Buddhism Worksheet

Economic, soical, and Political changes Marlisa Brown HUM/114 October 4, 2012 Gene Smille University of Phoenix Material Economic, Social, and Political Change Worksheet Agricultural Revolution Respond to each of the following questions in 2 or 3 sentences: 1. What are the three most important factors that contributed to the agricultural revolution in Europe? Answer: The three important factors were the warmer temperature, the three-field system, and better farming equipment. 2. How did the agricultural revolution change European society? Provide an example.Answer: The new found, more productive way of farming in Europe reduced the need of manual laboring workers, eliminating many jobs on farm lands creating coil mining jobs to help power the machines. Industrial Revolution Respond to each of the following questions in 2 or 3 sentences: 1. What are the three most important factors that contributed to the industrial revolution in Europe? Answer: The large population, capital, and the people with scientific knowledge, and entrepreneurial skills were among the social, and economic factors that helped make the industrial revolution. . Describe working conditions in factories and mines between 1800 and 1850. What was life like for a typical worker? Reference at least one primary source to support your response. Answer: Working in factories and mines were very dangerous because a lot of deadly accidents happened, like when coal was brought in buckets to the surface, and children helped in the mines they had to work in the dark because some families were too poor for candle light. Western Social Change Between 1815 and 1914Write 2 or 3 sentences per concept about how each of the following changed in Western society between 1815 and 1914: 1. Romanticism: Napoleon was the Emperor; Napoleon had large armies, which consisted of peasants and workers. Napoleon decided to give them a geographic lesson by crisscrossing the continent in Europe. 2. The role of women: Western so ciety believed that the women role was to retire from work and take care of their family and husband at home.Younger women had to work to help around the house of their parents, and then marry in their later years. 3. Science: In 1848, due to political failures of idealism, science had a new look on disillusioned Europeans. The scientific discovery was not great, but was a great find for technical applications. 4. Realism: Art and literature was a rejection of romantic idealism and subjectivity, political failures of the post-1848 era characterized a wide array of artistic and literary endeavors. Western Political Change Between 1815 and 1870Write 2 or 3 sentences per concept about how each of the following changed in Western society between 1815 and 1914: 1. Liberalism: abolished the slave trade in the British Empire. Finally, in 1833, the slave trade was abolished and lots of money was paid back in Caribbean to the owners of the British plantation. 2. Conservatism: In 1819, starte d the Carlsbad decrees, which tried to eliminate national sentiments that came upon the Napoleonic period. The Germans approved decrees against free speech and civil liberties. 3.Kulturekampf: the Kulturkampf began in 1871, escalated sharply until 1878, and then gradually wound down until its end in 1887. 4. The Communist Manifesto: Communist Manifesto is a statement that is by Marxism. Communist Manifesto was mistaken of future development of capitalism. 5. Realpolitik: Bismarck was the supreme practitioner of Realpolitik, this was during realistic politicians age. â€Å"Realpolitik meant that statesmen had to think in terms of military capability, technological dominance, and the acceptable use of force. †

Debut albums, Life Essay

This is a phrase, a philosophy phrase that is about living, daily living. But what do you think it really means or should we say what is the hidden meaning about it? Why just living is not enough? Living is not enough because we need to experience all the things we can. Simple as to explore the world or the things that was given to us by our beloved GOD. We need to experience all good, better and best, bad, worse and worst. From worst to best to know what the word LIFE truly means. It also doesn’t mean we need to do crimes in order to experience bad things, it’s just like problems, wounds and etc. We and I consider it as bad things because I don’t like any of that happen to me. Just living is not enough†¦. We need to explore and find the true meaning of life. He who hesitates is probably right. This is a philosophy that we can use daily, why? Because this is about decision making. And we always make decision in every aspect of our life. As a student I can relate in this because of our recitations in school. We always hesitate before we raise our hands to answer. We will suddenly know that our or my answer is right because someone answers it. And it’s too late to get the credit. The philosophy above is trying to teach or to tell us that if we have ideas, share it, tell it, explain it because we will never know if our ideas is right if we don’t try it. Not only for students but all individuals around the globe. Human life is purely a matter of deciding what’s important to you. This Philosophy is saying human life always choose what’s important to you. But why? All individuals are different from each other, different tastes, likes, dislikes and many more. But we all have similarities, we always choose what’s important to us in every problem that comes in our life. For some instances, family problems like marriage and your family doesn’t want your fiance or fiancee, you will decide what’s MORE important to you your family or your love one? If you choose your family, then go and it’s also the same if you choose your love one. I understand in this philosophy that this our instict that we always choose what’s important to us but it never assures us that what is important will be the best for us. Only friends can answer your calls everytime of day that matter. This is a simple philosophy that is about friendship. If we first read it, we will quickly understand what it means. But what do we understand? We all know we have many friends in our life, friends in school, friends in the neighborhood and many more. We also know not all friends are real, just like this saying says â€Å"Some friends are gold and some friends are silver†. The philosophy above is trying to tell us that only TRUE and REAL friends can answer your calls no matter what your problem is. The friends that are there for you no matter what. No matter what time of day it is, you could call them and they’d be there for you. And it’s true, they are the ones that matter. The people who you can really rely on to be there for you are the ones that should matter in your life.

Breaking Down the Brutality in Sports

Breaking Down the Brutality in Sports In attempting to understand and argue whether violence in modern sport has continued to augment over time, it is firstly necessary to grapple with what is understood by the term violence. Olweus (1999) rather narrowly, suggests that violence is the ‘use of physical force’. [1] He defines violence/violent behaviour as ‘aggressive behaviour where the actor or perpetrator uses his or her own body as an object (including a weapon) to inflict (relatively serious) injury or discomfort upon an individual’ (1999:7). However, as the study of violence has continued to expand, so too has its characterisation. The World Report on Violence and Health (WRVH, 2002) states, that violence is the intentional use of physical force or power, threatened or actual, against oneself, another person, or against a group or community, that either results in or has a high likelihood of resulting in injury, death, psychological harm, mal-development, or deprivation. More specifically, v iolence in sports has been defined as ‘behavior which causes harm, occurs outside of the rules of the sport, and is unrelated to the competitive objectives of the sport’ (Terry Jackson, 1985:2). However, despite the fact that it is no easy task to formulate a specific concrete all encompassing understanding of violence what is clear is that there has been a continuous surge in both frequency and seriousness of acts of violence in sports in the modern era (Leonard, 1988). However, it is still problematic to give a definitive answer to such a complex question as, for example, the Australian Government have stated that hard data on the extent of sporting violence is not available, but that the sporting associations have indicated that there has not been an increase in violence over recent years (Wenn, 1989).The difficulty lies in assessing whether or not this level of violence has always been present in sport but appears, because of different influential factors, to be a recent phenomenon that is continuing to increase in today’s world. This essay will look at both player/on pitch violence and spectator violence. During the period before the fall of the Roman Empire, violence in sport was in essence, a fundamental principle in society that far from undermining or offending social norms was actually endorsed and embraced by both athletes and spectators and became very much part of ordinary working society. The famous Historian Josephus described how Titus dealt with his captives from the Jewish Rebellion. The number of those destroyed in contests with wild beasts or with one another or in the flames exceeded 2,500(Grant,1999: 28). This approach was not greeted by shock by the Romans. In fact, violence was so much an integrated part of society and sport that the gladiators upon signing on swore; I undertake to be burnt by fire, to be bound in chains, to be beaten, to die by the sword (Grant, 1999: 45).[2]Furthermore, historically, violence was not only found in sports, but it served as a sport in itself, such as was the case in Ireland in the 19th Century (Conley, 1999). From a Sociological per spective, this approach to sport is indicative of an attitude to life, death, and the sufferings of others which is very different from that which dominates in the contemporary West (Dunning, 2002: 47), as a large part of the West is liberal and democratic and acknowledges the importance of Human Rights and the essential right to life. If arguing that violence in sport today continues to be unambiguously prevalent it is useful to look to the law for empirical evidence. There are numerous professional sports leagues and other governing bodies which police violent activity and provide, what is deemed to be, appropriate punishment. There are a few important cases that indicate the stance taken by the law as it stands vis-à  -vis violent action in sports; in the 1969 case[3]for example, the court held that in this instance it was a case of self-defense. However, more importantly, they acknowledged that there was no difference between sports contests and real-world violence and thus as later highlighted by the McSorley (2000) case, violence in sport is considered a criminal assault if one unjustifiably and intentionally uses force upon another with intent to cause injury. The crime usually involves a threat of harm, coupled with improper contact with the other person. This has enormous consequences in that it indicates that any action deemed to be violent and unnecessary can result in a criminal conviction as it is deemed to be an assault and therefore illegal. However, the question remains; does the introduction and expansion of law on violence in sport mean that violence today is less common or is the law, now, a very necessary tool that must be wielded because the level of violence continues to mount? Research has suggested that the causes of sport violence are provocation by the other team or competition, encouragement by coaches (Reilly, 1995; OBrien and Wolff, 1996), peer pressure, wanting to win, because it is an implicit part of the game (Scher, 1993; Weinstein, et al., 1995; Pilz, 1996), revenge and retaliation, and as the result of role models (Pooley and Golding, 1987). If these findings are accurate this suggests that violence has a high probability of taking place in sport when its use constitutes the difference between winning and losing, as well as when there is weak officiating, sanctions are not severe, so there is no real fear of detrimental penalization, coaches are not willing or able to control their players, or even encourage them to break laws (Clark, 1981). This highlights a big difficulty in that, despite the increase in law and regulatory bodies, violence continues to be a very real problem in sport. Furthermore, a problem lies in the fact that evaluating wh en these causes arise can be virtually impossible: there is no specific way of knowing how coaches react in a dressing room or how players feel before a match. In addition, it has been argued that among males, some are influenced by the macho image in society (Messner, 1992; Messner and Sabo, 1992; Coakley, 1998) and in attempting to be seen as strong and fit and fearless have a tendency to engage in high levels of violence to illustrate their masculinity. A further difficulty in assessing whether violence in sport has actually increased in today’s world is the fact that it is generally acknowledged that â€Å"brutal body contact† is seen as integral to some sports (Smith, 1983).[4] This ‘contact’ essentially conforms to the rules of the sport as already specified, by the relevant regulatory body and is completely legitimate even when the same sort of behaviour outside the sports context is defined as criminal, like for example assault. Athletes, because they have consensually taken part have implicitly accepted the inevitability of rough contact and the likelihood that they will receive a few knocks during the ‘rough and tumble’. They have thus implicitly agreed to the probability of minor injury and even the possibility of serious injury. A good example is that of Stuart Mangan[5]. When the question of whether violence is sport is increasing is posed in light of such a sad case, prima facie, it becomes easier to answer it in the affirmative and not only that, it also becomes possible to argue today that such a standard of violence is actually acceptable to the spectators and not repugnant to the norms of a modern democracy. However, it must be noted that athletes cannot, reasonably be said to have agreed to injuries sustained from physical assaults that violate the written and unwritten rules of the sport. This means that any act of violence cannot ever violate the terms of the specific sport in question which essentially means that today sport and violence has clear parameters that must be adhered to. Another interesting feature that needs examination in order to answer the question comprehensively is this notion of â€Å"Borderline violence† (Smith, 1986) which consists of behaviors that violate the official rules of the sport but remain acceptable to players and fans alike as a ‘legitimate part’ of the game. Such activity —a fight or headbuttin ice hockey or an intentional foul in association football’s penalty zone—is rarely if ever subject to a court hearing and there is increasingly a tendency to be deal with these types of issues by penalties imposed by referees, umpires, or league administrators. A solid example of this occurred in 1997 when the Nevada Commission censured and banned boxer Mike Tyson for biting his opponent(NY Times, 1997). More-extreme rule infractions—those that upset both the formal rules of the sport and also the law of the land—elicit , normally, a harsher formal response, especially when the violen ce results in serious injury. If it is accepted that sport, by its very essence inevitable incorporates a certain level of violence and disharmony it once again becomes more difficult to truly estimate whether violence has become and continues to become more prominent in sport or whether the very existence of sport has meant and continues to mean that violence has always been a part of it. In sport is often equated with pure violence (Atkinson Young, 2008). Elias (1993) suggests that sports grow out of regulated societies where violence in general is reduced (liberal democracies for example) to a minimum because disagreements are resolved politically in the normal way. Sports thus function, in these societies, as a relief-institution, a mimetic battle that allows people to achieve fulfillment and catharsis without acts of violence . . . the infliction of physical injuries or of death upon other human beings. Essentially that sport is an outlet by which to vent anger and frustration. However, since sports are close to violence, it is also in the context of sporting events that violence tends to manifest itself first when society (because of unemployment, poverty, discrimination, etc.) begins to break down. Hooliganism is just one example Elias gives of this phenomenon. This essay will now focus on the aforementioned second type of violence. Sometimes fans do more than complain. Violence by supporters of sports teams dates back to Roman times, when supporters of chariot racing teams were frequently involved in major riots. A notable example of this is the Nika riots of 532 (Weir, 1996). However, it is clear that in the 1960s and 1970s, there was an increase of a dramatic nature in violence committed by sports spectators (Dunning, 1993).[6] Despite the copious amounts of empirical evidence it is not easy to find a simple answer to such a complex and multifaceted question, not least because there is a real failure to distinguish effects across different types of sport (Baumert, Henderson Thompson, 1998; Begg et al, 1996; Jackson et al, 2002; Nixon 1997; Wright and Fitzpatrick, 2006). If one looks to the law and the multifarious number of organisations that exist today to oversee and monitor sport it would be a fair to assume that violence has decreased and will continue to do so in sport. However, if one argues that sport naturally incorporates violence, especially contact sports and that these sports are not banned but in fact avidly supported, encouraged and loved by the athletes themselves and the loyal fans and is a vital outlet to vent anger than it would be a fair assessment to say that violence is on the up. However, this is not such a simplistic topic. No one point can be looked at in isolation. This essay ultima tely argues that, whether or not violence in sport is on the up, currently it has become virtually impossible to answer this question accurately not least because of the very prominent and influential role of the media. The question really becomes whether the heightened public attention and media focus on sports violence reflects not so much an augmentation in the incidence or severity of aggression, but rather greater public concern with moral issues and political discourse?

