In what ways can ‘A Streetcar Named Desire’ be seen as a modern tragedy? Essay

The ways in which ‘A Streetcar Named Desire’ by Tennessee Williams can be seen as a modern tragedy, or indeed as any tragedy is a subject of much contention. The answer lies in one’s interpretation of the characters in the context of the genre; the tragedy is made or discarded depending on whether the audience’s sympathy lies with Blanche or Stanley. In order to explore these interpretations one must define the features of modern tragedy as opposed to the ancient Aristotelian definition. The two share some features, such as the violation of the ‘natural order’ of social or personal relationships (i.e. Oedipus’ incestuous relationship with his mother), and the focus on a tragic hero’s fall from status, respect, and in classical tragedies from power and wealth. However, there are also stark differences in modern tragedy where (especially in Williams’ plays) the hero is more likely to be feminine. Although this is not exclusive to modern tragedies – in Sophocles’ ‘Antigone’ the protagonist is female – it is certainly a feature. Social issues are also treated more personally as the epic scale of civil unrest present in most Aristotelian tragedies is discarded in favor of a focus on a single family unit as a microcosm of social behaviour. As a result, the characters themselves become far more complex – a far cry from Aristotle’s theory that characters should merely serve to advance the tragic plot. Broadly speaking then, ‘A Streetcar Named Desire’ certainly fits the prescriptions of a modern tragedy, not least as it contains several complex themes such as alienation, entrapment and the struggle between fantasy and reality. Written in 1947 soon after the Great Depression and a period of prohibition when the borders between social classes were becoming more blurred, these play on the very real threats of alcoholism and social decline. Blanche’s constant drinking becomes a symptom of her alienation from society, which was in turn caused by her estrangement from her late husband, Allen Grey. Stella asserts that Blanche â€Å"didn’t just love him but worshipped the ground he walked on† – a religious phrase that contrasts deeply with her later disgust of Grey’s homosexuality. For Williams, living as he did in the often deeply religious, homophobic south, Allen Grey’s suicide would have constituted a tragedy even when separated from the rest of the play. It certainly illustrates the close links that Williams draws between love, alienation and death; Grey’s separation from Blanche causes his death, which in turn leads to her own isolation. This isolation is further illustrated by the metaphor of light; Blanche constantly insists that the lights be dimmed â€Å"turn that over-light off!†, and even directly likens her love for Allen Grey to a â€Å"blinding light† – it is clear that the darkness is Blanche’s alienation, her punishment for driving him to suicide. Yet light also reveals Blanche’s struggle between fantasy and reality. She cannot bear to see herself in the harsh light of day – even â€Å"screams† during the final scene when Stanley rips the covering off the lamp, completely destroying Blanche’s already splintering fantasy world. This hysterical reaction demonstrates her dependence on the delusions of grandeur and romance that she only half-believes. Blanche is trapped by her own volition; a state echoed in many other of Williams’ tragedies including ‘The Glass Menagerie’, where the character of Amanda is similarly ensnared in a more glamorous past. The play also ascribes to another feature of modern tragedy; the focus on a very small, ordinary family unit as opposed to the monarchs in plays such as ‘Macbeth’ or ‘Hamlet’. It is clear that the clash of Stanley and Blanche is representative of a much bigger division between the old and the new America, and yet their placement in a tiny family setting emphasises their effect on the ‘ordinary American’ – Stella – who is caught in the crossfire of social differences. However merely dealing with these issues, as compelling as they are, only comprises a single aspect of the ways in which ‘A Streetcar Named Desire’ can be seen as a modern tragedy. Indeed, for the play to be called a tragedy at all a defining feature must be covered, and that is the existence of a ‘tragic hero’ whose presence drives the action forward. Therefore, our understanding of ‘A Streetcar Named Desire’ as a modern tragedy must to a large extent rely on whether we can interpret Blanche as Williams’ tragic heroine. She certainly bears a striking surface resemblance to the ancient tragic heroes in her evident fall from high to low, from Belle Reve to the Elysian Fields. This is made evident in her first entrance; her appearance is described as ‘incongruous’ and techniques such as the repetition of â€Å"Stella, oh Stella, Stella!† stress her hysterical inability to cope with her new surroundings. However even this is punctuated in the stage directions with â€Å"feverish vivacity† – suggesting a desperate or false behaviour at odds with the ancient definition of the tragic hero as an essentially noble character. This is emphasised later in the scene by the first suggestion of Blanche’s alcoholism as she â€Å"rushes† to the liquor closet â€Å"panting for breath†, and corroborated as evidence of her sordid affairs at the Hotel Flamingo is revealed. Indeed Blanche herself talks about the â€Å"rattle-trap streetcar† called Desire that â€Å"brought me here†, indicating that her downfall was caused by her own â€Å"brutal desire†. Yet if we do accept that Blanche has already completely fallen into poverty and alcoholism, then the play itself becomes the mere aftermath of a tragedy; the effect of a destroyed character upon her surroundings. Some critics would agree completely with this standpoint – indeed the director of the stage debut, Elia Kazan, portrayed Blanche as a â€Å"phony, corrupt, sick, destructive woman†Ãƒ ¯Ã‚ ¿Ã‚ ½ wrecking Stanley’s home who deserved – indeed needed – to be driven out. However, this view utterly destroys any tragic perception of ‘A Streetcar Named Desire’ by necessitating a total support of Stanley’s actions (â€Å"This makes Stanley right!†)1 – leading to a ‘happy ending’ wherein the Kowalski’s can proceed happily with their lives. While this may have been a suitable presentation for the still largely patriarchal 1940’s, in modern productions a new outlook must be considered. It cannot be ignored that Stanley (however justifiably) incapacitates Blanche both mentally and emotionally as he destroys her refined persona – â€Å"There isn’t a goddam thing but imagination!† – until she is reduced to â€Å"inhuman cries†, constituting Blanche’s fall from sanity as the basis for a tragic fall from high to low, as opposed to any material loss. Although it is true that Blanche is less of a hero possessing a tragic flaw than an anti-hero with a single redeeming feature – in this case her doomed relationship with Allen Grey that has fuelled her desires ever since – practically all of Blanche’s flaws can be explained (if not excused) by her tragic experiences. Her deception of Mitch is the desperation of a woman alone in a patriarchal society whose only chance of security is to attract a husband. Her alcoholism is merely a further coping mechanism, and her constant bathing an attempt to cleanse herself of her sordid affairs. This is consolidated by her wish to be buried â€Å"into an ocean as blue as my first lover’s eyes†, the reference to water again suggesting her desire to be purified and return to the happier days of her youth. Blanche’s tragedy is therefore not merely her fall from status, but her inability to move on from her past. As Dale Carnegie said: â€Å"One of the most tragic things I know about human nature is that all of us tend to put off living. We are all dreaming of some magical rose garden over the horizon, instead of enjoying the roses that are blooming outside our windows today.†2 Yet despite all this evidence providing sympathy with Blanche, Williams seems determined to keep the balance of right and wrong utterly ambiguous. For example in Scene Eight, soon after Blanche’s extremely poignant line â€Å"candles burn out in little boys’ and girls’ eyes† – a clear reference to her past with Grey – she calls Stanley a â€Å"healthy Polack†. This ignorant, racist comment distances Blanche again, and Stanley’s reply â€Å"what I am is a one hundred percent American†, would have immediately re-endeared him to the audience, especially at a time of such social integration. It is this uncertainty as to who we should support – Blanche or Stanley – that really questions the existence of a tragic hero in ‘A Streetcar named Desire’. Even the alternative, as stated by C.W.E. Bigsby, that â€Å"the real hero of the play, therefore, is Stella, for she alone is prepared to offer the necessary comfort†3 is a flawed argument. Although Stella is the most sympathetic character, this is not synonymous with heroic as she is ultimately subdued by Stanley into forcing Blanche away; a far cry from offering her ‘the necessary comfort’. Unlike in Shakespearian tragedies such as ‘Othello’ where the enemy is clearly portrayed, Williams blurs the distinctions between right and wrong until the play more resembles the tragedies of Sophocles, which are essentially concerned with the crisis of right versus right leading to an outcome in which no-one wins. So, although critics such as Joseph Wood Krutch state that â€Å"Tragedy must have a hero if it is not to be merely an accusation against, instead of a justification of the world in which it occurs†4 this is not necessarily true. ‘A Streetcar Named Desire’, along with many other Tennessee Williams’ plays such as ‘The Glass Menagerie’ is tragic not because it details the fall of a hero, but precisely because it contains no hero at all. Modern tragedy is itself an accusation against a grey, mundane world of ordinary people, for whom the only escape is through self-delusion, alcohol, sex or madness. In this respect ‘A Streetcar Named Desire’ becomes the ultimate example of modern tragedy as, after Blanche’s entire existence is shattered, the others merely resume their poker game. The entire play is built around this tragic indifference, both with the detached ending â€Å"This game is seven-card stud† and the very preface, where Williams foreshadows Blanche’s inevitable destruction with the words of Hart Crane, â€Å"And so it was that I entered the broken world.† Bibliography Williams, Tennessee. ‘A Streetcar Named Desire’, Pearson Education Limited 1995 (copyright Estate of the late Tennessee Williams 1947) Bigsby, Christopher W. E. ‘Tennessee Williams: Streetcar to Glory’, Harold Bloom Krutch, Joseph Wood. ‘The Tragic Fallacy’ 1929, in Tragedy: Vision and Form, Ed. Robert W. Corrigan, New York: Harper, 1981 Kazan, Elia. ‘Kazan on Directing’, Knopf Publishing Group, 2009 (copyright Frances Kazan) Carnegie, Dale. ‘How to Stop Worrying and Start Living’, Pocket Books; Revised edition, 1990 Aristotle. ‘Poetics’, Penguin Books Ltd, 1996 1 Kazan, Elia. ‘Kazan on Directing’, Knopf Publishing Group, 2009 (copyright Frances Kazan) 2 Carnegie, Dale. ‘How to Stop Worrying and Start Living’, Pocket Books; Revised edition, 1990 3 Bigsby, Christopher W. E. ‘Tennessee Williams: Streetcar to Glory’, Harold Bloom 4 Krutch, Joseph Wood. ‘The Tragic Fallacy’ 1929 in Tragedy: Vision and Form, Ed. Robert W. Corrigan, New York: Harper, 1981

