. In this period of time, a number of airlines have been losing money because of lack of adequate service and certain other reasons. However, the best part to note in this regard is that Southwest Airlines is continuing to earn profits because of its hedging programs (Mallone, 2008). Business Issues Hub Strategies It is worthy of mentioning that Southwest airlines does not adopt the â€Å"hub and spoke† approach. The company instead tries to focus upon the short haul as well as point-to-point approach. The takeover of Transtar Airlines by Southwest Airlines in 1994 assisted the company to develop stronger edge in the market place. It can be mentioned that deregulation has allowed the companies to burgeon and has lowered the travelling cost of the air-passengers travel. Personnel Issues One of the significant issues that Southwest Airlines faces is related to maintenance of its flights. As