Grenada and Mission Command Essay Example | Topics and Well Written Essays - 1500 words

Grenada and Mission Command - Essay Example As a function of this breakdown, the US Atlantic Command was forced to keep a close hold of the operation; so much so that it did not successfully transmit needed information to the US Readiness Command. This led to many command elements being unaware of the initial planning stages; thereby leading the entire operation to the point of leaving out key elements of command from the planning process. Quite obviously, such an oversight led to many problematic issues during the logistical execution of the operation itself. US Second Fleet: This command unit was given overall control of the operation. Under the leadership of Vice Admiral Joseph Metcalf III, the US Second Fleet formed Joint Task Force 120 with overall responsibility of the Operation Urgent Fury. The Second Fleet had a clear understanding of the intent and objectives of the orders of the Atlantic Fleet passed on from President Regan. However, here as well there was a breach in the building of cohesive teams. This lack of cohe sion naturally deterred a building of mutual trust when the recommendation of Admiral Metcalf II to have army Major General Norman Schwarzkopf be put in charge of the overall ground operations instead of Major General Edward Trobaugh was quashed due to its clear abrogation and deviation from the chain of command. While Admiral Metcalf III knew that most of the operation would be ground based, more suited under command of an army command unit, this was unfortunately never considered openly in the planning stage. Regardless of such an oversight and/or prejudice, the Second Fleet was still up to the task and was able to establish proper command and communication channels to the units under its command. XVIII Airborne Corps: Under the leadership of Lieutenant General Jack Mackmull, this command unit was in charge of the majority of logistics and sustainment of the operations in Grenada. Although this command unit had an important role, it was overlooked by the main planners during the p lanning phase. Near the beginning of operations, the Atlantic Command requested that the XVIII Airborne Corps’ subordinate 82nd Airborne Division be placed in combat readiness without being given a clear or otherwise full idea of what the situation entailed. It was also found that the XVIII Airborne Corps was excluded by the Atlantic Command from the planning phase; additionally compounding the initial problem of logistics and sustainment of participating ground forces. Among the participating command unit

Devising a Strategy for Accor Research Paper Example | Topics and Well Written Essays - 3750 words

Devising a Strategy for Accor - Research Paper Example Johnson et al. confer additional dimensions to strategy in their definition: i) long-term perspective, ii) meeting competition and iii) stakeholder value. According to them, a strategy is " the direction and scope of an organisation over the long term which achieves the advantage for the organisation through its configuration of resources within changing environment and to fulfil stakeholder expectations. (2004) After understanding what 'strategy' means the next logical step is to design the 'strategy' and work it. Of the four elements that make 'strategy', according to Mintzberg's definition, internal competencies and shortcomings are internal and therefore within the organisation's control. The other two, viz. changes in the environment and contingent moves by intelligent opponents are external and therefore need to be carefully monitored to be turned into an advantage or counter-acted. The external elements, according to Porter evolve into five forces that impact business success as i) industry competitors, ii) potential new entrants, iii) substitutes, iv) suppliers and v) buyers. (2004 4). In order to meet the challenges of the five forces and out-perform competitors, according to him, there are three generic (meaning they are applicable across industries) strategies. They are i) cost leadership, ii) differentiation and iii) focus. (2004 35) Ireland et al. describe six components of strategic leadership that help organisations navigate the choppy waters of the twenty-first century businesses: they are i) determining the firm's purpose or vision, ii) exploiting and maintaining core competencies, iii) developing human capital, iv) sustaining an effective organisational culture, v) emphasizing ethical practices and vi) establishing balanced organisational controls. (2005)

Quantitative Analysis Assignment Example | Topics and Well Written Essays - 1000 words

Quantitative Analysis - Assignment Example He also discovered that this relationship depended on the level of school, subgroup status, and the location of the school. He further conducted a repeat of this study using the White’s (1982) meta-analysis to assess whether the socioeconomic achievement relationship improved since the first publication of White’s (1982) meta-analysis. The findings of this analysis indicated a small decrease in the mean correlation. He further discussed the future implication of this research and future areas of research (Sirin, 2005). Literature review Literature review can be defined as an account of what other researchers have published on the topic under investigation (Keyton, 2011). It is a critical assessment of what other researchers have done in relation to the topic under investigation. It also discusses a topic in a given area of research (Keyton, 2011). At the beginning of this research, the research presented a background of what other researchers conducted in relation to me ta-analysis. Keyton (2011) mentions researchers such as Bornstein & Bradley, 2003; Brooks-Gunn & Duncan, 1997; Coleman, 1988; McLoyd, 1998, who stated that the socioeconomic factor is a common variable in education research. Information presented in the review indicated that since the inception of White (1982), most of education researches have focused the relation between socioeconomic factors and students achievement. Other factors revealed from the review are different types of socioeconomic factors and students’ academic achievement. The literature review was well conducted in that the researcher was in a position to present relevant information in relation to knowledge gap describing what he intended to do differently from what others conducted (Sirin, 2005). The literature review presented covered enough scope in this area of investigation because the researcher presented what was conducted before, and what he intended to do with his study. Methodology In the research m ethodology, the researcher conducted the following procedures; he applied a measure of socioeconomic status and students’ academic achievement and made a report on quantitative information in satisfactory statistical information for computation of relationships between socioeconomic status and student academic achievement. The sample selected in the research study included students from kindergarten grades through students from grade 12. The sample also included other students’ participants from the United States (Sirin, 2005). The researcher used several computer explores and manual research to obtain the best conceivable reports to represent the big number of current research studies on socioeconomic status and student academic achievement. The Education Resources Information Center, Sociological Abstracts, and PsycINFO were used in this study as computerized search engines (Sirin, 2005). Search terms like socioeconomic status, social economic class, social status, i ncome disadvantages, and the level of poverty were used to search the socioeconomic status of the students. The researcher used terms such as success achievement, and students’ performance to search for students’ academic achievement (Sirin, 2005). The two Boolean operators were developed to describe the relationship between academic achievements. All information from the database was searched from

Female Labor Force Participation Rate 1980 vs Today Research Paper

Female Labor Force Participation Rate 1980 vs Today - Research Paper Example African American segment of the society and especially women belonged from the lower social strata due to which they had realized the significance of education. Thus, more and more women were trying to acquire a higher social status for themselves due to which more and more women started getting enrolled for school. On the other hand, white women belonged from a better off social status, thus, their focus towards education was slightly less than African American women, which also explains the statistics i.e. percentage of change in their participation in labor force isn`t as high as for African Americans. Thus, African American women in America have been engaged in the struggle to achieve a higher social status, for which they got enrolled for high-school to attain a higher status in the society so that they can compete with whites for better job opportunities. To test this theory, data has been gathered to compare the enrollment rate for high-school for both Whites as well as for Af rican Americans over time to see if the result complies with the potential explanation. Quite strikingly, the college graduation rate for African American women is too high as compared to White women. This trend hasn’t been reflected in the participation statistics in labor force, however, to some extent it does comply with the theoretical explanation given above. As compared to the white women, the African American women show an increased rate of education attainment.This implies that the rate of change of employment must also increase.

The Expectations of the Dollar Essay Example | Topics and Well Written Essays - 2000 words

The Expectations of the Dollar - Essay Example Interest-rate futures demonstrate that the traders are certain the Fed will increase its benchmark to 4.75 percent on March 28, and predict about a 65 percent chance of another increase to 5 percent at the May meeting. However the outlook was not the same say in October 2005 when Fed was expected to go in for graduated dosages of increase in interest rate in keeping with the trend began since June 2004. The dollar had then risen 2.3 percent against the yen since the end of June 2005. The dollar ran its third straight quarterly gain, reported in October 2005, against the yen, the longest winning streak since 2001, as the Federal Reserve stuck to its policy of ''measured" increases in interest rates. The markets had then expected the dollar to rally to about 115 yens. The yield advantage of 10-year US Treasury notes with Japan had averaged 2.87 percentage points in 2005 year and reached as much as 3.27 percentage points on March 28 2005. As a result of these Japanese investors were buy ing the dollar to purchase overseas assets, such as Treasuries strengthening interest in dollar. As compared to this The Bank of Japan had kept rates near zero since 2001.US Rate increases had helped notch an 11 percent gain in the dollar vs. the yen. However for the first time ,in this scenario Bank of Japan indicated that the yen may be supported by indicating a timetable for ending its policy of holding interest rates near zero.BOJ had also decided to stop pumping money into the economy and to recommence forecasting of inflation after a seven-year absence. The risks to the US dollar in 2006 are being widely debated. Last year too Bill Gates, Warren Buffett and George Soros had predicted a crash of the US dollar which, however, did not materialize. However sufficient arguments exist today on why the US dollarwill stopdefying gravity and fall this year. As stated abovein the last few weeks the dollar has kept on falling relative to the Euro and Yen, as expectations of relative short term interest rate differentials and growth rates are turning against the U.S. US slow down, which may or may not trigger global slow down, is quite a probability with risks of a disorderly adjustment triggered by the bursting of the US housing bubble and the stagflationary effect of another oil shock driven by supply tightness and a confrontation with Iran. Moreover a large trade deficit of 7% of GDP has led to an unsustainable accumulation of net foreign liabilities (Roubini, 2006). These combined with domestic slowdown leave out weak signals for dollar wi th slight corrections in or around the two expected step-ups. This outlook would run concurrently to the period required to smoothen out these imbalances. This is expected to last the entire of the remainder portion of 2006 at the least. Theoretical Setting Post Bretton Woods period was a period of fixed exchange rates and primary forex market analytics concerned the effects of discrete policy induced changes in the level of exchange rates-be it a devaluation or appreciation. National economies and the global economy as result

Effects of Deforestation Essay Example | Topics and Well Written Essays - 500 words

Effects of Deforestation - Essay Example Deforestation changes the geomorphologic, hydrological, and biochemical states of streams by decreasing vapor-transpiration on the land surface, hence river discharge and run-off. This leads to the elimination of huge percentage of earth’s native vegetation that significantly alters the hydrological and morphological characteristics of watershed areas. The discharge has increased over the years and computer simulations suggest that about two-thirds of the increase are due to deforestation (Coe et al. 119).Extensive destruction of vegetation in most cases leads to increased conflict between people and forest animals. This occurs when people plant crops near the habitats of these forest animals. The animals will destroy the crops or injure humans, who in turn attack and killing them. In addition, there is people-to-people conflict whereby settlers invade deforested lands bringing their culture and influences thus changing lives of the indigenous forest people. Deforestation has a negative effect on the ecosystem and the atmosphere (Spilsbury 26). It is evident that deforestation does not benefit anyone and has long-term effects. Clearing of forests may be due to social, economic or political reasons. Whatever the short-term benefits, the result is devastating. The effects of deforestation are quite evident globally irrespective of concerned authorities coming up appropriate conservation methods meant to curb deforestation through humanity’s ignorance proves to be a big hindrance.

