The Economic Reality of Hybrid Vehicles Essay Example for Free

The Economic Reality of Hybrid Vehicles Essay The high price of gas at the pump has many Americans looking for alternates to their gas powered vehicles. One of the most popular option right now is a hybrid vehicle. The question that comes to mind is, are hybrid vehicles worth it? With record high gas prices due to the price of oil, most car owners out there have major concerns over their gas usage. Over the past ten years, the cost of gasoline has grown 250%! The price of oil has doubled since January of this year. The high prices of oil and gas is the driving factor for most of the people to trade their gas powered vehicles for hybrid vehicles. These vehicles promise to give consumers more mileage per gallon, the truth is that only a few vehicles currently in the market actually make any sort of financial sense. There are quite a few issues with buying hybrid vehicles, even with gas prices at more than $4 a gallon. First, these vehicles are much higher in price than their gas powered counter part so, the premiums attached to their price tags do not justify extra mileage that you get. In some cases car dealers are selling popular vehicles at much higher prices than MSRP. Second, there are no laws and regulations controlling the technology, price, and the mileage per gallon required out of these vehicles. Currently, there are hybrid vehicles in the market that offer an improvement of 3MPG to 18 MPG over their gas powered counterpart. This is a huge range that needs to be controlled. Third, the demand of these vehicles is driving the prices of the vehicles even higher, if people knew that it would take many years for fuel savings to pay back the hybrid premium on many models, the demand on these models would be much lower, driving the prices down. The solutions that I would like to propose is the government to work with auto manufacturers to develop a standard for hybrid vehicles. This standard should control the minimum mileage offered per gallon, and control the premium allowed to be charged by the manufacturers. There are vehicles in the market that offer only a marginal benefit over the gas powered vehicles and yet the manufacturers charge thousands of dollars premium. Background: Today people all around the world are facing unusually high oil price hikes. Oil has become so very expensive that people are trying all kinds of extreme measures to lower the price. The hike in price has affected every nation; the entire world is trying to find a way out of the soaring prices. Thanks to the oil prices, travel expenses have increased, not just flying being expensive, driving your own car is very expensive. The chart below shows a trend in oil prices since 1990 with some of the major events leading to this increase. Note that since January of 2007 the oil prices have increase by 162%. With high gas prices, hybrid cars are a more affordable option than ever in terms of gas mileage, but only a handful of hybrid cars make solid financial sense, and only for some consumers, according to a new study by NADAguides. com, a vehicle pricing and information website. Using current gas prices for ten major metropolitan areas, the company studied the number of miles needed to recoup the extra cost of buying a hybrid car over its gasoline-only counterpart. The study showed, for example, that a driver in Los Angeles, the city with the highest gas prices in the study, will break even about 18 percent faster than a driver in Houston, the city with the lowest gas prices, assuming both are driving the same miles. The study found that, even at todays high gas prices, only a handful of hybrid cars make financial sense for a consumer who buys a new car every five years or less and drives an average number of miles per year. Even at Los Angeles-area gas prices, there are only five hybrid cars that would allow consumers to recoup their additional investment before they sold the car, assuming they drive an average of 15,000 miles per year. In order of shortest time to break even, they are: 1. Toyota Camry Hybrid 2. Chevrolet Malibu Hybrid 3. Nissan Altima Hybrid 4. Toyota Prius 5. Honda Civic Hybrid Following is a chart of the top five hybrid cars with the greatest return on investment and the number of miles to break even in 10 major metropolitan areas at current gas prices. Issue: Even with gas prices at more than $4 per gallon, there are quite a few issues with buying hybrid vehicles. Issue 1: High Prices Hybrid vehicle prices are higher than their gas powered counterpart. The demand for these vehicles in the last year has increased a lot, increasing the prices even further. In some areas people are actually paying premium over MSRP and waiting for more than two years to get some vehicles. The price premium attached to the hybrid vehicles are just too great to be considered a cost savings relative to purchasing their gasoline counterpart. If people knew how long it would take them to pay off the increased premium the demand for the hybrid would be lower than what it is now, decreasing the prices. Issue 2: High Prices The second issue with the hybrid vehicles is that there are no laws and regulations controlling the technology, price, and the mileage per gallon required out of these vehicles. Currently, there are hybrid vehicles in the market that offer an improvement of just a few miles per gallon over their gas powered counterpart, yet the manufacturers are charging thousands more for the premium for a so called hybrid technology. The table shows the amount of time it would take a buyer to offset the hybrid premium by fuel savings. The table also shows the miles per gallon and annual gas savings. These numbers clearly show the need to have some regulations to control the miles per gallon offered and the amount of premium that is charged by the manufacturers. Let’s look at some vehicles: Starting with the worst of the bunch, the Lexus LS600H. The premium charges on this vehicle is about $19,000, yet it only offers about 20 to 22 miles per gallon. It would take almost a century to break even. The next worst seems to be the Saturn Aura which only offers an annual gas savings of $171. The best one seems to Toyota Prius, but this car is so popular these days that in some areas there is a wait list of two years. In areas where it’s available, the dealers are charging more than $5,000 over MSRP. Solution: ?Better education to customers about the ownership costs of a hybrid vehicle ? Government should offer incentives like tax break to buy hybrid vehicles ? Have a standard to develop hybrid vehicle to encourage mass production, bringing the vehicle prices to even less than current gas-powered vehicles ? Force auto makers to sell hybrid vehicles at no more than, about 10%, premium to the customers Conclusion: Reference: Web Site: Bespoke Investing Group http://bespokeinvest. typepad. com/bespoke/.