Deception Point Page 110

Sexton had no idea what the man was talking about. The reporter handed him the photocopies. Sexton looked at the pages-and for a moment, his mind went totally blank. No words came. He was staring at unfamiliar photographs. Black-and-white images. Two people. Naked. Arms and legs intertwined. For an instant, Sexton had no idea what he was looking at. Then it registered. A cannonball to the gut. In horror, Sexton's head snapped up to the crowd. They were laughing now. Half of them were already phoning in the story to their news desks. Sexton felt a tap on his shoulder. In a daze, he wheeled. Rachel was standing there. â€Å"We tried to stop you,† she said. â€Å"We gave you every chance.† A woman stood beside her. Sexton was trembling as his eyes moved to the woman at Rachel's side. She was the reporter in the cashmere coat and mohair beret-the woman who had knocked over his envelopes. Sexton saw her face, and his blood turned to ice. Gabrielle's dark eyes seemed to bore right through him as she reached down and opened her coat to reveal a stack of white envelopes tucked neatly beneath her arm. 132 The Oval Office was dark, lit only by the soft glow of the brass lamp on President Herney's desk. Gabrielle Ashe held her chin high as she stood before the President. Outside the window behind him, dusk was gathering on the west lawn. â€Å"I hear you're leaving us,† Herney said, sounding disappointed. Gabrielle nodded. Although the President had graciously offered her indefinite sanctuary inside the White House away from the press, Gabrielle preferred not to ride out this particular storm by hiding out in the eye. She wanted to be as far away as possible. At least for a while. Herney gazed across his desk at her, looking impressed. â€Å"The choice you made this morning, Gabrielle†¦ † He paused, as if at a loss for words. His eyes were simple and clear-nothing compared to the deep, enigmatic pools that had once drawn Gabrielle to Sedgewick Sexton. And yet, even in the backdrop of this powerful place, Gabrielle saw true kindness in his gaze, an honor and dignity she would not soon forget. â€Å"I did it for me, too,† Gabrielle finally said. Herney nodded. â€Å"I owe you my thanks all the same.† He stood, motioning for her to follow him into the hall. â€Å"I was actually hoping you'd stick around long enough that I could offer you a post on my budgeting staff.† Gabrielle gave him a dubious look. â€Å"Stop spending and start mending?† He chuckled. â€Å"Something like that.† â€Å"I think we both know, sir, that I'm more of a liability to you at the moment than an asset.† Herney shrugged. â€Å"Give it a few months. It will all blow over. Plenty of great men and women have endured similar situations and gone on to greatness.† He winked. â€Å"A few of them were even U.S. presidents.† Gabrielle knew he was right. Unemployed for only hours, Gabrielle had already turned down two other job offers today-one from Yolanda Cole at ABC, and the other from St. Martin's Press, who had offered her an obscene advance if she would publish a tell-all biography. No thanks. As Gabrielle and the President moved down the hallway, Gabrielle thought of the pictures of herself that were now being splashed across televisions. The damage to the country could have been worse, she told herself. Much worse. Gabrielle, after going to ABC to retrieve the photos and borrow Yolanda Cole's press pass, had snuck back to Sexton's office to assemble the duplicate envelopes. While inside, she had also printed copies of the donation checks in Sexton's computer. After the confrontation at the Washington Monument, Gabrielle had handed copies of the checks to the dumbstruck Senator Sexton and made her demands. Give the President a chance to announce his meteorite mistake, or the rest of this data goes public too. Senator Sexton took one look at the stack of financial evidence, locked himself in his limousine, and drove off. He had not been heard from since. Now, as the President and Gabrielle arrived at the backstage door of the Briefing Room, Gabrielle could hear the waiting throngs beyond. For the second time in twenty-four hours, the world was assembled to hear a special presidential broadcast. â€Å"What are you going to tell them?† Gabrielle asked. Herney sighed, his expression remarkably calm. â€Å"Over the years, I've learned one thing over and over†¦ † He put a hand on her shoulder and smiled. â€Å"There's just no substitute for the truth.† Gabrielle was filled with an unexpected pride as she watched him stride toward the stage. Zach Herney was on his way to admit the biggest mistake of his life, and oddly, he had never looked more presidential. 133 When Rachel awoke, the room was dark. A clock glowed 10:14 P.M. The bed was not her own. For several moments, she lay motionless, wondering where she was. Slowly, it all started coming back†¦ the megaplume†¦ this morning at the Washington Monument†¦ the President's invitation to stay at the White House. I'm at the White House, Rachel realized. I slept here all day. The Coast Guard chopper, at the President's command, had transported an exhausted Michael Tolland, Corky Marlinson, and Rachel Sexton from the Washington Monument to the White House, where they had been fed a sumptuous breakfast, been seen to by doctors, and been offered any of the building's fourteen bedrooms in which to recuperate. All of them had accepted. Rachel could not believe she had slept this long. Turning on the television, she was stunned to see that President Herney had already completed his press conference. Rachel and the others had offered to stand beside him when he announced the meteorite disappointment to the world. We all made the mistake together. But Herney had insisted on shouldering the burden alone. â€Å"Sadly,† one political analyst on TV was saying, â€Å"it seems NASA has discovered no signs of life from space after all. This marks the second time this decade that NASA has incorrectly classified a meteorite as showing signs of extraterrestrial life. This time, however, a number of highly respected civilians were also among those fooled.† â€Å"Normally,† a second analyst chimed in, â€Å"I would have to say that a deception of the magnitude the President described this evening would be devastating for his career†¦ and yet, considering the developments this morning at the Washington Monument, I would have to say Zach Herney's chances of taking the presidency look better than ever.† The first analyst nodded. â€Å"So, no life in space, but no life in Senator Sexton's campaign either. And now, as new information surfaces suggesting deep financial troubles plaguing the senator-â€Å" A knock on the door drew Rachel's attention. Michael, she hoped, quickly turning off the television. She hadn't seen him since breakfast. On their arrival at the White House, Rachel had wanted nothing more than to fall asleep in his arms. Although she could tell Michael felt the same, Corky had intervened, parking himself on Tolland's bed and exuberantly telling and retelling his story about urinating on himself and saving the day. Finally, utterly exhausted, Rachel and Tolland had given up, heading for separate bedrooms to sleep. Now, walking toward the door, Rachel checked herself in the mirror, amused to see how ridiculously she was dressed. All she had found to wear to bed was an old Penn State football jersey in the dresser. It draped down to her knees like a nightshirt. The knocking continued. Rachel opened the door, disappointed to see a female U.S. Secret Service agent. She was fit and cute, wearing a blue blazer. â€Å"Ms. Sexton, the gentleman in the Lincoln Bedroom heard your television. He asked me to tell you that as long as you're already awake†¦ † She paused, arching her eyebrows, clearly no stranger to night games on the upper floors of the White House.

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In this play, suicide is an act forbidden by religion Essay To be, or not to be cries a torn Hamlet in Shakespeares tragedy, Hamlet. This is not the first time that Hamlet reflects upon his existence and thinks about committing suicide. In this play, suicide is an act forbidden by religion and society that one may take into consideration only after stricken with unbearable grief. In Hamlets case, he is stuck between living a horrible life that may not seem worth living, and taking his own life to end the cruelty of it, which he claims he would if God had not made it forbidden. Subsequently, Hamlet fuels his fire to live and not follow the path of suicide by remembering his duty as a person, which for him is to avenge his murdered father before it is too late. Before we can understand Hamlets popular predicament to be or not to be as a whole, we must make sure that we define the concepts that are key in his situation to place ourselves in Hamlets depressing shoes. For one, suicide is a broad, varying act that has different meanings to different people in different times. For the people of Hamlets setting, it was an atrocious, intentional act that only the horrid sinners would commit against the almighty Biblical God. Even after death, the people still looked down upon the dead that did not pass naturally into the afterlife by holding a funeral that only genocidal dictator would be worthy of; one that involved throwing rubble into the pit of the dead instead of pious flowers and ornaments. Also, though, what must be considered is the situation a person might be in. For example, if you live a life that involves lying in a dreadful hospital bed with very little consciousness and no sense of elation, one might argue, from a Christian viewpoint, that it is not immoral to kill yourself. Whether or not someone believes in a supreme being, one generally has morals. Morals are a set of rules or schemas that people follow and live by which they create, edit, and alter throughout their lives. In Hamlet, we see that almost everyone holds a heavy, negative view against suicide. The play leads us to think that suicide is something that is unnatural and undeniably immoral. When Ophelia dies, many people believed it was suicide, while others assumed it was an accidental death (Act IV, scene vii). Depending upon which side they took, their culminating feelings towards Ophelia was created based on their initial assumptions. The gravediggers or clowns that spoke during Ophelias funeral procession question whether she will receive a proper, Christian burial, or if she will be treated like a bag of bones and skin, essentially, and be buried in an unfavorable fashion. Though the situation pointed towards suicide, Ophelia received a funeral that was Christianesque mainly because of her royal blood (Act V, scene i). This specific example from the play shows us how immoral suicide, to the people of the play, really was. Where do the roots of morals lie? The answer exists in religion. The characters of Hamlet all consider religion and the laws of it to be of utmost importance. In Hamlet, Christianity is the only religion mentioned and is followed by practically everyone. Considering most people were very religious, we can infer that they followed the rules very closely and criticized those that did not, even if it was they. In one of Hamlets soliloquies, we learn that one of the few things preventing Hamlet from ending his miserable life is the commandment of God. Or that the Everlasting had not fixd His canon gainst self-slaughter! If it were not against the will of God, Hamlet would have considered suicide even more and maybe even committed the treacherous act. Christianity condemns suicide (Act I, scene ii). The people of the play follow Christianity rigorously. Therefore, the people of the play look down upon suicide mainly because of their religious views.