E-commerce Essay Example | Topics and Well Written Essays - 500 words - 3

E-commerce - Essay Example Users of internet-enabled mobile phones have higher chances of picking up more sales conveniently and ensure continuous contact with customers. First, participants have to check their current e-commerce sites on mobile devices. Checking site means going through all possible paths by conducting product purchase, testing a coupon code, verifying the zoom and pop out of a product (Oestges, 2011). Finally repeat checking to all mobile browsers such as goggle chrome and opera. A sensitive design is a web layout that is flexible for different devices such as laptops, smartphones and tablets. A web developer tweaks a web code and start up the process of designing. It is advisable to constantly monitor buttons, forms and all possible interactive elements to maximize interactions with mobile phone users. Usually, a constant checkout process gives more sales. Post the company’s profile and the product on the website. A welcoming phrase is highly appropriate. For example, one would say; ‘welcome to a new luxury fashion shop with amazing products that meet all customers’ taste and preferences’. You can make posts like; do you ever buy online with your phone? Why or why not? Wake up any store using your own mobile phone, ‘your fashion-your pride’. Some interesting adverts would carry the day across the world major communication platforms. Some adverts such as â€Å"The world faces a parading shift in business; today the world is marveling to enjoy the first ever easiest trading in the luxurious fashion† design over Mobile phone devices would enhance the establishment of the business in e-commerce. Some would read like, â€Å"enjoy luxurious fashion wear at your comfort; you only need to click on your mobile phone buttons to enjoy marvelous services.† You can make a subdomain and redirect anyone on a mobile device to your websites. For example, a site like hi-luxuryfashion.com can build a mobile website that resides in

History of the Phantom of the Opera Essay Example for Free

History of the Phantom of the Opera Essay In 1911, Gaston Leroux published Le FantÔme de l’Opera, the now famous book that gave birth to the legend of the Phantom.   Leroux had been fascinated by the mystery and design of the Paris Opera House.   As a theatre enthusiast, he had toured all the levels of the Opera House including a visit to the underground lake, cellar and hidden passageways. The mysterious events at the Paris Opera House which ignited Leroux ‘s interest began with Napoleon III’s call for a new opera house to be built in Paris in 1860, after he had survived an assassination attempt one evening when returning from the Opera.    The construction of the Opera House, faced many delays and construction stopped during the Franco Prussian War. After the war, the then unfinished Opera House was occupied by the working class who used it as a warehouse, observation post, communications center, military post and a powder store.   The cellar was once used as a torture chamber.   The new Paris Opera House was finally finished in 1875.   Finally, adding to the mystery, an unfortunate incident occurred in the Paris Opera House in 1896, a counter-weight of six and a half ton chandelier fell from the ceiling, killing a patron. Gaston Leroux always claimed that the ghost in the story was true, based on his investigations and tours of the Opera House.   He is quoted as saying: The Opera ghost really existed.   He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants, or the concierge.   No, he existed in flesh and blood, though he assumed all the outward characteristics of a real phantom, that is to say, of a ghost.   (Leroux, G, n.d) In 1925, began the chain of events that would give rise to the phenomenon of the Phantom.   Universal Studios made the first film of the book – the silent movie, Phantom of the Opera, which starred Lon Chaney Snr.   A second version of the film, this time with sound and color, starring Claude Raines was produced in 1943.   Followed by a Spanish version in 1962, and a 1974 version starring Herbert Lom and Heather Sears. The Phantom was produced twice on stage in 1935 and 1975, without much success. Then, in 1986, the legend of the Phantom of the Opera would become one of the most famous stories in the world, when Andrew Lloyd Weber’s Musical – Phantom of the Opera hit the stage in London.   In the 21 years since the Musical began, it has broken all theatre records and is now the longest running Broadway Show in History. The success of the musical spurred the movie industries interest again in 2004, with a moderately successful movie called â€Å"Phantom of the Opera† based on Andrew Lloyd Webber’s opera.   Critical acclaim for the movie has been varied. The Phantom has outlived his creator who died in April 1927 and has become iconic to the 20th and 21st Century.    History of the Hit Musical – The Phantom of the Opera   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Andrew Lloyd Webber’s musical The Phantom of the Opera opened in London’s Majesty Theatre on 9 October 1986.   In the original London Cast, â€Å"The Phantom† was played by Michael Crawford, and â€Å"Christine† by Sarah Brightman (then wife of Andrew Lloyd Webber). The original creative team of the Phantom was: Harold Prince  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Director Cameron Mackintosh  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Producer Andrew Lloyd Webber  Ã‚  Ã‚  Ã‚   Composer, Book, Co-orchestra Maria Bjà ¶rnson   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Production Designer    While Andrew Lloyd Webber had already been phenomenally successful with productions like Evita and the Sound of Music, â€Å"The Phantom† made stars of the actors and creative team members. The musical is still running 21 years later (2007) in London, Broadway (N.Y) and touring worldwide.   The Phantom has won over 50 awards including 3 Olivier, an Evening Standard Award, 7 Tony’s and 3 Outer Critic Circle Awards. At the time of writing, it is estimated that over 80 million people have seen the musical, with total ticket sales of over $3.2 billion.    Reviews of the Phantom of the Opera: The Daily Mirror’s first review of the Phantom of the Opera in 1986: It’s fantastic, fabulous and phantasmagorical! Its fantastic, fabulous and phantasmagorical! From the eerily flickering lights that greet you outside Her Majestys Theatre to the last, glorious curtain call, Andrew Lloyd Webbers long-awaited new musical, Phantom of the Opera, is a triumph. The special effects are among the most spectacular ever seen in the West End. The music is very bit as memorable as one would expect from the man who wrote Evita, Starlight Express and the rest. But most of all, the show belongs to Sarah Brightman and Michael Crawford, who soar and swoop through their hugely demanding roles like eagles. After all the well-publicised false starts and back-biting, Lloyd Webber has created a musical which deserves to be around well into the next decade. The story is based closely on the original novel of 1911 unlike most of the Phantom of the Opera films which have been made over the years. Michael Carwfords Phantom hides his hideously disfigured face by skulking in the stage caverns and pools deep beneath the Paris opera. His passion for music is the only thing which gives his life meaning until he becomes obsessed by Sarah Brightmans Christine a young opera singer whose beauty is matched only by the purity of her voice. He coaches her in secret while visiting dreadful catastrophes on anyone who refuses to advance her career. A hanged scene shifter is suddenly hideously dropped on to the stage in the middle of a performance. A vast crystal chandelier crashes on to the audience. As the phantom becomes more fiendish so Christine becomes increasingly mixed in her feelings towards him. A dreadful climax is fast approaching. The eerie sets of the unfolding drama great stages filled with mist and shining candles are interspersed with all the colour and spectacle of the operas being prepared and presented at the theatre. Despite all the ghost train theatricals the greatest thrills of the show come from Michael Crawford. He not only sings superbly but also captures the torment of the Phantom perfectly. If you only see one show this year, make sure it is this one! (Blake, J, 1986) In 2002, The Times wrote: Long-runners One answer is obvious: Maria Bjà ¶rnson’s stunning designs. The story, based on Gaston Leroux’s novel, begins on the Paris Opera’s stage in 1911. The building is dusty and neglected, the stage festooned with great swags of grey fabric. Old theatrical props are being auctioned off. Then, as the auctioneer announces the final lot — the opera’s enormous chandelier — the dustsheets fall away, the scene seems almost to dissolve and the theatre travels back in time to 1881 before our very eyes. It’s a vision of gaudy grandeur: gas lamps flicker, red velvet glows in the light and plaster nymphs and satyrs frolic on pillars. The opera is dogged by misfortunes that are rumoured to be the work of the Phantom, a malevolent figure who haunts the theatre. This sinister creature has become obsessed with Christine Daaà ©, a pretty chorus girl. But only cadaverous Madame Giry, the formidable ballet mistress, knows the terrible secret that lies behind the mask the Phantom wears. The musical’s best sequence occurs when the Phantom leads Christine through labyrinthine passages to his lair beyond a hidden lake underneath the building. As their boat glides over the misty water, surrounded by flickering candles, the effect is breathtaking. The problem is that this spectacle takes place early on and nothing afterwards can really compete. Harold Prince’s direction is slick and Gillian Lynne’s choreography effective, but Lloyd Webber’s music is often trite and dated. There’s little depth to any of the characters, either, yet the musical’s central relationship intrigues. For while Christine is Beauty to the Phantom’s Beast, she is haunted, not only by the opera ghost, but by the memory of her dead violinist father. This lends a pleasingly perverse Freudian twist to the erotic tension between the two characters, and the performers John Owen-Jones and Celia Graham make the most of it. Not only are they both excellent singers, they are fine actors too. Graham brings both passion and a childlike neediness to her portrayal of Christine. Owen-Jones uses his rich, powerful voice to great effect, crooning one moment, spitting bitterness the next. But the real star of the show is Bjà ¶rnson’s work. The designer died earlier this month, aged 53, and if Phantom has stood the test of time, it’s because of her. It is not the music audiences will remember; it’s the opera’s chandelier swinging crazily over the stalls, or a masked figure crouched menacingly over a gilded angel. And for those images alone, this show is still worth seeing. (Marlowe, S,   2002) The New York Times revisited the Phantom in 2005 and wrote this review: New York Times revisits the Phantom Old and Ghostly but Still a Hoot The paint on the balconies of the Majestic Theater looks chipped and the electronic drum machine sounds like something left over from a music video from the 1980s. But The Phantom of the Opera really shows its age (17 years and running) when the signature special effect is presented. Musicals have opened and closed in the time it takes that chandelier to lumber to the floor. Looking like one of Ed Woods teetering flying saucers, it crashes to the stage with the force of a shopping cart, the biggest, most extravagant anticlimax in town. Seventeen years later: Sandra Joseph and Hugh Panaro are now playing the roles of Christine and the Phantom. Under the fearsome shadow of Hugh Panaro in The Phantom of the Opera. But what do you expect? It was designed during the Reagan administration. For a top-of-the-line chandelier, you will have to wait for the $40 million production of Phantom opening in Las Vegas next spring. But if the technology of the Broadway show seems a bit quaint, the real news is that the rest of the production has grown old gracefully. Judging by sheer invention, emotional punch and onstage talent, the venerable blockbuster still beats out almost all of the whippersnappers currently on Broadway. Maria Bjornsons flamboyant gothic design and Harold Princes fantastical staging still have the gleam of finely polished professionalism. Led by the current Phantom (there have been 10 after Michael Crawford), Hugh Panaro, an up-and-coming musical theater star who finds the right mix of shock and schmaltz, most of the cast retains the freshness of opening night. That does not mean that Andrew Lloyd Webber haters, a large and very grumpy contingent, will be won over. Sorry, The Music of the Night hasnt changed. Nor has Charles Harts bumbling lyrics (You have brought me to that moment when words run dry). But for those sentimental souls looking for a popular entertainment to transport them to a baroque, romantic new world with a powerful smoke machine, Phantom, Im happy to report, still delivers the goods. Which is especially impressive, given that not long ago, the musical seemed to be on its last legs. By the fall of 2003, its peers Miss Saigon, Cats and Les MisÃÆ' ©rables had faded away. Ticket sales were down and rumors of its demise were common around Broadway. Flash-forward to today: crowds are lined up around the corner to see the show, which regularly sells out. Last week, 99 percent of the seats were filled. In January, barring a strike, disaster or nuclear holocaust, Phantom will eclipse Cats as the longest-running show in Broadway history. What happened? For one thing, it received a boost from Joel Schumachers film version of the musical, which opened in December. Even though it wasnt a smash hit, the movie introduced a new audience to the show (as evidenced by the large number of young girls at the Majestic) and reminded old ones how superior the musical is. In fact, the bombastic film may be the only thing that makes the musical look understated. Mr. Prince, who continues to oversee casting and reportedly checks up on the show every few months, deserves credit for tending to it with care. When the box office dipped, he never panicked and cast a former Backstreet Boy for a short-term boost in sales. Unlike so many long-running shows, Phantom has not resorted to stunt casting. Although dont be surprised if Mr. Panaro, who has been rumored on theater Web sites as the choice to star in Lestat, Elton Johns vampire musical heading to Broadway next season, becomes a household name someday. A young, charismatic actor, he brings a maniacal energy and Grand Guignol charm to the tortured Phantom. In his hands, the show concentrates more on the horror than the romance; but only once does he turn to the audience and growl which, considering how scenery chewing this role could be, counts as admirable restraint. Surrounding him is a solid supporting cast who deliver disciplined performances free of the lazy flourishes that sneak into a role when an actor becomes bored by repetition. As the diva Carlotta, Anne Runolfsson flashes a hundred-watt smile and shows off a richly textured voice in the opening song, Think of Me. Jeff Keller and George Lee Andrews, the only actors with major roles who have been with the company since the beginning, are marvelous as the nervous theater managers who made the mistake of buying the Paris Opera House. In 2001, Mr. Prince had them switch roles to keep things fresh. Sandra Joseph (who doesnt perform Wednesday evenings or Saturday matinees) is perfectly competent as Christine, although in her scenes with the Phantom she can come off as a bit bland. As her other love interest, Raoul, a terribly underwritten role, Tim Martin Gleason provides a strong voice and a stiff performance. In the romantic songs, ones mind easily wanders to the bitingly funny Lloyd Webber parody in Spamalot, which droned on and on until the stars looked tired of their own voices. Then again, the winking and eyebrow-raising in satirical musical comedies like Spamalot and The Producers are part of what makes the proudly melodramatic and unironic Phantom a nice change of pace. The musical may seem as if it is from a different time, but thats not necessarily a bad thing. (Zinoman, J, 2005) Personal Review:    The Broadway production of The Phantom of the Opera captures your attention right from the start and then you will be you will be drawn into a mysterious world of horror, romance and tragedy. Your journey keeps you spellbound through resonating songs sung by a handpicked cast, Maria Bjornsons magnificent sets and costumes to both delight and frighten you. Gaston Leroux’s gothic novel comes to life through Andrew Lloyd’s Webbers’ Phantom.   The musical beautifully combines a mixture of genres, performed through opera, leaving the audience entrapped in a tragic tale of love. Whether you are recovering from fright or floating on Phantoms’ songs – this musical will keep, you entertained, wistful and somewhat disturbed leaving you thoughtful as to who should triumph in the end. New fans and old are still being enraptured by the phenomenon of The Phantom.       Works Cited: Blake, J, (1986) It’s fantastic, fabulous and phantasmagorical!, The Daily Mirror U.K. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=38 Leroux, G. n.d. Quotation Phantom of the Opera Official Site. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/show/the_show_history_filmography.php Marlowe, S, (2002), Long Runners, The Times, UK.   Retrieved 04/18/2007 http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/article805339.ece Zinoman, J, (2005), New York Times revisits the Phantom: Old and Ghostly but Still a Hoot, The New York Times, USA.   Retrieved 04/18/2007 http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=216    Bibliography: Paris Opera House (n.d.), Music of the 19th Century Paris, Opera. Retrieved 04/18/2007 http://gallery.sjsu.edu/paris/music/opera/opera_house.html The Phantom of the Opera (n.d.), Official Website.   Retrieved 04/17/2007, http://www.thephantomoftheopera.com