G-protein Cycle and its Regulation by RGS Proteins

G-protein Cycle and its Regulation by RGS Proteins Julia Weigandt G Proteins, also known asguanine nucleotide-binding proteins, are a family of membrane resident â€Å"go-between† proteins that are important molecular switches in the mediation of GPCR signalling1. In their inactive state, G-proteins exist as heterotrimeric complexes composed of ÃŽ ±, ÃŽ ² and ÃŽ ³-subunits. Upon its stimulation, a GPCR will catalyse the GDPà ¯Ã†â€™Ã‚  GTP exchange at GÃŽ ± leading to the dissociation of the trimer complex as a GÃŽ ±-subunit and the GÃŽ ²ÃŽ ³-dimer, both able to interact with a number of effector systems responsible for cellular responses. Upon hydrolysis of GTP to GDP+P by GÃŽ ±, the G-protein mediated signalling is terminated, whereby a group of proteins, the regulators of G-protein signalling (RGS) appear to play substantial role1,2. Every organ system utilises G-protein mediated signal transduction evoking such diverse outcomes as neurotransmission, immunity, cardiovascular function and hormone secretion3. Consequently, GPCRs present a variety of opportunities as therapeutic targets for treating cancer, cardiac dysfunction, central nervous system disorders and pain. In fact, drugs targeting members of this protein superfamily account for 40% of all prescription pharmaceuticals on the market2. GPCRs constitute the largest and most diversefamily of heptahelical transmembrane receptors  that receive a signal (e.g. small peptides, lipid analogues, amino-acid derivatives, and sensory stimuli such as light, taste and odour2)from outside thecelland transmit this signal to the cell interior via interactions with G-proteins leading to activation of downstream effector systems4. In mammals 21 GÃŽ ±-subunits, six GÃŽ ²-subunits and twelve GÃŽ ³-subunits have been described5. Depending on their GÃŽ ± similarity, G-proteins are grouped into four main classes: GÃŽ ±s, GÃŽ ±i/o, GÃŽ ±q/11 and GÃŽ ±12/13 which show selectivity with respect to both, receptors and effectors due to the presence of recognition domains complementary to G-protein binding domains in receptors/effectors6. The main targets for G-proteins include adenylyl cyclase, phospholipase isoforms, Rho A/Rho kinases (a system that controls mainly signalling pathways involved in cell growth/proliferation), and the mitogen a ctivated protein kinase (involved in the control of many cell functions such as cell division), and ion channels7,8. In its inactivated state the complex is freely diffusible in the plane of the cell membrane due to fatty acid chain anchors on each subunit7. Stimulation of GPCRs by agonists leads to conformational changes in the receptor resulting in the acquirement of high affinity to the G(ÃŽ ±ÃŽ ²ÃŽ ³) complex. Due to their subsequent association, a GDP->GTP exchange in the ÃŽ ±-subunit will occur leading to dissociation of the G-protein complex from the receptor in form of a GÃŽ ±(GTP)-subunit and a GÃŽ ²ÃŽ ³-dimer. Prior the activation of the G-protein the GÃŽ ²ÃŽ ³-dimer is bound to a hydrophobic pocket present in GÃŽ ±-GDP. GTP binding to GÃŽ ± removes the hydrophobic pocket and reduces the affinity of GÃŽ ± for GÃŽ ²ÃŽ ³9. Both have a signalling function and can interact with various downstream effector systems 7,9. The duration of G protein-mediated effector activation is dependent on the intrinsic GTPase activity of the GÃŽ ±-subunit. GTP-hydrolysis results in dissociation of GÃŽ ±(GDP) f rom the effector to reunite with GÃŽ ²ÃŽ ³ completing the cycle7. Several studies have shown that the kinetics of G-protein signalling are regulated by RGS proteins that can not only act as GTPase activating proteins (GAPs) on GÃŽ ±-subunits hereby accelerating GTP-hydrolysis, but also as scaffolds to help assemble signalling complexes and providing a critical mechanism of regulation of cellular