Critical Thinking Questions Essay Example for Free

Critical Thinking Questions Essay Labeling is a societal way of correcting wrongs within the community by giving names related to the kind of wrong committed. Unfortunately, this does not always correct the deviant’s behavior. The labeled character internalizes the label and gets accustomed to it so as behave as labeled. Once one is called a thief they become one because the society is already aware of their character and they have no fear. They abide to the ascribed label, (Labeling and Crime, 2001). 2). What is the difference between primary and secondary deviance? Primary deviance, according to Edwin Lemert, is the initial act in which a person is identified to have committed a social wrong. When the society tries to correct it by punishing the offender they may or not stop committing this act depending on their perception of the form of correction. Secondary deviance is a kind of deviance that results from the reaction of the offender to the initial societal corrective measures. The offender tends to acquaint themselves with stubbornness against first hand correction to mistakes. As result of being labeled they develop a mind set that they are deviants. The community may try to punish them harder only to realize that they harden and commit the crime more frequently and fully become criminals rather than just deviants, (Crime and Criminology, 2010). 3). What are some examples of master status not in the text? A master status is acquired when one is successfully labeled and develops that particular kind of label making it his/her personality. For example, one may acquire a master status as a prostitute, rapist, gay or homosexual. This may have resulted from an act out of curiosity, desperation or poverty. When it is known to the public they may be labeled. The community does not want to associate with them and they may not get jobs due to the label and they decided to make it their personality for survival. 4). What are traits associated with them? Master status may result to a complete change in the character and personality of an individual. The new state makes them express low self esteem, shyness to the public, wild reactions that make them commit the crime more even after harsh punishment. They may tend to be closely associated with other criminals and may indulge in other related crimes other than the one they were labeled after. This mixed reaction results from victimization of the labeled person by capitalizing on his weakness rather than promoting their strengths. 5). How do those assumed traits affect our perceptions of people with that status? The perception of the community on a person who has acquired master status is transformed towards the description of this person in accordance to their label. They are called thieves other than teacher or father which would still be his other roles in the society. The community perceives them as evil and criminals despite any attempt to act well. 6). What are decision-making types used by rational choice theory? Decision making in rational theory may be in two types. Criminal event decision type and criminal involvement decision type. Criminal involvement type of decision making involve the criminal weighing options on whether participating in a criminal activity would yield more benefits or negatives. A cost benefit analysis is first taken before one commits crime. Crime event type of decision making involve the issues related to a particular crime that respond to the questions where, when, and how. The person must have decided to commit a crime and but they are either held back by either of the above mentioned situations which would promote the success of the crime, (Vito, Maahs, Holmes, 2007). 7). How do these decisions apply to crime? The rational decision making applies in crime in a number of ways. If a criminal decides that it would be beneficial, advantageous, and lucrative to commit the crime then they would commit it at particular location and specific time as deemed appropriate. When the analysis is completed the criminal does not fear any punishment emanating for the crime they intend to commit. This is applicable in theft and burglary cases. References Crime and Criminology: retrieved in 2010. http://www. sociologyindex. com/crime. htm 2010 Labeling and Crime: edited in March 2001: http://www. le. ac. uk/education/resources/SocSci/labelling. html 09 Vito, GT F. , Maahs, J. R. Holmes, R. M. (2007). Criminology: theory, research, and policy. Canada: Jones and Bartlett’s publisher.