Vinataba †Philip Morris Graduate Trainee Program Essay Example for Free

Vinataba – Philip Morris Graduate Trainee Program Essay About the program Vinataba – Philip Morris Graduate Trainee Program aims to develop creative, talented and ambitious graduates, helping us to making our business growth ambition become a reality. What we offer Our Graduate Trainee Program offers a real exciting and fruitful development journey to help you as a fresh graduate build your general skills, professional skills and leadership. While you own your development journey, diversified learning approaches will be also offered to foster your career development. With real job assignments, you will be exposed to lots of world-class training workshops, cross-functional rotations, coaching sessions, mentoring chats and exposure opportunities to work in other countries. What we are looking for * Vietnamese nationality * University fresh graduates or graduates with maximum of 2 years working experience * Background in Economics / Commerce / Logistics / Business Management / Finance / Accounting / Marketing / IT is preferred * GPA (Grade Point Average) of minimum 7 out of 10 or equivalent * English fluency and computer literacy * Passionate in Fast-Moving-Consumer-Goods industry with Entrepreneurial Spirit, Courage, Clear and Constructive Communication, High Efficiency and strong Emotional Intelligence. How to apply * Obtain complete Application Form made available at your University Career Center and/or University Portal * Submit application via email to [emailprotected] or send the hard-copy application to: Vinataba Philip Morris Limited, Ho Chi Minh City Branch Level 6 The Kumho Asiana Plaza 39 Le Duan District 1 Ho Chi Minh City * By no later than 28th February 2013. Applications received after the deadline will not be considered. Note: An Auto Reply Message will be sent to your email upon receipt of your application. If you do not receive this Auto Reply Message, please resend your application.

Analysing Leadership In The Godfather Film Studies Essay

Analysing Leadership In The Godfather Film Studies Essay The Godfather is exciting as it was upon its release in March of 1972. The statement Ill make him an offer he cant refuse still resounds with recognition in the instant. Vito Corleone was a man of morals, principle and valor in a world sorely lacking in either. Vito Corleones first name means life, or alive, and his last means lionhearted are in every way his own man. He has made his life providing people with things denied by other people, gambling, women and justice. Throughout the film, in contrast to the morality of the Don and the corruption of the State. In the wedding scene, we begin to see the relationship between the Don and the State when Tom Hagen tells him that a senator and some of the judges had called to apologize for not being there, but that theyve all sent gifts. And late in the film, it spoke very specifically about the State when Michael said that his father is no different than any other powerful man, any man whos responsible for other people, like a senator or a president. The Don is violent but not corrupt. He cannot be bought and used violence with great restraint. He approaches directly and honestly. In the film, Don is the most principled man. He rejected to participate in the drug business since it would be wrong on moral grounds even at the risk of his own life. Family, friends and integrity are far more important than mere money. The Godfather; the main character is a man who is strong, brave and highly principled to defy the power of the State. (A) Provide a synopsis of the movie relating to aspects of leadership. The storyline Guests were gathered for the wedding reception of Don Vito Corleones daughter Connie and Carlo Rizzi in 1945. Vito is known to friends and associates as Godfather. He and familys lawyer and counselor, Tom Hagen are hearing wishes for special treatment because it is tradition that a Sicilian cannot refuse a request on his daughters wedding day. The Dons youngest son Michael an adorned Marine war hero attempted to tell his girlfriend Kay Adams about his family especially his fathers criminal living; he assures her that he is not like his family. Among the guests at the celebration is the famous singer Johnny Fontaine, Corleones godson, who has come to appeal for Vitos help in landing a movie role that will rejuvenate his declining career. Jack Woltz the head of the studio, refuses to give Fontaine the part and Hagen is sent to California to heal the problem but Woltz told him that he will never cast Fontaine in the role because Fontaine had ruined a starlet that was special to Woltz. Woltz changed his mind anyway when he wakes up early the next morning, pulled back the sheets and finds the severed head of his prized $600,000 horse, Khartoum. When Hagen returns, the family meets with Virgil Sollozzo who is backed by Tattaglia, the rival family. Don Corleone was asked to finance and give political and legal protection for the importation and distribution of heroin. Corleone refused even though he could make a huge profit. The Dons eldest son, Sonny breaks ranks during the meeting. Don Corleone was angry at Sonnys disagreement in a non-family members presence, secretly reprimanded him later. Later, Don Corleone was shot down in a shooting. Tom Hagen was abducted and they used him to persuade and offer Sonny the deal offered to his father earlier. Sonny refused to think over it and issued a challenge or a war would break. They refused and instead sent Sonny Luca Brasis bulletproof vest as a sign that they had murdered him. Michael visited his father at a small private hospital. He was shocked to discover that no one was watching over him. He then realized that his father was yet again being set up to be murdered; he called Sonny for assistance; removed the Don to another room, and went to observe the entrance from outside. Michael engaged help from Enzo the baker who came to the hospital to pay his respects. Together, they managed to deceive Sollozzos men. Police cars appeared bringing the dishonest Captain McCluskey. Captain McCluskey broke Michaels jaw when Michael indirectly said that Sollozzo paid McCluskey to kill the Don. Hagen then arrived to protect Don Corleone and took Michael home. Sonny retaliated by killing Bruno Tattaglia, his son and the under-boss of Don Phillip Tattaglia. Ensuing to the attempt at the hospital on the Dons life, Sollozzo requested a meeting with the Corleones. Michael volunteered to kill both men during the meeting but the rest of the family members found it amusing but Michael persuaded them that he was serious in the killings which he feels was in the familys interest. Michael argued that McCluskey was corrupt and had illegal dealings with Sollozzo; hence he should be killed as well. Prior to the congregation in an Italian restaurant, McCluskey checked for weapons on Michael and he was clean. Michael went to the bathroom, took out a revolver and gravely shot Sollozzo then McCluskey. Michael ran and hid in Sicily. Sonny beat Carlo Rizzi for attacking the Connie who was pregnant. He threatened to kill Carlo if he battered her again. Carlo responded and plotted with Tattaglia and Don Emilio Barzini to kill Sonny. In order to ensnare Sonny, Carlo thrashed Connie again. Sonny in an enraged state drove off alone to execute his threat. He was ambushed on the way at a toll booth and shot to death in his car. In New York City, Don Corleone returned home from the hospital and was distraught to learn that Michael had killed both Sollozzo and McCluskey and that Sonny was dead. Don Corleone met with the heads of the other rival Families to bargain a ceasefire and not seek revenge for Sonnys killing. Ending the conflict was the only way to bring Michael home safely. Revenge would only drain their assets which will then threaten their survival. Vito, changing his mind on the previous decision, agreed that the Corleone family would provide political protection for the Tattaglias heroin trafficking as long as it was controlled and not sold to children. Don Corleone could figure out at the meeting that it was Don Barzini and not Tattaglia who was actually behind the gang war and Sonnys death. Michael waited patiently in Sicily for his exile to end whilst being protected by an old family friend. Michael wandered the countryside aimlessly together with the bodyguards, Carlo and Fabrizio. Michael met and fell in love with Apollonia Vitelli, the beautiful daughter of a bar owner in the village. They got married but Corleones enemies were soon aware of Michaels presence. Apollonia was killed as the couple was about to be shifted to a safer place when their car was bombed; Michael barely got away alive but spotted Fabrizio leaving the grounds hastily seconds prior to the explosion hence incriminating him in the murder plot. Michael returned home when his safety was guaranteed. A year later, he met up with his former girlfriend Kay after four years. He proposed to her and Kay accepted although she was hurt that it took him so long to contact her. With the Don semi-retired, Sonny dead and the middle brother Fredo deemed incompetent to run the family business, Michael was put in charge. He promised Kay he would legitimize the family business completely in the next five years. Peter Clemenza and Salvatore Tessio are the Corleone Familys two captains who complained that they were being shoved around by the Barzini Family and asked for consent to strike back but Michael rejected the appeal. He planned to shift the familys operations to Nevada and soon after Clemenza and Tessio may sever and form their own families. Michael promised Connies husband, Carlo, that he would be his senior man in Nevada. Tom Hagen was removed and became the familys lawyer only; with Vito serving as the consigliere. Hagen complained about his status change and questioned Michael on the new command of soldiers being secretly built under Rocco Lampone but Don Vito explained that Michael was being advised by him. Michael met with the casino boss Moe Greene in Las Vegas. Michael was rejected rudely when he offered to take over Greene. He believed the Corleones were fragile and that he could obtain a better pact from Barzini. Fredo sided with Moe when Moe and Michael were negotiating intensely. Later, Michael cautioned Fredo to never again go against the family. When Michael returned home, Vito told him his expectation that the Familys enemies would attempt to execute Michael by using a trusted link to collaborate a meeting on a ploy for assassination. Vito never meant for Michael to lead a life of crime and hoped that his youngest son would hold a lawful power as a government officer. Soon after, Vito crumpled and died in his tomato garden whilst playing with his grandson Anthony. Tessio suggested meeting with Barzini at the burial which made Tessio as the defector that Vito was anticipating. Michael organized a series of murders while he became the godfather to Connie and Carlos newborn son at the church to happen at the same time. Don Stracci: shot down together with his men in a lift. Moe Greene: was shot in the eye by an unidentified assassin while being massaged. Don Cuneo: shot dead by Willi Cicci: while trapped in a revolving door and Don Tattaglia: murdered in his bed by Rocco Lampone and an anonymous associate. Don Barzini: was shot along with his bodyguard and driver, by Al Neri, disguised in his old police uniform. After the baptism, Tessio thought he was on the way with Hagen to the meeting between Michael and Barzini which he had arranged. He was however circled by Willi Cicci and other hired men instead as Hagen moved away. Tessio realized that Michael had discovered his treachery. He told Hagen that he had always revered Michael, and that his disloyalty was for business only. He asked Tom to release him for old times sake, but Tom could not do so. In the mean time, Michael faced Carlo about Sonnys murder and compelled him to admit his involvement in the ambush. Michael assured Carlo he would not be killed, but excluded from all family business. He gave Carlo a plane ticket to banish himself to Las Vegas. Nonetheless, he was killed on Michaels orders by Clemenza, while getting into the car which was headed for the airport. A frantic Connie confronted Michael and accused him of killing Carlo. Kay questioned Michael about Connies charge but he declined to respond, telling her again never to question about his business. She persisted and Michael lied; assuring her that he did not know and has no part in Carlos death. Kay believed him and was felt relieved. Clemenza and the new captains Rocco Lampone and Al Neri pay their respects to Michael. Clemenza bowed to Michael greeted him as Don Corleone. Michael became the new Godfather. Who is or are the leader/s in the movie Vito Corleone, Sonny Corleone, Michael Corleone The leader/s role in the movie Negotiating, Discussing, Delegating and Instructing (B) Explain the context for each incident relating to leadership aspects in the synopsis. Incidents within the movie involving the leader/s (1) Don Corleone telling Johnny Fontaine that he would help him to be the star in the movie by offering Jack Woltz something that he cant refuse. Leadership in solving problems. (2) Sollozzo had asked Don Corleone to finance and give political and legal protection for the distribution of heroin but Corleone refused even if he could make huge profits saying that his political influence would be in jeopardy by a moving into the narcotics business. Leadership in being responsible to ensure the safety of others. (3) When Sonny who had earlier advocated the family to enter the drug trade broke ranks during the meeting, his father, angry at Sonnys rebellion in a non-family members presence, reprimanded him privately later. Leadership in solving matters/rebuking subordinates not in front of external parties. (4) Michael visited his dad at the hospital and became suspicious when there was no one guarding the Don. He realized that there was yet another murder being set up and he called Sonny for help and removed the Don to another room. Michael enlisted aid from Enzo the baker who had gone to the hospital to give his respects. Together, they managed to deceive the killers. Leadership in recognizing a situation and deciding to solve them. (5) Upon the an assassination attempt on Don Corleone at the hospital, Sonny retaliated by killing Bruno Tattaglia, son and the under-boss of Don Phillip Tattaglia. Leadership in taking the responsibility to solve the problems themselves. (6) When Don Corleone came home from the hospital; found out that Michael had killed both Sollozzo and McCluskey and Sonnys death, Don Corleone met with the heads of the rival families to confer a ceasefire instead of seeking revenge for Sonnys killing. Ending the conflict was the only way to bring Michael home safely. Revenge would exhaust their assets and threaten their survival. Vito agreed that the Corleone family would provide political protection for the Tattaglias heroin trafficking as long as it was restricted and not sold to children. Leadership in recognizing and finding an amicable way to solve the problems. (7) Sonny severely beat Carlo Rizzi for viciously attacking the pregnant Connie, and threatened to kill him if he ever battered her again. Leadership in taking the lead and meting out the punishment. Incidents and the leader/s interaction within the context of the movie (1) Johnny Fontaine, Corleones godson came from Hollywood to lobby Vitos help in getting a movie role to revive his failing career. Jack Woltz, refused to give Fontaine the part. Don Corleone t Hagen to discuss with Woltz and assured Fontaine he would get the role. (2) Don Corleone was asked to finance and give political legal protection for distributing heroin. Even with a huge profit to be made, Corleone refused. (3) Sonny who had urged the family to enter the drug trade broke ranks during the meeting between Sollozzo and the Corleone Family. The Don, angry at Sonnys disagreement in a non-family members presence, secretly admonished him later. (4) Michael asked for help from Enzo the baker who had gone to the hospital to give his respects. Together, they managed to deceive Sollozzos men. Hagen then arrived with guns to protect Don Corleone and took Michael home. Sonny retaliated by killing Bruno, the son and Don Phillip Tattaglia (5) Michael wanted to kill both men during the meeting and he persuaded them that he was serious on the killings. (6) McCluskey searched Michael for weapons before the meeting in an Italian restaurant, and did not find any weapons. Michael excused himself to go to the bathroom where he got back a revolver and upon coming to the table, seriously shot and killed Sollozzo followed by McCluskey. (7) Sonny beat Carlo Rizzi for viciously attacking the Connie, and told him he would kill him if he ever mistreated her again. Angry Carlo then plotted with Tattaglia and Don Emilio Barzini, the Corleones head rivals, to kill Sonny. Carlo thrashed Connie again in order to trap Sonny. In an angry state, Sonny drove off alone to execute his warning. He was ensnared on the way at a toll booth and shot to death in his car. (8) Don Corleone met with the heads of the rival families to discuss on a ceasefire and not seek revenge for Sonnys killing. Ending the conflict was the only way to bring Michael home safely. (9) The Don is now semi-retired, Sonny dead and brother Fredo deemed incompetent to run the family business, Michael was put in charge. He promised Kay he would legitimize the family business completely within five years. (10) Michael promised Carlo that he would be his