Gladiators Roman General Maximus History Essay

Gladiators Roman General Maximus History Essay The movie Gladiator begins with the Roman General Maximus leading the Roman army to victory against the German barbarian tribes, ending a perpetuate war. The victory won of this battle ends with Maximus earning the esteem of the Emperor Marcus Aurelius. As the battle ends, the Emperors son Commodus and daughter Lucilla arrive from Rome. The emperor Marcus Aurelius is dying and his last wish are to give power back to the people of Rome and end the corruption that cripples it. This is the reason why Aurelius decides to appoint leadership to Maximus, with the desire that Maximus will return power to the Senate and revive the Republic. Aurelius tells Maximus that he has not been corrupted by the politics, were as Commodus is not a moral man and he must not rule. Maximus is the son that Aurelius wished he had and he favours him over his son Commodus, this formulates Commodus jealousy and rage. Maximus expresses that his greatest desire is to return home to his family and that he is unsure to accept Aurelius wish to be the protector of Rome. Maximus returns to his tent and asks the gods for guidance and to watch over his family with a ready sword. Aurelius then informs Commodus of his decision to leave Rome in the hands of Maximus. This infuriates Commodus with envy, betrayal and rage and he murders his father. Commodus then declares himself emperor and asks Maximus for his loyalty, Maximus realizes that Commodus is responsible for the emperors death and he refuses. Commodus orders Maximus to be executed and demands the guards to murder his wife and son. Maximus escapes by killing the guards and he quickly races home only to discover that his wife and son have been cruelly slaughtered. After Maximus buries his wife and son, he grieves succumbing to exhaustion and collapses on their graves. Slave traders find Maximus and take him to a Roman province in North Africa. There he is purchased by Proximo, the head of a gladiator school and former gladiator. Maximus is tormented over the death of his family and the betrayal by h is empire, he refuses to fight, but as he defends himself his impressive combat skills are awe leading to a rise in popularity with the audience and gaining respect among the other fighters. Maximus becomes known as the Spaniard as he trains and fights, he becomes friends with Juba (hunter) and Hagen. Maximus and Juba develop a potent friendship, both inject each other with courage to which face death bravely. Juba proclaims that Maximus will meet his family again in the afterlife; this fills Maximus with hope and valiance. In Rome, Commodus has reintegrated the gladiatorial games to commemorate his fathers death and gain favour of the people of Rome. In a recreation of the Battle of Carthage at the Colosseum, Maximus leads the gladiators to an incisive victory in an appearance of Hannibals forces against a more powerful force of Scipio Africanus legions. Maximus victory causes the crowd to cheer with amazement over his clever and unique battle tactics. Maximus hides his identity through a helmet that had a face guard. Commodus demanded that he must meet this gladiator, the crowds echoes and cheers surrounded the Colossuem and the Emperor descended to the arena, Commodus asked the Spaniard for his name and Maximus responded with an act of defiance. This act stunned and provoked Commodus with anxiety, he angrily instructed Maximus to reveal his identity. Maximus wrathfully turned to face his enemy and proclaimed in a clear and proud voice My name is Maximus, a loyal servant to the true Emperor, Marcus A urelius. The crowd froze silent as Maximus vowed revenge for the murder of his family. Commodus was stunned to discover that Maximus was still alive after he commanded his death. Commodus humiliated left the arena after the crowd roared for the approval to spare his life. The crowd chanted Maximus name vigorously, this act showed that Maximus, a slave had become more powerful than the Emperor of Rome. Lucilla was grateful to see Maximus alive and arranged a to secretly meet him. That night, Lucilla meet with Maximus expressed that she feared for the life of her son and that she has an allied in the Senate who wants to see Commodus overthrown. Maximus denied Lucillas help and proclaimed that the man she once knew was gone. The games continued celebrating the 64th day, Commodus had a surprise arrange for the crowd and for Maximus. Commodus had arranged Maximus death against Tigris of Gaul, Romes only undefeated gladiator. The crowd cheered with excitement as they desperately thirsted for death. Suddenly, Maximus confidently appeared from his gate carrying only a small sword and a shield. Four chained tigers came out from a door and now Maximus had five enemies to fight and he desperately looked for a weak point. The intense battle between these two strong and fast gladiators ended with Maximus defeating Tigris. Maximus turned to Commodus and awaited his decision to kill or spare Tigris. Commodus approved for Maximus to kill Tigris, but Maximus spared Tigris, therefore insulting the Emperor and gaining the audience approval. The audience chanted and cheered Maximus, and bestowing him with the title Maximus the Merciful. Commodus was infuriated by the fact that he is unable to kill Maximus and stop his po pularity from soaring. Cicero, Maximus servant meets him and proclaimed that his army was camped at Ostia, and that his army remains loyal to him. Maximus agreed to meet Lucillas politician (Senator Gracchus) and they plotted a plan to reunite him with his army and overthrow Commodus. Commodus suspected of his sisters betrayal, secret and lie; he therefore threaten her son Lucuis life, in order to force her to reveal her plan on helping Maximus. The Praetorian guards immediately stormed to obstruct Maximus plan, while the gladiators fought, this caused a distraction and helped Maximus escaped. During the raid, Proximo was killed and Juba and the other gladiators were imprisoned. Maximus escaped the city walls only to witness Cicero being slain and he is captured to be turn over to Commodus. Maximus was restrained and chained under the floor of the Colosseum arena. Commodus came in smiling and snickering proclaiming that Maximus was the general who became a slave, the slave who became a gladiator and the gladiator who defied an Empire. Commodus explained that this was a good story and that the people want to know how it ends; only a great death will be good enough. Commodus explained that what could be better than to fight the Emperor himself. Maximus is man that knows no fear and was not threaten by Commodus assimilations. Commodus reached out to hug Maximus as a brother, and suddenly Maximus let out a cry of pain. Commodus had a small knife in his hand and had wounded Maximus in the side, cutting him deeply. This was a cowardly action that Commodus had performed because he knew that Maximus was prominent to excel him in combat. All eyes were focused in the Colosseum as they watched Commodus and Maximus enter. Maximus was weak and he fought on instinct as he struck Commodus, as he dropped his sword he order Quintis for another sword, but he order the guards not to assist him. Maximus finding the strength and power killed Commodus; the crowd fell silent and watched Maximus slowly dying. Maximus fell in a deep trance and began to see visions, he saw his own hand on the gate, pushing it open and reuniting with his wife and son as they smiled at him. He ordered for Quintis to release the gladiators and Senator Gracchus, he then collapsed onto the bloody sand, Lucilla quickly ran to help him, there dying laid the protector Rome in her arms. Maximus reassured Lucilla that Lucius was safe; she gave Maximus a warm and gentle smiled and whispered to him Go to them. Youre home, Maximus then died. Lucilla reminded everyone that Maximus was a soldier of Rome and that his memory should be honoured. Senator Gracchus and the gladiators carried his body silently and proud out of the Colosseum. The Colossuem was empty and silent as Juba walked across the bloody sand; he was a free man again. He buried Maximus small wooden figures of his wife and son on the sand that carried is blood. Juba proclaimed that he would meet Maximus again but not yet. Historical Analysis in the film Gladiator In the film Gladiator weapons, military strategies, government structure and the spectacle of the gladiatorial games are some of the historical components the film analyses. Weapons/Military Strategy: The Roman army, like the armies of the Greek, was a citizen militia (Colliers, 1995, pg.682). This perspective is seen in the movie Gladiator because Maximus was a farmer and he became know as Romes greatest general. The role of the Roman army during the Roman Republic and Empire led to military success and victory. The role of the Roman army played an important role in the movie, in the beginning of the movie when Maximus is leading the army against the German barbarian tribe this portrays tactical, unique and superior weapons that allowed and helped the army conquer and establish the height and power of the Roman Empire. The soldiers fought honourably for the glory of the Empire against the barbarian tribes and this war was the final stand in the way of Roman victory and the promise of peace throughout the Empire. The Romans organized a very similar tactic to the Greek phalanx, eventually this evolved and the Roman armies adopted a more maneuverable tactic that strengthen the armys advantage to conquer and attain success and military efficiency. The major unit of the Roman army was the legion, composed of ten cohorts. The legions produced a tactical flexibility and this was an advantage to the Romans ability to make the best use of ground. When preparing for battle, soldiers equipped with swords and spears would form protective ranks in front of cavalry and archers(Corbishley, 2004, pg.18). This preparation for the battle against the barbarians is portrayed when Maximus is speaking to Quintus about the catapults being out of range and that this is a danger to the cavalry. The heavy infantry tactics developed quickly, striking from the flanks, encircling enemy forces and using the policy of divide and conquer. The legion was known as the backbone of the Roman army creating a more flexible formation for their infantry. The Roman Empire advanced to conquer a vast empire and had a strong army with tactical battle techniques. Roman commanders planned their battles carefully, choosing a site that would make fighting difficult for the enemies, and waiting for the right time and weather to attack. To attack, Roman soldiers advanced in lines, holding their shields in front of them, then hurled their javelins. After this, they charged forward, striking with their swords(Macdonald, 2005,pg.19). This battle tactic is portrayed in the beginning of the movie when Maximus tells Quintus that it is not time to fight, this shows Maximus planning out the outcome of the battle. Government Structure/Politics: In the movie Gladiator government structure and politics are portrayed through the constant struggle between the Senate and the Emperor to gain power. Rome was founded as a Republic and in a Republic the senate has the power. Commodus did not share his fathers perspective that power should be given back to the people of Rome and end the corruption that cripples it. Commodus believes that for the health of Rome, the senate must be annihilated. Commodus believed that the Republic and the Senators scheme and deceive and therefore Rome must be saved from the politicians. Commodus idea of the Senate is what made Marcus Aurelius make Maximus the protector of Rome after he dies, Maximus had not been corrupted by the politics, Commodus is not a moral man and therefore he must not rule. The Senate is the people chosen from among the people to speak for the people; Commodus proclaimed that Rome did not need a Senate and that it takes an Emperor to rule an Empire. In order to gain the approval and admiration of the people of Rome Commodus used a tactical strategy of fear and wonder, this was a powerful combination. Commodus knows what Rome is, Rome is the mob as he conjures magic by reinstating the gladiatorial games, the people are distracted and have no idea of what Rome is going to become. As Senator Gracchus proclaimed the beating heart of Rome is not the marble of the Senate it is the sand of the Colosseum. This proclamation is important because Commodus will bring death and he will be loved for that. Commodus ambition is to make Rome the world of the ages and to overthrow the Senate. When the rules or constitution, of Roman government were first worked out, there was no word for emperor. They wanted a republican rule, which meant rule through elected officials (Corbishley, 2004, pg.36). The rule of an Emperor threatened the idea of democracy because not only did the Emperor have authority over the government but also the Emperor had the power to preside over and to control the Senate at his command. In the movie Senator Gracchus does not pretend to be a man of the people but rather a man for the people, this is the central idea of what the Senate represents. The senate initially is an aristocratic council, an advisory body to the Emperor of Rome; the senate was the power base during the Republic. The name of the Roman Republic under the power of the senate was SPQR; this signature is seen on Maximus arm and it is a symbol of the government and an insignia of the Roman legions. With a strong army behind a General they could be extremely political depicting a threat to the government. In the movie the revolution of threatening the government is seen when Maximus commands the loyalty of the army and this induces that Maximus a slave has become more powerful than the Emperor. Gladiators: The movie focuses on the idea of gladiators forced to fight to death to entertain the crowds. Gladiators were slaves, criminals or prisoners that fought each other or wild animals to amuse the bloodthirsty spectators. The Colosseum was the scene of public entertainment was the deliberate slaughter of human beings was used as a means of entertainment. Some gladiators were specifically trained at gladiator schools (Macdonald, 2005, pg.35). This is portrayed in the movie when Proximo is purchasing the slaves from the slave-seller and brought them to his gladiator school to learn how to fight. The successful gladiators became famous and attracted the crowds; Maximus became the most famous and admired gladiator. Maximus is the gladiator that defied an Empire to protect Rome. Proximo is paid signifying that he profits from the gladiators death. The rare man who survived the arena repeatedly demonstrated his strength and daring could win the wooden sword (rudius) from the Emperor, signifyin g his liberation (Colliers, 1995, pg. 129). This is portrayed in the movie when Proximo proclaims to Maximus that he wasnt the best because he killed quickly, he was the best because the crowd loved and admired him. If you win the crowd you win your freedom. Proximo won his freedom and the Emperor Marcus Aurelius presented him with a rudius (wooden sword), which is a symbol of freedom. Every victory Maximus had been an act of defiance to Commodus because Maximus had the power to amuse the mob and the mob is Rome.

The Federal Reserve Bank and the Decline of the U.S. Economy Essay

There is perhaps no other political issue in our contemporary society that is more pertinent, pervasive, and encompassing than a nation’s economy. From the first coins used in Greece and the Asia Minor in the 7th century BCE, to the earliest uses of paper money, history has proven time and time again that the control of a region’s economy is absolutely crucial to maintaining social stability and prosperity. Yet, for over a century scholars have continued to speculate why the United States, one of the world’s strongest and most influential countries, has one of the most unstable economies. Although the causes of this economic instability can be attributed to multiple factors, nearly all economists agree that they have a common ancestor: the Federal Reserve Bank – the official central bank of the United States. Throughout the course of this paper, I will attempt to determine whether or not there is a causal relationship between the Federal Reserve Ba nk’s monetary policies and the decline of the U.S. economy. I will do this through a brief analysis of the history and role of this institution, in addition to the central banking system in general. In turn, I will argue that the reckless and intentional manipulation of the economy by the Federal Reserve Bank, through inflation and the abolishment of the gold standard, has led to the current economic crisis in the United States. Before we begin our investigation, it is imperative that we understand the historical role of the central bank in the United States. Examining the traditional motives of this institution over time will help the reader observe a direct correlation between it and its ability to manipulate an economy. To start, I will examine one of its central policies... ...iew 26.4: 683-690. JSTOR Database. Web. 18 Nov. 2010. Sprague, O.M.W. â€Å"The Federal Reserve Act of 1913.† The MIT Press 28.2 (1914): 213-254. JSTOR Database. Web. 18 Nov. 2010. Sproul, Allan. "The Gold Question." Vital Speeches of the Day 16.4 (1949): 108. Academic Search Complete. EBSCO. Web. 18 Nov. 2010. United States. Federal Reserve Bank. Frequently Asked Questions. Mar. 2007. The Federal Reserve Board. Web. 13 Dec. 2010. United States. U.S. Department of the Treasury. Historical Debt Outstanding – Annual 1791 – 1849. Aug. 2008. Treasury Direct. Web. 13 Dec. 2010. United States Constitution. Amendment 10. USdebtclock.org. U.S. National Debt Clock, 2010. Web. 13 Dec. 2010.

Wake Up, Stark County! :: Sleeping Disorders Essays

Wake Up, Stark County! Approximately 40 million Americans suffer from chronic disorders of sleep and wakefulness, such as narcolepsy, sleep apnea, and insomnia. The majority of those affected remain undiagnosed and untreated. At the Doctors Hospital Center for Sleep Disorders, 1001 patients are regularly treated for some form of these disorders at the present time (Roman interview). Fewer than 5% of these patients are children and 65% are men over the age of 40. Dr. Frankie Roman, a Board Certified Sleep Specialist, operates this Center. It is the only one available to Stark County residents at this time. To adequately discuss these disorders, first we must provide a working definition of the individual conditions that the terms denote. Sleep apnea is a cessation of air exchange at the nose and mouth, lasting at least 10 seconds (Williams, pg. 48). Narcolepsy is a disorder of excessive sleepiness. This sleepiness is characterized by brief episodes of lapses into sleep that occur throughout the day, usually lasting less than an hour. Insomnia means an inability to sleep. There are many kinds of insomnia, some chemical, some emotional, and some psychological (Thorpy 104). In addition to the 40 million people with chronic sleep disorders, there are 20 to 30 million people who experience intermittent sleep-related problems. These may be due to demanding work schedules and/or various other lifestyle stress factors. The consequences of sleep disorders, sleep deprivation, and excessive sleepiness can be significant. They could even include morbidity. It has been estimated that, in 1990, sleep disorders and sleepiness cost the United States a minimum of $15.9 billion in direct costs alone (National Commission, vi). This estimate does not include the billions of dollars in indirect and related costs, such as those attributable to sleep-related disasters (e.g. Exxon Valdez grounding, motor vehicle accidents, and diminished productivity in the work place). Some sleep disorders are potentially fatal, while others are little more than an annoyance. Some are life-long, with effects on family members; others are brief and non-recurring. Falling asleep inappropriat ely can blot out a few minutes of television, or it can cause catastrophic damage to life and property. Patients are often thought to be lazy and can become socially isolated from friends and family. I am a victim of sleep disorders. I suffer from sleep apnea and narcolepsy. I am a regular patient at the Sleep Disorder Clinic at Doctors Hospital. Here, I am wired to various electrodes which protrude from my head and then am told to go to sleep naturally! My breathing and brain waves are monitored, and I am later informed of how many times a night I have ceased to breathe on my own.

Case Essay

Telefonica de Espana. Does your analysis lead to the same conclusions as Telefonica’s managers? The textbook explains SWOT as an acronym for â€Å"Strengths, Weaknesses, Opportunities, and Threats†. Strengths; Telefonica is a monopoly at this time because it is state owned and this is a major strength for them. The fact that Spain’s culture and language is similar to the market in South America is a major advantage as well. Weaknesses; According to the textbook the prices associated with Telefonica’s service was high. Competitors were looking to exploit this by offering cheaper service with better technology. Companies who could lower their profit margin are a major concern for Telefonica. Opportunities; The deregulation of telecommunications in South America (with the cultural similarities as I mentioned before) seemed to be the perfect opportunity to enter this market and be successful. Threats; Due to the many complaints from their customers Telefonica faces many threats from competitors in this â€Å"new market†. There is a chance that they may not survive in this market if they do not provide better service and technology. 2. How would you characterize the corporate strategy adopted by Telefonica? 3. Minority investors in Telefonica’s South American subsidiaries are unhappy with the parent corporation. Suppose you are a senior manager at the parent corporation. How would you handle the problem with the minority investors? What would you recommend to the CEO should be done about the minority investors? 4. The Latin American telecommunications market is growing much faster (12. 6 percent in 2007) than that of Spain or Europe, both of which grew at a 4. 9 percent rate in 2007. Should Telefonica have continued to focus on the Latin American market, rather than acquire O2 and Cseky? What about its purchase of a minority position in China Netcom?

Movie Critique revised

One of the most important issues and concerns facing our country today, and throughout history, is racism. Many books and films have been written and developed that deal with the harsh and realistic subject of racism in America today and how it affects American society and people from all walks of life, and no film has done so in such a broad way as Crash. This film follows the stories of multiple characters in Los Angeles, all of whom deal with one aspect of racism or another. For example, there is a police officer who is racist against blacks because of his father, a district attorney and his wife that deal with racism after two black men carjack them one night, and a black man whose brother is involved in gang violence. Each storyline dramatizes one aspect of racism or another, and how different people react to it, and the reasons behind racism in our country. Crash is a well-made film that is valuable for our society because it isn’t afraid to ask very serious and harsh questions about the way we view each other, the reasons behind racism in American society, and questions how far we’ve come as a society as it concerns racism. Crash is an interesting look at how Americans view each other based upon race, even when we do not mean to or are not able to truly see our own deeply rooted assumptions about people based upon the way they look. In one scene in the movie, two young black men are walking down the street philosophizing about how wrong it is that people automatically fear them because they perceive their race and not who they really are. We, the audience, immediately agree with their ideas and begin to feel sorry for them because of the pressures they face in society; however, the scene quickly turns to violence when they pull out guns and carjack a young politician and his wife, who had been eying them suspiciously because of their race. In this instance, the assumptions of the two white people were correct because these young men were carjackers, throwing a whole new aspect of racism and society’s fears into the mix. This scene says a lot about our society and how people make assumptions about each other based upon race, but also is harshly honest about the statistics involving black, inner-city young men in Los Angeles and how many fall into a life of crime. The reasons for this are also delved into in this film, with scenes showing the harshness of ghetto life and the poverty that some live in, with broken families and prejudice. In the film, Detective Graham Waters, and African-American, feels ashamed by his family, who consists of a mother who is addicted to drugs and a brother who is living a life of crime. This film also tackles the issue of why racism develops in our society and how those who has racist beliefs become that way. In one storyline that is developing a police officer is racist, and we see that he has been raised by a racist father, who is now dying of cancer. Throughout the film we find ourselves feeling contempt for these characters because of their personal opinions about race, but at the end the police officer has to go to an insurance company to ask for medical help for his dying father and speaks to an African-American woman at the agency. Knowing about his prejudice, she immediately denies his father any help, leading the son to explain about his how his father had always employed minorities but when minority owned businesses began to get preference, his company could not survive. The son’s bitterness about race seems to have stemmed from his father’s problems. We begin to understand the circumstances surrounding the development of racism in these characters, and feel torn between our understanding and our dislike of racism. Another instance is seen with the young couple that has been carjacked. The woman becomes frightened of African-Americans, and indeed all minorities, because of the two men who pointed a gun at her; yet, in the end she realizes that the kindest person to her is her Hispanic maid. While we do not believe in racism, this film does not make it so easy to choose who is right and who is wrong because it develops all aspects of the people’s experiences. The main purpose of this film seems to be to raise questions about how far we as a society have come in terms of racism and whether or not we’ve overcome this issue in our country. The many different storylines that are taking place throughout the film begs us to look deeper into racism and how it affects everyone in America, especially in large diverse cities like Los Angeles where many different races and ethnicities live side by side. We also see racism between and towards other ethnicities: the hatred that the Persian storeowner has for the Hispanic locksmith, the bigotry shown by one of the black carjackers towards the â€Å"Chinamen† that are being smuggled in the van he takes, and the projections of the district attorney’s wife onto the Hispanic locksmith, Daniel. The one storyline that develops throughout the film that is the finale of the film revolves around a young rookie police officer who picks up an African-American man who is hitchhiking. Throughout the film he has been the one who tries desperately to not be prejudiced and to see everyone equally, but at the end his own inner fears cause him to misinterpret the young man and shoot him out of fear. Officer Hanson thinks that the young man is going to pull a gun on him, but instead pulls out a figure of Saint Christopher. If the man had not been black, the rookie officer would not have had the instinct to fear him; however, both of these characters throughout the film were the least prejudiced of all of the characters. This idea becomes interesting as an important aspect of this film because it is almost a metaphor of the United States and how we are trying desperately to not admit that racism is a problem but in the end, it really is. This is the most important theme of this film because it is the one that is closest to the reality of life in the United States and how racism plays a role in society. Throughout the film Crash there are many instances where we see racism portrayed in a realistic and harsh way, proving to us that racism is very much an issue that is haunting the American people even today. The magic of this film is that it really brings the issue of racism away from just being black or white, bringing to light the gray area that exists. We as Americans are torn between our understanding of certain reasons for racism versus disappointment that there is still racism existing in our society. This film is very entertaining because of the strong cast and the different storylines that all come together into a very informative, thoughtful way, but also enlightening as it achieves its goal of affecting the audience and their beliefs about racism in our society.