lead man in Nevada. Hagen was removed as the consigliere and became the familys lawyer only; with Vito serving as the consigliere. (11) Vito Corleone explained to Hagen that Michael was being guided by him. (12) Fredo sided with Moe during the intense negotiation. Michael cautioned Fredo never to take sides with anyone other than the family again. (13) Vito told Michael that he expected the Familys enemies would try to kill Michael by using a link to collaborate a meeting on a pretext for murder. (14) Michael organized a series of murders while attending the baptism of Connie and Carlos newly born son at the church to happen at the same time. Don Stracci: shot down together with his men in a lift by Clemenza. Moe Greene: shot through the eye by an unidentified assassin while being massaged. Don Cuneo: shot dead by Willi Cicci while trapped in a revolving door and Don Tattaglia: murdered in his bed along by Rocco Lampone and an anonymous associate. Don Barzini: shot along with his bodyguard and driver by Al Neri in his old police uniform. (15) Michael faced Carlo about Sonnys murder and compelled him to admit his involvement in the ambush. Michael assured Carlo he would not be killed but excluded from all the familys businesses. He gave Carlo a plane ticket to banish himself to Las Vegas. (16) Connie confronted Michael and accused him of killing Carlo. Kay questioned Michael about Connies charge but he declined to respond, telling her again never to query him about the business. She persisted and Michael lied; assuring her that he played no role in Carlos death. Kay understood him and was relieved. Know your leader/s behavior and characteristics Leadership is behavior of an individual when he is directing the activities of a group towards a shared goal. A leader is someone who sets direction in an effort to influence people to follow that direction. (C) Describe and discuss why the leadership behavior was effective or ineffective Leadership behaviors like task oriented; relations oriented; participative leadership (1) Sonny could keep things as they were but he was unable to make certain situation better. He was not able to make wise decision and always acted rashly. For example when his sister was attacked for the second time. He did not think things through and rushed off alone. As a result, he got himself killed. Sonny was not innovative. He needed someone else to make decision for him and for him to carry things out. He was able to sustain but could not improve them. (Ineffective) (2) Vito Corleone possessed the traits of a leader which were effective. He made decisions which he thinks is the best for the family regardless if the others are not in agreement with him. As a leader, he showed that he was thinking of the long term future. For example when he refused to cooperate with Tattaglia on the heroin trafficking. He was thinking of the familys future ethics and values. (Effective) (3) Michael made the proposal to kill the police chief and head rival. He put the police chiefs motives in the newspaper to control the damage. He removed Hagen as the familys chief advisor since Hagen was always protesting against the way Michael made his decisions. (Effective) Change agent capabilities (1) Sonny was not able to grasp changes and improve them. He could manage to make wise decisions and needed others to decide for him. He could only sustain whatever was at hand. Sonny was more of a manager who could maintain things. (2) Vito Corleone was a leader who would adopt changes for the family even if the others are not in sync with his decisions. He has the leadership traits in him to lead the family well into the future. He forethought what would be in the best interest for the family in the next ten years rather than short term. (3) Michael many changes and ideas to make the Familys business legal in five years as he promised Kay before he married her. He proposed on the new idea to kill the corrupt police chief who was working with the familys rival even though others were amused by his suggestion. He removed Hagen from the advisor role when Hagen was always criticizing and questioning his new ideas. Able to support, able to develop new ideas and recognizing achievement (1) Sonnys style of leadership was ineffective because even though he was able to support new ideas, he was not able to develop the ideas to make them better. He could not make wise decision for the family. He did not think situations thoroughly and would just rush off when there was family crisis. He was not inventive and did not have a thought process of a leader. He could achieve when decisions were made for him. He would exclude other people or matters involved when tackling the problems or issues. He could sustain the situations or conditions but could not improve or make the better. (2) Vito Corleone style of leadership was effective because he could adopt and adapt to new changes or ideas. He was not a person who would just maintain a situation. He would create new improvements in order to achieve his goals. When he was asked by Tattaglia to help in the drug trafficking business, he refused even though he knew it would be benefit the Family greatly. He envisioned the future and hence rejected to cooperate in the business. Even when Sonny rebuked and sided with the other party, he tolerated the outburst but stayed true to his decision. He showed his leadership in adopting changes well after the killings and death of Sonny from his earlier refusal to assist. Upon his hospitalization and many attempts to assassinate him, he relinquished his role as the Don and became an advisor to Michael in the running and leading of the Familys business. He was ethical and declined to get involved in unnecessary killings especially when the younger generations are concerned. (3) Michael Corleones style of leadership was effective because he was working towards improving the familys business and making it better. He promised Kay he would legitimize the business in five years and he tried hard to ensure that it happened. He made the proposal to kill the police chief and head rival and later spread the police chiefs actual motives in the newspapers as a measure to control the damage. Hagen who was a great manager of the familys business could not understand Michaels new ideas and thoughts protested. In response to Hagens actions, Michael relegated his advisor position in the family to just family lawyer despite Hagens complains. Michael was able to achieve his goals working with subordinates who are willing to cooperate and follow his lead. He was able to lead and manage the family to greater success and made himself renown and respected by his rivals. (D) Identify and explain at least two different incidents involving the same leader(s). If the incidents involve two individuals or a group making a decision, leadership behavior by the different individuals can be identified. Executive summary of the two different selected incidents In the opening scene when a funeral director explained to Don Corleone about the men who had beaten and mutilated his daughter got deferred sentences and how the State buffed him the justice which he thought he deserved. He went to see Don Corleone seeking fairness and initially had wanted to ask Corleone to kill them but the Don said out that would not be justified because the daughter was still alive. Bonasera tried to bribe him with money but Corleone was above that. The only price to him for supplying justice was friendship because some day, he would call upon Bonasera to do a service for him. He refused to do murder for money for Bonasera because that would not be justice. (2) The Don was not corrupt but violent. Even though he bought politicians, he himself could not be bought. He used violence but he is not evil. He refused to acquiesce to the State. He used this violence with restraint. The same thing happened with the movie director. The Don first offered friendship to do some specific services; that is making his godson as the star in his new movie but the director refused reasons and in the end woke up with a dead horses head in his bed. The Dons approach was direct and honest. He was the most principled man in the film. He refused to kill in the Bonaseras case because that would not be fair and he declined to take part in Sollozzos drug business, because that would be wrong. He told Sollozzo that drugs were a dirty business. It did not make any difference to him what people do for a living but the drug business is dangerous. Making decision within team, group and individual setting (1) The family met with Virgil Sollozzo who asked Don Corleone for financing, political and legal backings in importing and distributing the heroin. Corleone refused despite knowing the huge profit that could be made explaining that his political pressure would be compromised by going into the drug trade. The Dons eldest son Sonny, who had earlier supported the family to enter the drugs trade, broke ranks in the meeting and queried Sollozzos assurances and guarantees as to the Corleone Familys investment by the Tattaglia Family. Don Corleone was angry at Sonnys opposition in a non-family members presence, reproached him later in private. Don Corleone then sent Luca Brasi to penetrate Sollozzos organization and revert with information. Brasi was stabbed in the hand and subsequently garroted by an assassin. (2) Michael went to visit his father at the private hospital. He was alarmed to find out that no one was watching over him. He then realized that his father was yet again being set up to be murdered; hence he called Sonny for assistance; removed the Don to another room, and went to observe the entrance from outside. Michael engaged help from Enzo the baker who had gone to the hospital to give his respects. Together, they managed to deceive Sollozzos men. Police cars appeared bringing the corrupt Captain McCluskey. Captain McCluskey hit and broke Michaels jaw when Michael implied that Sollozzo paid McCluskey to net Vito Corleone. Hagen arrived with licensed guns to protect Don Corleone and took Michael home. In retaliation, Sonny killed Bruno Tattaglia, son and the under-boss of Don Phillip Tattaglia. Charismatic and transformational roles (1) Vito Corleones first name meant life, and his last name meant a man with a lions heart and who was in every way his own person. He said to his son Michael in the film, I refused to be a fool dancing on a rope held by all those people and he has made his life providing people with things that those people had deprived them of among them gambling, women and justice. (2) Michael waited patiently in Sicily for his exile to end whilst protected by an old family friend. Michael roamed the countryside aimlessly together with the bodyguards, Carlo and Fabrizio Michael fell in love with Apollonia Vitelli, the beautiful daughter of a bar owner in the small village. They got married but Corleones enemies were soon aware of Michaels presence. Apollonia was killed as the couple was about to be shifted to a safer place when their car was bombed; Michael barely got away alive but spotted Fabrizio leaving the grounds hastily seconds prior to the explosion hence incriminating him in the murder plot. Michael returned home when his safety was guaranteed. A year later, he met up with his former girlfriend Kay. He wanted to marry her and Kay accepted his proposal although it took him so long to contact her. The Don who was semi-retired; Sonny dead and the middle brother Fredo deemed incompetent to run the family business, Michael was put in charge. He promised Kay he would legitimize the family business completely in the next five years. Peter Clemenza and Salvatore Tessio, the Corleone Familys captains were not happy being shoved around by the Barzini Family and asked for consent to strike back but Michael rejected the appeal. He planned to shift the familys operations to Nevada and soon after Clemenza and Tessio may sever and form their own families. Michael promised Connies husband, Carlo, that he would be his lead man in Nevada. Hagen was removed as the consigliere and became the familys lawyer only; with Vito serving as the consigliere. In private, Hagen complained about his status change and questioned Michael on the new command of defense force being secretly cultivated under Rocco Lampone. Don Vito explained that Michael was being advised by him. Michael met with the Moe Greene in Las Vegas. Michael was rejected rudely when he offered to take over the casino. Greene believed the Corleones were fragile and that he could obtain a better pact from Barzini. Fredo sided with Moe when Moe and Michael were negotiating intensely. Later, Michael cautioned Fredo to never anyone against the family ever again. When Michael came home, Vito explained that the familys enemies would endeavor to execute Michael by using a trusted link to collaborate a meeting on a ruse for assassination. Vito also said that he had never meant for Michael to lead a life of crime and hoped that his youngest son would hold a legitimate government office. Soon after, Vito crumpled and died in his tomato garden. Michael then arranged for a sequence of murders to take place at the same time while he was attending Connie and Carlos newborn sons baptism at the church. Critically analyze each of the two or more incidents and consider other options the leader (s) could have considered and made (30%) Participative leadership, delegation and empowerment (1) Sonny could have delegated the task of killing or teaching his sisters to his men instead of rushing off alone to handle the crisis. His death caused the family to be in a worse situation then before. (2) Michael could have been taken seriously by the other family members when he suggested killing the police chief and head rival. He should have participated earlier in the familys activities and not only after his father had assassination attempts made upon him. It could have saved Sonnys life if Michael was around to make decisions. Don Corleone should have foreseen Michaels capabilities and empower him to take the lead in the family. Power and influence Vito Corleone was a strong man; sufficiently brave and principled enough to stand up to challenge the power of the State. The type of man we all wished to be and emulate. Vito Corleones family, friends and integrity were far more important than money. Managerial traits and skills Sonny was not able to make wise decisions for his family. He has no clear thought process. For example when his sister was attacked by the husband for the second time, he just rushed off during the crisis. He was a more a manager where he carried out decisions made by others. He could not make anything better because he was not innovative enough to do so. Leading change Michael did not want to get involved in the Familys activities and happy to be a civilian. However when his father, Don Corleone was threatened and had many assassination attempts made on him, his brother Sonny killed and his elder brother deemed incompetent to lead, he had no choice but to take over the realm with Don Corleone as his advisor. He promised Kay before he married her that he would make the business legitimate in five years He planned to shift the familys operations to Nevada and soon after Clemenza and Tessio may sever and form their own families. Michael promised to make Connies husband his right lead man in Nevada. Hagen was removed and became the familys lawyer only; with Vito serving as the consigliere. Hagen complained about his status change and questioned Michael on the new command of defense force. Don Vito explained to Hagen that Michael was being counseled by him. Michael met with the casin