Sprint Swot Paper

Sprint Nextel Corporation SWOT Analysis Edgardo L. Cartagena Luna Management 521 University of Phoenix February 14, 2013 Sprint Nextel Corporation SWOT Analysis Background Sprint Nextel Corporation (Sprint) is a communications company. The company provides a range of wireless and wireline communications products and services to individual consumers, businesses, government subscribers and resellers. It provides wireless services on a postpaid and prepaid basis to retail subscribers and also on a wholesale and affiliate basis.The company markets its postpaid services under the Sprint and Nextel brands, and prepaid services under the Boost Mobile, Virgin Mobile, and Assurance Wireless brands. The company offers its services through wireless networks, an all-digital global long distance network and a Tier 1 Internet backbone. (www. alacrastore. com, 2013) Mission Sprint’s mission is to be number one in providing a simple, instant, enriching and productive customer experience. (Spr int Nextel Corporation, 2013). VisionSprint’s vision is to be a world class company, with standards by which others are measured, including a commitment to developing a world class supplier base that is reflective of the communities we serve. (Sprint Nextel Corporation, 2013). History Sprint's red diamond logo represented the combined achievements of many legendary predecessors, including United Telecommunications, US Sprint and Centel. Each embraced the same bold approach that Sprint's founder Cleyson Brown showed in 1899, when the Brown Telephone Company successfully went toe-to-toe with the Bell monopoly in Abilene, Kansas.By the mid-1970s, the company's aggressive growth strategies had firmly established it as the nation's largest independent local telephone provider. (Sprint Nextel Corporation, 2013). During the 1980s Sprint led all U. S. telecom companies by completing the first nationwide, 100% digital, fiber-optic network. It was The Company that gave America pin-drop clarity and also became a global leader in voice and data services during the early 90s. Sprint took its wireless strategy a big step further in the late '90s by building the only nationwide PCS network in the U. S.Meanwhile, a visionary entrepreneur named Morgan O’Brien founded a company called Fleet Net in 1987. This company was renamed Nextel in 1993 and rapidly established itself as a nationwide force in the burgeoning world of wireless communications. In September 1996, the company introduced Motorola's breakthrough iDEN technology. This marked the first combination of enhanced digital cellular, two-way radio and text/numeric paging in one phone – the famed Nextel phone. (Sprint Nextel Corporation, 2013). By 2005 the company was launched as Sprint Nextel Corporation after a merge done between the two, Sprint Corporation and Nextel Corporation.Both companies with proven records of successful achievements were brought together to continue opening new doors for cust omers and the industry. (Sprint Nextel Corporation, 2013). Stakeholders A stakeholder is defined as a party that has an interest in an enterprise or project. The primary stakeholders in a typical corporation are its investors, employees, customers and suppliers. However, modern theory goes beyond this conventional notion to embrace additional stakeholders such as the community, government and trade associations. (www. investopidia. com, 2013).Going forward in the discussion let’s take a look on Sprints Internal and External stakeholders. External Stakeholders Sprint engages a broad range of Non Government Organizations (NGOs) that have experience on specific issues such as green electronics, paper certification, e-waste, human rights and scope 3-emissions measurement. Each Corporate Responsibility working committee seeks to establish relationships with one to three NGOs and/or investor stakeholders for dialog on the related issue as well as strategy, proposed policy, measurem ent and reporting.These relationships have been invaluable and have resulted in more knowledgeable team members on the working committees and stronger, more comprehensive policies that incorporate the perspective of stakeholder partners. (Sprint Nextel Corporation, 2013). Internal Stakeholders Sprint uses a multi-tier Corporate Responsibility (CR) Governance Model that effectively incorporates all levels of the employees, ensures tight linkage with their operations and strategy, and drives accountability for performance against their CR operating priorities and long-term goals.The structure includes the CR Steering Committee, chaired by CEO Dan Hesse; the CR Leadership Committee, chaired by Ralph Reid, vice president of Corporate Responsibility; an External CR Stakeholder Panel; CR working committees; and a CR scorecard. The CR Steering Committee provides periodic updates to the Sprint Board of Directors about Sprint's ongoing efforts in the area of social responsibility and environ mental sustainability. (Sprint Nextel Corporation, 2013). SWOT Analysis Strength One of Sprint strengths is their Average Revenue Per Unit (ARPU).The company has the higher ARPU within the three largest telecommunication companies in the U. S. An advantage of 2. 6% and 2. 1% increase over AT and Verizon’s ARPUs respectively, from 2010 to 2011, put Sprint finishing the 2011 fiscal year with a $57. 3 ARPU. These results came with new strategic plans implemented to acquire the rights to offer the Apple’s iconic models of smart phones the well known Iphones. Also in the postpaid, by the second quarter of 2012 ARPU increased to $63. 4 thanks to a $10 premium data add on charge established to all smart phones.The increase has been registered as the best ever Sprint platform postpaid ARPU as well as the best record for any major wireless company in the U. S. (â€Å"Company Profile Sprint Nextel Corporation,† 2012) Weakness Churn rates are one of the Sprint weaknesses. These rates are the percentage of subscribers to the services that discontinue their subscription in a given time period. (Investopedia, 2013). Sprint being a significant company in the U. S. wireless communications market ended in 2011 with 55 million wireless subscribers of which 33 million are postpaid and 14. million are prepaid subscribers and 7. 2 million are wholesale and affiliates subscribers. (â€Å"Company Profile Sprint Nextel Corporation,† 2012). During four straight years (2008-2011) Sprint lost about 8. 6 million postpaid subscribers while AT and Verizon took advantage and increased their respective subscriber based. Churn rates for Sprint where 0. 48% over AT and in comparison with Verizon came up to 0. 59% over by 2011 fiscal year. This represents to investors and public that there are some issues with services, devices or networks that make them difficult to retain customers. â€Å"Company Profile Sprint Nextel Corporation,† 2012) Oportunity In this i ndustry there is always a need to improve coverage, data speeds, voice quality and to find the most efficient way of doing that. Sprint has a plan of implementing a network called Sprint Vision. This modern network will have the flexibility to manage multiple technologies in just one network. One of the primary causes for Sprints lack of growth is precisely the operation of two different networks, the formerly Sprints network and the Nextel’s IDEN network.This plan will integrate this two network technologies into one low operating cost network with more efficient ways of delivering what customers expect. (â€Å"Company Profile Sprint Nextel Corporation,† 2012) Threat In the last couple of years we have seen smartphones are made with more technology and features. These technologies make them more expensive to companies and customers. Most telecommunications companies subsidies the cost of this devices in order to make them more affordable to consumers who subscribes to their services.This is considerate a threat for Sprint because it could put at risk the balance of growth and profitability. For example, during 2011 Iphones penetration and other new devices helped Sprints revenue to increase 8% or $208 millions in comparison to 2010 fiscal year. In the mean time during the same time period equipment subsidies increased 16% or $1. 1 billion. (â€Å"Company Profile Sprint Nextel Corporation,† 2010) Conclusion After 114 years of history, Sprint has proven to be an innovative company and a leader in the telecommunications industry.It is a company with corporate responsibility compromise that conducts businesses in a socially and environmentally responsible manner. It’s based on the premise that a company is much more than the products and services it sells. (Sprint Nextel Corporation, 2013). Sprint has great possibilities to succeed in today’s market environment and increase their profitability. By using what they have learned fr om his strengths, they can set the phase to reach their goals. When we looked at the Average Revenue Per Unit they have been making, it can be established that Sprint can be more profitable than its competitors.If it can be done once it can be done every time. Even though, Churn rates weaknesses Sprint credibility to maintain its subscribers, during 2012, Sprint reported the lowest churn rates ever at 1. 7%. (Sprint Nextel Corporation, 2013). Customer service experience has increased also to best ever levels. Also the line of devices like the Iphone is helping to keep customers happy and loyal. (Sprint Nextel Corporation, 2013). Sprint Vision network will help to . reduce cost of operations of the company and will provide customers with better services.Customers should be happier and more satisfied with Sprint products and services. Profitability will also be less affected by devices subsidies since network operations will be more cost efficient. After analyzing all the information gathered, it look that might be a bright future for Sprint Nextel Corporation. References Company Profile Sprint Nextel Corporation. (2012, August 10). MarketLine, 24-29. doi:8613378D-5CF0-49B7-93F8-346EE511D261 Sprint Nextel Corporation (2013). History. Retrieved from http://www. sprint. com/companyinfo/history/ Sprint Nextel Corporation. (2013). Corporate Responsibility GovernanceModel. Retrieved from http://www. sprint. com/responsibility/approach/cr-governance. html www. alacrastore. com. (2013, January). Sprint Nextel Corporation (S) – Financial and Strategic SWOT Analysis Review. Retrieved from http://www. alacrastore. com/storecontent/GlobalData_Company_Reports-Sprint_Nextel_Corporation_S_Financial_and_Strategic_SWOT_Analysis_Review-2087-25542 Investopedia. (2013). Stakeholder. Retrieved from http://www. investopedia. com/terms/s/stakeholder Investopedia. (2013). Churn Rates. Retrieved from http://www. investopedia. com/terms/c/churnrate. asp#axzz2KsiBeGpW

Lawn Care Case Essay

1) A) Currently Lawn Care focuses on quality and innovation. Their product is said to be the best available with the highest quality grass seed and fertilizer in the world. They are also a very well known company which is another competitive advantage. They specialize in providing the best and quickly delivering the product to the customer demanding the product. B) The company perceives the quality of their products, and their direct delivery to be the order winner for the company. They provide what is expected, in terms of high quality seed and fertilizer, making this also an order qualifier. Another company, such as their competitor may consider the installation they proved to be the order winner, in that it sets them apart from their competition. C) CBP 2) A) Lawn Cares competitor’s current strategic mission is to provide a bundle package. Their competitive advantage is that they also install the product. They save the customer time, and create convenience for the customer because they do not have to find and contact and plan with a third party to have the work done. B) The competitor perceives the need for seed, fertilizer, and sod as the order qualifier, and the installation and additional yard work they provide as the order winner because it sets them apart from their competition, Lawn Care. 3) If Lawn Care were to add the application business to their existing business they would need to secure more employees. They would need employees who have experience in landscaping and are able to do the physical labor. This could take months to find and train the new employees. They would also need to purchase equipment such as lawn mowers, trucks, trailers, etc. to  assist in the application side of the business. This would involve using some of their assets to purchase and later on repair and manage upkeep, but they would achieve a gain in capital equipment assets. Lawn Care would also have to use additional resources to market their new service bundle. The addition of installation would not do the company any good if nobody knew they were now offering the service. It may be beneficial to the company if they contacted previous customers as well to tell them of the changes and see if they need any more work done. Changing advertisements and adding new advertisements and promoti ons would also take months, but would benefit the company in the long run. 4) Lawn Care would have to consider how the community and previous customers would react to the changes and whether they would find the change beneficial and take advantage of the new services offered. Stakeholders would be affected as well with the relocation of assets and the risks being taken by Lawn Care to add such a substantial portion to their business. The changes and how they will effect stock in the company is an important economic sustainability factor for the company to consider. The company was accused of pollution and other damage application mistakes before implementing this new service bundle. The company should consider environmental sustainability and because they would have more control of the application process than they did previously they will need to be more aware of how they are affecting the environment and what they can do to prevent any future claims against them. The company should also determine how they will market the product and how this will affect social sustainability. What can they do to make everyone aware of the products and gain back any customers they lost to their competition before offering the service? Lawn Care needs to consider how sustainable the service will be and make sure that it will be a lasting effort before purchasing the new equipment and implementing new processes. –