Essay --

Loss of innocence In The Lord of the Flies by William Golding explains how a group, as kids grow into young adults being savages due to their need of surviving. Golding wrote Lord of the Flies while a war was going on and said everyone could be a nazi if they wanted to. He believes all people are born evil and in his head his viewing point is shown in the book and the movie. The book and the movie have the same perspective as loss of innocence, savagery Willliam golding wrote and based his book on the war that was happening in the mid 1940s in Europe. He viewed his world as harsh and cruel. They were taking people to concentration camps he didn’t know how far people were capable of going. But he did assure that that if anyone wanted they could become Nazis themselves. He proves that we become what were most scared of if it means being alive. Our brains are controlled to survive no matter what not caring what you can become on the way to survival. Not everyone would become a nazi if they had a choice others have more purified souls and would rather die than become a Nazi. In the m...

Managing Change Essay -- essays research papers

"Managing Change" Massive change is impacting on all facets of society, creating new dimensions and great uncertainty. Instant communication, super small high-tech equipments, the globalization movement, the deadly terrorist attacks in the U.S., the emerging of foreign investments in China nation are all the changing dimensions of the world. These are few of the changes which have occurred around last two decades. The issue facing people in business today is how to manage such changes. The origin of one change has an impact on other origin of changes. For example, technological break thorough of the communication in computers resulted in tremendous change of behavioral through an extensive and immediate involvement of the average citizen in world event. In the past, it took time and a lot of money to reach the person across the continent but now it is only one click on the button and a cost under $1. The impact of the change affects the individual, on organization, and on geopolitical. The management of change by individual, organization, and national and international bodies is critical to survival in the decades ahead. The individuals who invest their most formative years in an education and their most productive years in occupational activities must be able to build to personal competence both to survive and manage change. Organizations require flexibility in structure and appropriate strategies if they are to survive and be viable in the future. And government, institutions, and international coordination must create the appropriate environment to permit individuals and organizations to prosper and create the fruits of civilization. The emphasis is primary on how individuals and organizations can deal with change successfully and develop appropriate strategies and structures for the effective management of change. Management of change must provide guidelines for institutional and structural change as well as for individual. (Scott and Jaffe, 1995) If persons have a motivation to face a change, they are likely to take people with them and they can bring organization to change. This is an effective one. Also, there are many changes that are brought by the change in an institution, such as the go... ...n; prevent crisis. Nonetheless, Basil and Cook (1974) state crisis can be a danger that weakens or destroys the organization or crisis can be a growth opportunity. Therefore, successfully dealing with change in the organization means choosing to grow and develop continuously. References Robblins, P. Stephen, Organization Behavior 10th ed., Upper Saddle River, NJ: Prentice-Hall, 2003. Carnall, Colin A. Managing change, London : Routledge, 1991. Scott, Cynthia D. and Jaffe, Dennis T. Managing change at work : Leading people through organizational transitions, Menlo Park, CA : Crisp Publications, 1995. Basil, Douglas C. and Cook, Curtis W. The management of change, McGraw Hill, 1974. http://www.prosci.com/ADKAR-overview.htm

Veronica decides to die :: essays research papers

Veronika Decides to Die – Paul Coelho Plot Summary In his brilliant novel about the aftermath of a young woman ’s suicide attempt,Paulo Coelho explores three perennial themes:conformity, madness,and death.Twenty-four-year-old Veronika li es in Slovenia,one of the republics created by the dissolution of Yugoslavia.She works as a librarian by day,and by night carries on like many single women --dating men,occasionally sleeping with them,and returning to a single room she rents at a convent.It is a life,but not a very compelling one.So one day,Veronika decides to end it.Her failed attempt,and her inexplicable reasons for wanting to die,land her in a mental hospital,Vilette. Veronika ’s disappointment at having sur i ed suicide is palpable.She imagines the rest of her life filled with disillusionment and monotony,and vows not to leave Vilette alive. Much to her surprise,however,she learns that a fate she desires awaits her anyway: She is destined to die within a week ’s time,of a heart damage caused by her suicide attempt.Gradually,this knowledge changes Veronika ’s perception of death and life. In the meantime,Vilette ’s head psychiatrist attempts a fascinating but provocative experiment.Can you "shock"someone into wanting to live by convincing her that death is imminent?Like a doctor applying defibrillator paddles to a heart attack victim,Dr. Igor ’s "prognosis"jump-starts Veronika ’s new appreciation of the world around her. From within Vilette ’s controlled environment,she finally allows herself to express the emotions she has never allowed herself to feel:hate and love,anger and joy,disgust and pleasure.Veronika also finds herself being drawn into the li es of other patients who lead constrained but oddly satisfying li es.Eduard,Zedka,and Mari have been sent to Vilette because there doesn ’t seem to be any other place for them.Their families don ’t understand them,and they can ’t adjust to the social structure that doesn ’t tolerate their individuality.Each of these patients reflects on Veronika ’s situation in his or her own flash of epiphany,exposing new desire and fresh vision for life that lies outside the asylum ’s walls. Vilette is an asylum in the purest sense of the word:a place of protection,where one is shielded from danger.In this case the danger is society.Those who refuse to accept

Chapter 17 Cat, Rat, and Dog

Harry's mind had gone blank with shock. The three of them stood transfixed with horror under the Invisibility Cloak. The very last rays of the setting sun were casting a bloody light over the long-shadowed grounds. Then, behind them, they heard a wild howling. â€Å"Hagrid,† Harry muttered. Without thinking about what he was doing, he made to turn back, but both Ron and Hermione seized his arms. â€Å"We can't,† said Ron, who was paper-white. â€Å"He'll be in worse trouble if they know we've been to see him†¦.† Hermione's breathing was shallow and uneven. â€Å"How — could — they?† she choked. â€Å"How could they?† â€Å"Come on,† said Ron, whose teeth seemed to be chattering. They set off back toward the castle, walking slowly to keep themselves hidden under the cloak. The light was fading fast now. By the time they reached open ground, darkness was settling like a spell around them. â€Å"Scabbers, keep still,† Ron hissed, clamping his hand over his chest. The rat was wriggling madly. Ron came to a sudden halt, trying to force Scabbers deeper into his pocket. â€Å"What's the matter with you, You stupid rat? Stay still — OUCH! He bit me!† â€Å"Ron, be quiet!† Hermione whispered urgently. â€Å"Fudge'll be out here in a minute –â€Å" â€Å"He won't — stay — put –â€Å" Scabbers was plainly terrified. He was writhing with all his might, trying to break free of Ron's grip. â€Å"What's the matter with him?† But Harry had just seen — stinking toward them, his body low to the ground, wide yellow eyes glinting eerily in the darkness — Crookshanks. Whether he could see them or was following the sound of Scabbers's squeaks, Harry couldn't tell. â€Å"Crookshanks!† Hermione moaned. â€Å"No, go away, Crookshanks! Go away!† But the cat was getting nearer — â€Å"Scabbers — NO!† Too late — the rat had slipped between Ron's clutching fingers, hit the ground, and scampered away. In one bound, Crookshanks sprang after him, and before Harry or Hermione could stop him, Ron had thrown the Invisibility Cloak off himself and pelted away into the darkness. â€Å"Ron!† Hermione moaned. She and Harry looked at each other, then followed at a sprint; it was impossible to run full out under the cloak; they pulled it off and it streamed behind them like a banner as they hurtled after Ron; they could hear his feet thundering along ahead and his shouts at Crookshanks. â€Å"Get away from him — get away — Scabbers, come here –â€Å" There was a loud thud. â€Å"Gotcha! Get off, you stinking cat –â€Å" Harry and Hermione almost fell over Ron; they skidded to a stop right in front of him. He was sprawled on the ground, but Scabbers was back in his pocket; he had both hands held tight over the quivering lump. â€Å"Ron — come on back under the cloak –† Hermione panted. â€Å"Dumbledore — the Minister — they'll be coming back out in a minute –â€Å" But before they could cover themselves again, before they could even catch their breath, they heard the soft pounding of gigantic paws†¦. Something was bounding toward them, quiet as a shadow — an enormous, pale-eyed, jet-black dog. Harry reached for his wand, but too late — the dog had made an enormous leap and the front paws hit him on the chest; he keeled over backward in a whirl of hair; he felt its hot breath, saw inch-long teeth – But the force of its leap had carried it too far; it rolled off him. Dazed, feeling as though his ribs were broken, Harry tried to stand up; he could hear it growling as it skidded around for a new attack. Ron was on his feet. As the dog sprang back toward them he pushed Harry aside; the dog's jaws fastened instead around Ron's outstretched arm. Harry lunged forward, he seized a handful of the brute's hair, but it was dragging Ron away as easily as though he were a rag doll — Then, out of nowhere, something hit Harry so hard across the face he was knocked off his feet again. He heard Hermione shriek with pain and fall too. Harry groped for his wand, blinking blood out of his eyes â€Å"Lumos!† he whispered. The wandlight showed him the trunk of a thick tree; they had chased Scabbers into the shadow of the Whomping Willow and its branches were creaking as though in a high wind, whipping backward and forward to stop them going nearer. And there, at the base of the trunk, was the dog, dragging Ron backward into a large gap in the roots — Ron was fighting furiously, but his head and torso were slipping out of sight — â€Å"Ron!† Harry shouted, trying to follow, but a heavy branch whipped lethally through the air and he was forced backward again. All they could see now was one of Ron's legs, which he had hooked around a root in an effort to stop the dog from pulling him farther underground — but a horrible crack cut the air like a gunshot; Ron's leg had broken, and a moment later, his foot vanished from sight. â€Å"Harry — we've got to go for help –† Hermione gasped; she was bleeding too; the Willow had cut her across the shoulder. â€Å"No! That thing's big enough to eat him; we haven't got time –â€Å" â€Å"Harry — we're never going to get through without help –â€Å" Another branch whipped down at them, twigs clenched like knuckles. â€Å"If that dog can get in, we can,† Harry panted, darting here and there, trying to find a way through the vicious, swishing branches, but he couldn't get an inch nearer to the tree roots without being in range of the tree's blows. â€Å"Oh, help, help,† Hermione whispered frantically, dancing uncertainly on the spot, â€Å"Please†¦Ã¢â‚¬  Crookshanks darted forward. He slithered between the battering branches like a snake and placed his front paws upon a knot on the trunk. Abruptly, as though the tree had been turned to marble, it stopped moving. Not a leaf twitched or shook. â€Å"Crookshanks!† Hermione whispered uncertainly. She now grasped Harry's arm painfully hard. â€Å"How did he know –?† â€Å"He's friends with that dog,† said Harry grimly. â€Å"I've seen them together. Come on — and keep your wand out –â€Å" They covered the distance to the trunk in seconds, but before they had reached the gap in the roots, Crookshanks had slid into it with a flick of his bottlebrush tail. Harry went next; he crawled forward, headfirst, and slid down an earthy slope to the bottom of a very low tunnel. Crookshanks was a little way along, his eyes flashing in the light from Harry's wand. Seconds later, Hermione slithered down beside him. â€Å"Where's Ron?† she whispered in a terrified voice. â€Å"This way,† said Harry, setting off, bent-backed, after Crookshanks. â€Å"Where does this tunnel come out?† Hermione asked breathlessly from behind him. â€Å"I don't know†¦It's marked on the Marauder's Map but Fred and George said no one's ever gotten into it†¦It goes off the edge of the map, but it looked like it was heading for Hogsmeade†¦Ã¢â‚¬  They moved as fast as they could, bent almost double; ahead of them, Crookshanks's tail bobbed in and out of view. On and on went the passage; it felt at least as long as the one to Honeydukes†¦ All Harry could think of was Ron and what the enormous dog might be doing to him†¦He was drawing breath in sharp, painful gasps, running at a crouch†¦. And then the tunnel began to rise; moments later it twisted, and Crookshanks had gone. Ahead Harry could see a patch of dim light through a small opening. He and Hermione paused, gasping for breath, edging forward. Both raised their wands to see what lay beyond. It was a room, a very disordered, dusty room. Paper was peeling from the walls; there were stains all over the floor; every piece of furniture was broken as though somebody had smashed it. The windows were all boarded up. Harry glanced at Hermione, who looked very frightened but nodded. Harry pulled himself out of the hole, staring around. The room was deserted, but a door to their right stood open, leading to a shadowy hallway. Hermione suddenly grabbed Harry's arm again. Her wide eyes were traveling around the boarded windows. â€Å"Harry,† she whispered, â€Å"I think we're in the Shrieking Shack.† Harry looked around. His eyes fell on a wooden chair near them. Large chunks had been torn out of it; one of the legs had been ripped off entirely. â€Å"Ghosts didn't do that,† he said slowly. At that moment, there was a creak overhead. Something had moved upstairs. Both of them looked up at the ceiling. Hermione's grip on Harry's arm was so tight he was losing feeling in his fingers. He raised his eyebrows at her; she nodded again and let go. Quietly as they could, they crept out into the hall and up the crumbling staircase. Everything was covered in a thick layer of dust except the floor, where a wide shiny stripe had been made by something being dragged upstairs. They reached the dark landing. â€Å"Nox,† they whispered together, and the lights at the end of their wands went out. Only one door was open. As they crept toward it, they heard movement from behind it; a low moan, and then a deep, loud purring. They exchanged a last look, a last nod. Wand held tightly before him, Harry kicked the door wide open. On a magnificent four-poster bed with dusty hangings lay Crookshanks, purring loudly at the sight of them. On the floor beside him, clutching his leg, which stuck out at a strange angle, was Ron. Harry and Hermione dashed across to him. â€Å"Ron — are you okay?† â€Å"Where's the dog?† â€Å"Not a dog,† Ron moaned. His teeth were gritted with pain. â€Å"Harry, it's a trap –â€Å" â€Å"What –â€Å" â€Å"He's the dog†¦he's an Animagus.† Ron was staring over Harry's shoulder. Harry wheeled around. With a snap, the man in the shadows closed the door behind them. A mass of filthy, matted hair hung to his elbows. If eyes hadn't been shining out of the deep, dark sockets, he might have been a corpse. The waxy skin was stretched so tightly over the bones of his face, it looked like a skull. His yellow teeth were bared in a grin. It was Sirius Black. â€Å"Expelliarmus!† he croaked, pointing Ron's wand at them. Harry's and Hermione's wands shot out of their hands, high in the air, and Black caught them. Then he took a step closer. His eyes were fixed on Harry. â€Å"I thought you'd come and help your friend,† he said hoarsely. His voice sounded as though he had long since lost the habit of using it. â€Å"Your father would have done the same for me. Brave of you not to run for a teacher. I'm grateful†¦it will make everything much easier†¦.† The taunt about his father rang in Harry's ears as though Black had bellowed it. A boiling hate erupted in Harry's chest, leaving no place for fear. For the first time in his life, he wanted his wand back in his hand, not to defend himself, but to attack†¦to kill. Without knowing what he was doing, he started forward, but there was a sudden movement on either side of him and two pairs of hands grabbed him and held him back†¦ â€Å"No, Harry!† Hermione gasped in a petrified whisper; Ron, however, spoke to Black. â€Å"If you want to kill Harry, you'll have to kill us too!† he said fiercely, though the effort of standing upright was draining him of still more color, and he swayed slightly as he spoke. Something flickered in Black's shadowed eyes. â€Å"Lie down,† he said quietly to Ron. â€Å"You will damage that leg even more.† â€Å"Did you hear me?† Ron said weakly, though he was clinging painfully to Harry to stay upright. â€Å"You'll have to kill all three of us!† â€Å"There'll be only one murder here tonight,† said Black, and his grin widened. â€Å"Why's that?† Harry spat, trying to wrench himself free of Ron, and Hermione. â€Å"Didn't care last time, did you? Didn't mind slaughtering all those Muggles to get at Pettigrew†¦What's the matter, gone soft in Azkaban?† â€Å"Harry!† Hermione whimpered. â€Å"Be quiet!† â€Å"HE KILLED MY MUM AND DAD!† Harry roared, and with a huge effort he broke free of Hermione's and Ron's restraint and lunged forward — He had forgotten about magic — he had forgotten that he was short and skinny and thirteen, whereas Black was a tall, full-grown man — all Harry knew was that he wanted to hurt Black as badly as he could and that he didn't care how much he got hurt in return — Perhaps it was the shock of Harry doing something so stupid, but Black didn't raise the wands in time — one of Harry's hands fastened over his wasted wrist, forcing the wand tips away; the knuckles of Harry's other hand collided with the side of Black's head and they fell, backward, into the wall — Hermione was screaming; Ron was yelling; there was a blinding flash as the wands in Black's hand sent a jet of sparks into the air that missed Harry's face by inches; Harry felt the shrunken arm under his fingers twisting madly, but he clung on, his other hand punching every part of Black it could find. But Black's free hand had found Harry's throat â€Å"No,† he hissed, â€Å"I've waited too long –â€Å" The fingers tightened, Harry choked, his glasses askew. Then he saw Hermione's foot swing out of nowhere. Black let go of Harry with a grunt of pain; Ron had thrown himself on Black's wand hand and Harry heard a faint clatter — He fought free of the tangle of bodies and saw his own wand rolling across the floor; he threw himself toward it but â€Å"Argh!† Crookshanks had joined the fray; both sets of front claws had sunk themselves deep into Harry's arm; Harry threw him off, but Crookshanks now darted toward Harry's wand — â€Å"NO YOU DON'T!† roared Harry, and he aimed a kick at Crookshanks that made the cat leap aside, spitting; Harry snatched up his wand and turned — â€Å"Get out of the way!† he shouted at Ron and Hermione. They didn't need telling twice. Hermione, gasping for breath, her lip bleeding, scrambled aside, snatching up her and Ron's wands. Ron crawled to the four-poster and collapsed onto it, panting, his white face now tinged with green, both hands clutching his broken leg. Black was sprawled at the bottom of the wall. His thin chest rose and fell rapidly as he watched Harry walking slowly nearer, his wand pointing straight at Black's heart. â€Å"Going to kill me, Harry?† he whispered. Harry stopped right above him, his wand still pointing at Black's chest, looking down at him. A livid bruise was rising around Black's left eye and his nose was bleeding. â€Å"You killed my parents,† said Harry, his voice shaking slightly, but his wand hand quite steady. Black stared up at him out of those sunken eyes. â€Å"I don't deny it,† he said very quietly. â€Å"But if you knew the whole story.† â€Å"The whole story?† Harry repeated, a furious pounding in his ears. â€Å"You sold them to Voldemort. That's all I need to know.† â€Å"You've got to listen to me,† Black said, and there was a note of urgency in his voice now. â€Å"You'll regret it if you don't†¦You don't understand†¦.† â€Å"I understand a lot better than you think,† said Harry, and his voice shook more than ever. â€Å"You never heard her, did you? My mum†¦trying to stop Voldemort killing me†¦and you did that†¦you did it†¦.† Before either of them could say another word, something ginger streaked past Harry; Crookshanks leapt onto Black's chest and settled himself there, right over Black's heart. Black blinked and looked down at the cat. â€Å"Get off,† he murmured, trying to push Crookshanks off him. But Crookshanks sank his claws into Black's robes and wouldn't shift. He turned his ugly, squashed face to Harry and looked up at him with those great yellow eyes. To his right, Hermione gave a dry sob. Harry stared down at Black and Crookshanks, his grip tightening on the wand. So what if he had to kill the cat too? It was in league with Black†¦If it was prepared to die, trying to protect Black, that wasn't Harry's business†¦ If Black wanted to save it, that only proved he cared more for Crookshanks than for Harry's parents†¦. Harry raised the wand. Now was the moment to do it. Now was the moment to avenge his mother and father. He was going to kill Black. He had to kill Black. This was his chance†¦. The seconds lengthened. And still Harry stood frozen there, wand poised, Black staring up at him, Crookshanks on his chest. Ron's ragged breathing came from near the bed; Hermione was quite silent. And then came a new sound — Muffled footsteps were echoing up through the floor — someone was moving downstairs. â€Å"WE'RE UP HERE!† Hermione screamed suddenly. â€Å"WE'RE UP HERE — SIRIUS BLACK — QUICK!† Black made a startled movement that almost dislodged Crookshanks; Harry gripped his wand convulsively — Do it now! said a voice in his head — but the footsteps were thundering up the stairs and Harry still hadn't done it. The door of the room burst open in a shower of red sparks and Harry wheeled around as Professor Lupin came hurtling into the room, his face bloodless, his wand raised and ready. His eyes flickered over Ron, lying on the floor, over Hermione, cowering next to the door, to Harry, standing there with his wand covering Black, and then to Black himself, crumpled and bleeding at Harry's feet. â€Å"Expelliarmus!† Lupin shouted. Harry's wand flew once more out of his hand; so did the two Hermione was holding. Lupin caught them all deftly, then moved into the room, staring at Black, who still had Crookshanks lying protectively across his chest. Harry stood there, feeling suddenly empty. He hadn't done it. His nerve had failed him. Black was going to be handed back to the Dementors. Then Lupin spoke, in a very tense voice. â€Å"Where is he, Sirius?† Harry looked quickly at Lupin. He didn't understand what Lupin meant. Who was Lupin talking about? He turned to look at Black again. Black's face was quite expressionless. For a few seconds, he didn't move at all. Then, very slowly, he raised his empty hand and pointed straight at Ron. Mystified, Harry glanced around at Ron, who looked bewildered. â€Å"But then†¦Ã¢â‚¬  Lupin muttered, staring at Black so intently it seemed he was trying to read his mind, â€Å"†¦why hasn't he shown himself before now? Unless† — Lupin's eyes suddenly widened, as though he was seeing something beyond Black, something none of the rest could see, â€Å"– unless he was the one†¦unless you switched†¦ without telling me?† Very slowly, his sunken gaze never leaving Lupin's face, Black nodded. â€Å"Professor,† Harry interrupted loudly, â€Å"what's going on –?† But he never finished the question, because what he saw made his voice die in his throat. Lupin was lowering his wand, gazing fixed at Black. The Professor walked to Black's side, seized his hand, pulled him to his feet so that Crookshanks fell to the floor, and embraced Black like a brother. Harry felt as though the bottom had dropped out of his stomach. â€Å"I DON'T BELIEVE IT!† Hermione screamed. Lupin let go of Black and turned to her. She had raised herself off the floor and was pointing at Lupin, wild-eyed. â€Å"You — you –â€Å" â€Å"Hermione –â€Å" â€Å"?C you and him!† â€Å"Hermione, calm down –â€Å" â€Å"I didn't tell anyone!† Hermione shrieked. â€Å"I've been covering up for you –â€Å" â€Å"Hermione, listen to me, please† Lupin shouted. â€Å"I can explain –â€Å" Harry could feel himself shaking, not with fear, but with a fresh wave of fury. â€Å"I trusted you,† he shouted at Lupin, his voice wavering, out of control, â€Å"and all the time you've been his friend!† â€Å"You're wrong,† said Lupin. â€Å"I haven't been Sirius's friend, but I am now — Let me explain†¦.† â€Å"NO!† Hermione screamed. â€Å"Harry, don't trust him, he's been helping Black get into the castle, he wants you dead too — he's a werewolf!† There was a ringing silence. Everyone's eyes were now on Lupin, who looked remarkably calm, though rather pale. â€Å"Not at all up to your usual standard, Hermione,† he said. â€Å"Only one out of three, I'm afraid. I have not been helping Sirius get into the castle and I certainly don't want Harry dead. An odd shiver passed over his face. â€Å"But I won't deny that I am a werewolf.† Ron made a valiant effort to get up again but fell back with a whimper of pain. Lupin made toward him, looking concerned, but Ron gasped, â€Å"Get away from me, werewolf!† Lupin stopped dead. Then, with an obvious effort, he turned to Hermione and said, â€Å"How long have you known?† â€Å"Ages,† Hermione whispered. â€Å"Since I did Professor Snape's essay†¦Ã¢â‚¬  â€Å"He'll be delighted,† said Lupin coolly. â€Å"He assigned that essay hoping someone would realize what my symptoms meant†¦ Did you check the lunar chart and realize that I was always ill at the full moon? Or did you realize that the Boggart changed into the moon when it saw me?† â€Å"Both,† Hermione said quietly. Lupin forced a laugh. â€Å"You're the cleverest witch of your age I've ever met, Hermione.† â€Å"I'm not,† Hermione whispered. â€Å"If I'd been a bit cleverer, I'd have told everyone what you are!† â€Å"But they already know,† said Lupin. â€Å"At least, the staff do.† â€Å"Dumbledore hired you when he knew you were a werewolf,† Ron gasped. â€Å"Is he mad?† â€Å"Some of the staff thought so,† said Lupin. â€Å"He had to work very hard to convince certain teachers that I'm trustworthy –â€Å" â€Å"AND HE WAS WRONG!† Harry yelled. â€Å"YOU'VE BEEN HELPING HIM ALL THE TIME!† He was pointing at Black, who suddenly crossed to the four-poster bed and sank onto it, his face hidden in one shaking hand. Crookshanks leapt up beside him and stepped onto his lap, purring. Ron edged away from both of them, dragging his leg. â€Å"I have not been helping Sirius,† said Lupin. â€Å"If you'll give me a chance, I'll explain. Look –â€Å" He separated Harry's, Ron's and Hermione's wands and threw each back to its owner; Harry caught his, stunned. â€Å"There,† said Lupin, sticking his own wand back into his belt â€Å"You're armed, we're not. Now will you listen?† Harry didn't know what to think. Was it a trick? â€Å"If you haven't been helping him,† he said, with a furious glance at Black, â€Å"how did you know he was here?† â€Å"The map,† said Lupin. â€Å"The Marauder's Map. I was in my office examining it –â€Å" â€Å"You know how to work it?† Harry said suspiciously. â€Å"Of course I know how to work it,† said Lupin, waving his hand impatiently. â€Å"I helped write it. I'm Moony — that was my friends' nickname for me at school.† â€Å"You wrote –?† â€Å"The important thing is, I was watching it carefully this evening, because I had an idea that you, Ron, and Hermione might try and sneak out of the castle to visit Hagrid before his Hippogriff was executed. And I was right, wasn't I?† He had started to pace up and down, looking at them. Little patches of dust rose at his feet. â€Å"You might have been wearing your father's old cloak, Harry–â€Å" â€Å"How d'you know about the cloak?† â€Å"The number of times I saw James disappearing under it†¦Ã¢â‚¬  said Lupin, waving an impatient hand again. â€Å"The point is, even if you're wearing an Invisibility Cloak, you still show up on the Marauder's Map. I watched you cross the grounds and enter Hagrid's hut. Twenty minutes later, you left Hagrid, and set off back toward the castle. But you were now accompanied by somebody else.† â€Å"What?† said Harry. â€Å"No, we weren't!† I couldn't believe my eyes,' said Lupin, still pacing, and ignoring Harry's interruption. â€Å"I thought the map must be malfunctioning. How could he be with you?† â€Å"No one was with us!† said Harry. â€Å"And then I saw another dot, moving fast toward you, labeled Sirius Black†¦I saw him collide with you; I watched as he pulled two of you into the Whomping Willow –â€Å" â€Å"One of us!† Ron said angrily. â€Å"No, Ron,† said Lupin. â€Å"Two of you.† He had stopped his pacing, his eyes moving over Ron. â€Å"Do you think I could have a look at the rat?† he said evenly. â€Å"What?† said Ron. â€Å"What's Scabbers got to do with it?† â€Å"Everything,† said Lupin. â€Å"Could I see him, please?† Ron hesitated, then put a hand inside his robes. Scabbers emerged, thrashing desperately; Ron had to seize his long bald tail to stop him escaping. Crookshanks stood up on Black's leg and made a soft hissing noise. Lupin moved closer to Ron. He seemed to be holding his breath as he gazed intently at Scabbers. â€Å"What?† Ron said again, holding Scabbers close to him, looking scared. â€Å"What's my rat got to do with anything?† â€Å"That's not a rat,† croaked Sirius Black suddenly. â€Å"What d'you mean — of course he's a rat –â€Å" â€Å"No, he's not,† said Lupin quietly. â€Å"He's a wizard.† â€Å"An Animagus,† said Black, â€Å"by the name of Peter Pettigrew.†