A comparison between the American Psycho and A Clockwork Orange

A comparison between the American Psycho and A Clockwork Orange The controversy surrounding Brett Easton Elliss American Psycho and Anthony Burgesss A Clockwork Orange relates primarily to the central themes that are explored in both books. Nevertheless, the brutality and explicit expression that drench these novels is imperative in shocking the readers. Although it is not solely the violent content of the books that shocks, it is a matter of form and style and the methods used by both authors in their portrayals of monstrosity. Both Burgess and Ellis employ literary techniques in their novels that are significantly directed toward provoking a controversial response from readers upon publication. However, this is not to say that the principal purpose of these novels is to shock; arguably, this is merely an effect generated by the form in which these books are presented. It can be said that Elliss presentation of a consumer society is fundamental in driving Bateman, Elliss protaganist, to act in the way he does. Likewise, Burgesss depiction of an oppressive, totalitarian society is also crucial in understanding Alexs desire for sadomasochism. American Psychos bizarre mixture of yuppie satire and splatter horror caused reactions of scathing criticism, indignation, yes, even murder threat. The shocking nature of the novel is engineered by Ellis’s use of graphic content, imagery, and detailed description; in conjunction with the other themes that are invoked, it is clear why American Psycho received such a controversial reception. Ellis refers to Dantes Inferno in the opening line of the novel: ABANDON ALL HOPE YE WHO ENTER HERE; this caption, inscribed on the doorway to hell, is proleptic of the content of the book, acting as a caution to the reader, who will be subjected to The hell of endless presentations of consumer goods combined with scenes of gut-wrenching violence. The graphic content alone in American Psycho is shocking; however, Ellis carefully contrasts nauseating detail of brutal acts performed by the egotistical narrator, Patrick Bateman, with some of the emptiest dialogue ever committed to print. Endles s description of male grooming products (such as the Greune Natural Revitalizing Shampoo), home electronics, and designer fashion brands not only emphasizes the significance of consumer society in ’90s America, but appears in such stark contrast to the horrific scenes of mutilation that the sadistic behavior of Bateman appears all the more appalling to readers. In conjunction with this, scenes of brutality take up only a small proportion of the novel: Batemans first act of violence does not take place until a third of the way through the book. Furthermore, the monotonous uniformity of Batemans incessant descriptions of brand names and consumer products leaves the reader simply unprepared for the bloodshed that follows. For example, Ellis dedicates entire chapters of the novel to the history of bands such as Genesis and Huey Lewis and the News. These tedious, droning descriptions of Genesis albums such as the concept-laden And Then There Were Three are of almost no relevance t o the rest of the novel; however, they are significant in provoking the effect Ellis is intending to pursue. The tiresome depth of detail that Ellis uses generates a false sense of security for the reader, therefore accentuating the more ghastly content of the novel. Correspondingly, a similar motif is employed in A Clockwork Orange. Alex’s ardor for classical music most significantly, Beethoven’s famous Ninth Symphony generates a comparable impression to that produced by Ellis in his use of language; moreover, it is mimetic of Burgess’s approach to structuring the novel. Beethoven begins his Ninth Symphony with a mellow, placid tone that slowly develops to create maximum tension before erupting into a much sharper, more dominant sound that, like the juxtaposition of language in American Psycho, is responsible for creating such a dramatic effect. Similar techniques are put to effect in J.G. Ballards Crash, which was castigated by various critics for the violent behaviour and perverse desires of some of its characters. Ballard, like Ellis, exercises an extensive and unnecessary quantity of detail; however, unlike American Psycho, there is no contrast between the violence and the rest of the book. Ballard blends endless descriptions of mechanical structure, listed exhaustively in precise technical prose for example, the jutting carapace of the instrument panel and stylized sculpture of the steering column shroud with the perverse behavior of characters such as Ballard and Vaughn. In the case of Crash, the relentless use of mechanical jargon amplifies the erotic and violent nature of the book itself and, when used in conjunction with descriptions of every pornographic and erotic possibility and every conceivable sex-death and mutilation, is very effective in generating a controversial effect. Ballard portrays his distinctive i nterpretation of the culture of modernity through the means in which he unifies sex, death, and metallic structure in his language. Ballards view on society is similar to that taken by Ellis, who drenches American Psycho with contemporaneous detail; the reflection of a semi-realistic society in both Crash and American Psycho leads them to appear more shocking to readers. In contrast, the dystopian world of imagination created by Burgess in A Clockwork Orange contains elements of a futuristic culture, which can be seen to appear less offensive to the public. Ballards title, Crash, is relevant to the content of the novel; it is also metaphoric of his view of society as sordid and headed for disaster, a point argued by Virginia Brackett. The language of A Clockwork Orange, a neo-Slavic Nadsat, is hugely significant in addressing the violence of the novel, and is described by Esther Petix as the jargon of rape, plunder and murder veiled in unfamiliarity. The typical tongue spoken between the narrator, Alex, and his â€Å"droogs† is important in considering how Burgess intends to depict violence as both a theme and a way of life for the gang. It is imperative to take into account, when interpreting the Nadsat lexis, the distinct lack of connotations for love, emotion, and compassion that are typically applied in a natural domestic environment. In contrast, Alexs dialogue contains a huge variation of words implicating brutality, violence, and misogyny: for example, Krovvy for blood and Groody for breast. This in itself represents the extent to which bloodshed and brutality are normal to Alex; A bit of dirty twenty-to-one or Ultra-violence is routine for Alex and his Droogs. Similar to American Psycho, A Clockwork Orange also uses a contrast in language to amplify the violence recorded in the book, thus provoking a more deplorable effect. The Nadsat lexis, in offering a variety of misogynistic and violent terms, also includes a number of conflicting phrases. Burgess flecks his dialogues of evil with endearing traces of childhood in words such as appy polly loggies and skolliwoll; this juxtaposition of infantilisms and violent terms aids in repeatedly shocking the reader. In conjunction with this, the Nadsat dialogue is also significant in personalizing the reader with the narrator, implicating us in the sadistic violence he commits. The narrative stream of consciousness we see from Alex constantly incorporates us in his violent behavior. On the other hand, the personalization and interaction between the reader and Alex leads us to empathize with him, raising the argument that the principle of A Clockwork Orange is not purely to shock, but also to pursue other themes. All three books A Clock work Orange, American Psycho, and Crash have been produced into relatively recent films, all of which provoked controversial receptions; the most shocking, A Clockwork Orange, was banned upon release. This illustrates the contextual significance of the novels and represents how the shock of language has dissipated in modern society after exposure to media and film culture. Furthermore, this signifies why the explicit nature of American Psycho generated less of a response than the more subtle motifs of A Clockwork Orange that upset many when it was released. Ellis’s use of language in American Psycho is clearly of great significance in provoking shock; however, it is the illustration of violence that is the substance of the novel. The gut-wrenching depth of detail and graphic imagery thrown at the reader is almost difficult to comprehend. The first act of violence performed by Bateman is a representation of class hatred perpetrated on a black homeless man named Al, which suggests that the encounter is merely an embellishment of the racial prejudice that underlies the novel. However, Ellis images the victims body with tremendous specificity, and the gruesome imagery of Als mutilation traumatizes the reader. The illustration of Als eye as a red, veiny egg yolk oozing over his screaming lips in thick, webby strands paints such a repugnant image that it becomes almost nauseating for the reader. Ellis continues to express such explicit detail regarding almost every act of brutality that Bateman performs. In the second half of American Psycho, the disturbing nature of the novel heightens, as readers are introduced to the first of Batemans sexual attacks. Unlike Burgess, Ellis produces a narrator that readers are unable to empathize with due to the barbarous and sadistic acts that he commits. The perverse scenes of erotic vulgarity involving various prostitutes and hardbodies that Bateman lures back to his apartment are critical in generating the level of controversy that arose upon publication. In particular, Ellis describes a scene where Bateman forces a Habitrail tube up into this bitches cunt before inserting and trapping a starved rat inside her for personal satisfaction. Ellis continues to describe Batemans animalistic brutality, using sickeningly graphic imagery of skin and muscle and sinew and bone before he hack[s] the bone off her chin. Although it is clear from the fierce descriptions of various mutilations and murders that Ellis wanted to disturb his readers, there is a definite correspondence between Batemans victims that represents a portrayal of ’90s American society. This is reflected in Batemans choice of targets, which progresses from Al (The bum, a black man) to an old queer and his Shar-Pei and then onto various escort bimbo[s]. Julian Murphet argues that what Ellis presents as acts of brutality should actually be considered as, â€Å"The cinematically projected fantasization of general class violence toward everything that is not white, male and upper middle class.† To a certain extent, Murphet’s statement is accurate: both misogyny and racial prejudice are expressed explicitly in the lives of Bateman and almost all of those embedded in â€Å"yuppie† culture. The uniformity of such a mundane routine pursued by Bateman drives him toward exorbitant methods of gratification. Carl Tighe supports Murphet’s argument, stating that Ellis’s portrayal of women in American Psycho is that â€Å"they are not intellectuals, they are barely even people.† Furthermore, the dialogue exchanged between Bateman and his associates Van Patten, McDermott, and Price in pretentious restaurants and bars such as â€Å"Nells† and the â€Å"Yale Club† clearly illustrates their materialistic and misogynistic views of women in society. Any females are merely referred to as â€Å"hardbodies† or â€Å"bimbos†; Bateman fails to gauge anything behind the faà §ade or initial impression of a woman. Ellis exaggerates the significance of appearance in American Psycho to such a degree that a waitress becomes intolerable to our protagonist when he perceives that her left kneecap is â€Å"almost imperceptibly thicker† than the right. At â€Å"Harry’s,† Bateman and two â€Å"friends† concur that a good personality in a woman consists of someone who will â€Å"satisfy all sexual demands† and â€Å"essentially keep her dumb fucking mouth shut†; the consistent and deliberate level of yuppie satire and offensive dialogue is a reflection of Ellis’s outlook on the consumer society of ’90s America. Therefore, in Bateman’s egotistical routine of habitual violence, monotonous monologues, and cocaine, it can be seen that Ellis is raising fundamental social and racial problems, which were rife in America during the era of Reagan’s presidency. However, the extent to which racial prejudice and misogyny are adopted by Bateman and his acquaintances enhances the shocking nature of the book, leading numerous feminist groups to berate Ellis with scathing criticism. Similarly, A Clockwork Orange contains indications of misogyny that are apparent throughout the novel, with our narrator regularly partaking in â€Å"a bit of the ultra-violence,† raping and beating young women for his own amusement. The numerous derogatory terms encompassed in the Nadsat dialect regarding females also reinforce such indications, suggesting that A Clockwork Orange was not published solely to shock. The violence of A Clockwork Orange is presented in a very different manner. Despite the lack of specificity regarding every detail of the victim’s injuries, the violence committed by Alex and his gang of â€Å"droogs† is â€Å"both appalling and appealing.† We are able to empathize with the 15-year-old narrator through Nadsat and through his presentation as a typically mischievous teenager in a way that we could not connect with Bateman. Therefore, when Alex and his gang assault, strip, and rob an â€Å"old veck† and â€Å"viddy† him swim in his own blood in the opening chapter, we are shocked to discover Alex finds it â€Å"real beautiful.† Our 15-year-old protagonist takes aesthetic pleasure in the merciless beating of an old man and finds it â€Å"a source of comedy†; this is consistent in Burgess’s attempts to create distress in the readers. A Clockwork Orange does not contain the same level of specificity as American Psycho . However, Alex is presented as an artist in his violence, and Burgess describes his behavior with a surreal and almost facetious detachment. Midway through a brutal gang fight, Alex begins to â€Å"waltz left two three, right two three† before slicing the face of his nemesis, â€Å"Billyboy,† whose â€Å"blood poured in like red curtains.† This illustrates the pleasure that Alex takes in violence and brutality. Similarly, in American Psycho, while torturing a young woman, Bateman is â€Å"grimly lip-synching† to â€Å"The Worst That Could Happen† while it plays on the jukebox. Both Alex and Patrick Bateman are embedded in their own routines of cursory periodic violence, which they perform for no other reason than their individual enjoyment. Arguably, there is a distinct political motive behind A Clockwork Orange: Burgess’s observations during his visit to Leningrad in 1961 inspired the dystopian elements drawn on by the novel. The oppressive, state-regulated nation that Burgess witnessed is arguably what prompted the Ludovico technique, a government program consisting of a variety of ultra-violent films engineered to revert the malicious desires of a young criminal such as Alex. The technique is a clear reflection of the totalitarian society of A Clockwork Orange and that observed in Leningrad. Burgess opposed the infamy and repressive nature of the prevailing Communist governments, and it is evident that his political ideology was influential in the writing of his novel. Critic Esther Petix offers a supporting argument involving the contrast of the government advocates representing the Communist regimes witnessed by Burgess in Eastern Europe subsequent to the Second World War. The Ludovico technique itself is a paradox, supposedly a method of rehabilitation; it instead manipulates our protagonist into a piece of pulpless, juiceless flesh that acts upon command and not out of will. The Ludovico technique is a clear example of the political message that underlies A Clockwork Orange and is critical in presenting the idea of the intrinsic evil of government and the purity of free will, both of which are key themes throughout the novel. However, the inhumane procedure that Alex is subjected to is also fundamental in generating shock, in conjunction with the portrayal of a totalitarian society. Ellis, in his representation of ’90s America, takes us into a decadent cocaine-addicted world that basically revolves around the hunger for parties and sex. This is illustrated in the temporal depiction of a consumer society where clothing possesses more significance than those wearing it. The extent to which Bateman is preoccupied by commodities leads him to become subservient, a commodity himself. It is critical to consider the importance of physical demeanor and possession in American Psycho, for it is imperative in exposing the â€Å"Psycho† of the title. Bateman identifies that physical brutality, torture, and rape have become his only way of escaping his hollow life in consumer society; arguably, the drug-fueled, materialistic world that surrounds our protagonist is the basis for the shock that is that is implicated in Ellis’s writing. Similarly, A Clockwork Orange sees Alex and his â€Å"droogs† habitually drinking from the Korova Milkbar, which ser ves milk plus something else. The drug-laced milk cocktails that are consumed by our humble narrator prior to an evening of physical brutality and sexual animosity would sharpen you up and remove any resemblance to human compassion. Once Alex and his â€Å"droogs† â€Å"feel the knives in the old moloko starting to prick,† they are â€Å"ready for a bit of twenty-to-one† and are able to commit senseless violence with no feelings of remorse. Hence, the drugs consumed by Alex and his gang, as in American Psycho, form the foundation of the gang culture and â€Å"ultra-violence,† two key implications of shock incorporated into the novel. Comparatively, a further representation of drug use in literature as a basis for shock is Hunter S. Thompsons postmodern novel Fear and Loathing in Las Vegas, which generated a contemptuous response when it was published in 1971. Thompsons exertion of surrealist imagery is significant in emphasizing the savage nature of drug use and the pursuit of the â€Å"American Dream† reflected in high-powered blotter acid and a whole galaxy of multi-coloured uppers, downers, screamers, laughers. The absurd excursions of Raoul Duke and Dr. Gonzo, the language compounded with a blend of political satire, and the plentiful hoard of drugs all reflect Thompsons perspective on American society and the American Dream. Thompsons use of language and imagery twists a pretentious Las Vegas cocktail lounge into a fucking reptile zoo! Furthermore, our protagonists correspondence to readers from the midst of a drug coma led Fear and Loathing in Las Vegas to be excoriated by various critics for its unfettered plot and adjudicated by readers for its drug use. Fear and Loathing in Las Vegas has been named a classic in the literature of depravity as a result of its sardonic depiction of ’70s America; allusions to The San Francisco Acid wave illustrated an endorsement of a drug-charged nation and triggered controversy when it was released to the public. Implications of drug use are included in all of these postmodern novels and form a fundamental basis for the society that the authors are presenting, which consistently creates controversy. Whilst A Clockwork Orange may appear shocking in content, there is arguably an overt philosophical and political purpose behind it. Hence, it was not published purely to generate controversy; that controversy is merely a tool in conveying a greater message. It can be argued that American Psychos â€Å"disturbing thematics are the product of an apocalypse culture, a culture that Ellis depicts as corrupted by consequence of its lust for cocaine, its impulsive drive for glamour, and its prejudice regarding those who do not tailor to its idealistic optimum. However, it is difficult to justify the books provocative and offensive nature without the development of a prevailing theme, other than implications of consumerism and misogyny. In the explicit portrayal of the life of Patrick Bateman, Ellis is fundamentally endeavoring to evoke shock among readers, and it is evident that this is the principal purpose of the novel. Bibliography 1. Alighieri, Dante. Inferno. Indianapolis: Hackett Publishing Company, 2009. 978-0-87220-918-3. 2. Bloom, Harold. Dark Humor. New York: Infobase Publishing, 2010. 978-1-60413-440-7. 3. Brackett, Virginia. Beginnings through the 19th Century. New York: Facts on File, 2006. 978-0-8160-7497-6. 4. Buchholz, Sabine. â€Å"At the Edge of Art and Insanity: Postmodern Elements in Brett Easton Ellis’s American Psycho. Norderstedt, Germany: Druck und Bindung, 2006. 978-3-638-90456-8. 5. Frank, Michael. â€Å"Violence and Consumerism in Brett Easton Ellis’s American Psycho and Chuck Palahniuks Fight Club.† Norderstedt, Germany: Druck und Bindung, 2009. 978-3-640-46678-8. 6. Gerhmann, Tim. â€Å"Parallelism of Character and Concept in American Psycho and Cosmopolis.† Norderstedt, Germany: Druck und Bindung, 2006. 978-3-638-76862-7. 7. Murphet, Julian. â€Å"Brett Easton Elliss American Psycho.† New York: The Continuum international Publishing Group Ltd, 2002. 0-8264-5245-0. 8. Petix, Esther. â€Å"Linguistics, Mechanics, and Metaphysics: A Clockwork Orange.† New York: Chelsea House Publishers, 1987. 0-87754-676-2. 9. Schiel, Anja. Abandon All Hope: Consumerism and Loss of Identity in Brett Easton Ellis’s American Psycho.† Norderstedt, Germany: Druck und Bindung, 2005. 978-3-638-93642-2 10. Tanner, Laura. â€Å"Intimate Violence: Reading Rape and Torture in 20th-Century Fiction.† USA: The Association of American University Presses Resolution, 1994. 0-253-35648-2. 11. Tighe, Carl. Writing and Responsibility. London. Routledge, 2005. 9780415345637 12. Torrey, Beef and Simonson, Kevin. Conversations with Hunter S. Thompson. Mississippi: University Press of Mississippi, 2008. 978-1-934110-76-8 13. Trawers, Martin. European Literature from Romanticism to Postmodernism: A Reader in Aesthetic Practice. New York: Continuum, 2001. 0-8264-9098-0.