responses10. Over 30 RGS/RGS-like domain containing proteins have been described and classified into nine distinct subfamilies based on primary sequence homology and presence of additional domains, including the A/RZ (prototype RGSZ), the B/R4 (prototype RGS4), the C/R7 (prototype RGS7), the D/R12 (prototype RGS12), the E/RA (prototype Axin), the F/GEF, G/GRK, H/SNX and I/D-AKAP2 subfamilies3,10,11. They differ widely in their overall size and amino acid identity, and many family members possess a remarkable variety of structural domains and motifs that regulate their actions and/or enable them to interact with other binging partners with diverse cellular roles. RGS proteins have a highly conserved RGS domain of 120 amino acids3,11 which allows for selective binding to the transition state of GÃŽ ±(GTP->GDP+P)8 , accelerating the GTP-hydrolysis up to a 1000-fold5,10 by stabilising this transition. Some studies have shown that RGS proteins can also act as effector antagonists by binding tightly to GÃŽ ±(GTP), hereby blocking effector activation5,11. It has been suggested that simple RGS proteins (those of A/RZ and B/R4) have an almost exclusively negative regulatory function acting as modulators of G-protein signalling as for instance shown by the function of RGS4, an effective GAP protein for GÃŽ ±q family members. In mammalian cells RGS4 doesn’t block the receptor and GÃŽ ±q/11-directed inositol lipid/Ca2+ signalling completely but elicit rhythmic Ca2+ oscillations in mammalian cells10, 11. On the contrary, the larger RGS proteins can link active GÃŽ ±s to other signalling pathways and therefore serve as multifunctional integrators. Integration can occur via activation of kinases, recruitment of cellular scaffolds/associated proteins or by direct receptor interactions11. Two of the R12 family members (RGS12 and RGS14) were shown to coordinate components of the Ras/Raf/mitogen-activated protein kinase signalling pathway8,10. RGS proteins display specificity and selectivity in their interactions not only with G-proteins, but also GCPRs, ion channels and other signalling events3,5 which may be accomplished by firstly, differences in GAP activity towards different types of GÃŽ ±-subunits (e.g. RGS19 was shown to interact strongly with GÃŽ ±i1, GÃŽ ±i3 and GÃŽ ±o, weakly GÃŽ ±i2 but not with GÃŽ ±s and GÃŽ ±q5; secondly, the ability to interact with specific GPCRs or with effectors within the GPCR signalling axis directly, due to presence of characteristic structural domains and motifs (e.g. RGS2 and RGS4 bind selectively the 3rd intracellular loop of M2 and M5 muscarinic receptors5); thirdly, by formation of an RGS/G-protein complex that prevents the G-protein from binding its receptor or the downstream effectors; and lastly, by co-expression of the RGS-proteins with its target protein(s) in order for selective interactions to take place. An example is illustrated by the expression of the alternative splice d RGS9-1 and RGS9-2 in entirely different tissues, thus having different functions and selectivity for different targets. While RGS9-1 is expressed in the photoreceptor cell layers of the retina and is involved in the phototransduction pathway by regulation of photoreceptors, RGS9-2 is predominantly found in the brain and shows selectivity for the regulation of dopamine D2 and opioid  µ receptor signalling pathways5. RGS proteins play and essential regulatory role in G-protein mediated signal transduction, being able to regulate a great number of GCPR signalling events with great specificity and accuracy. By fully understanding the mechanisms and the significance of their expression, role and targets it can lead science to advances in the development of novel therapeutic drugs against disorders involving G-protein mediated signalling. References Baltoumas, F. A., Theodoropoulou, M. C., Hamodrakas, S.J.; Interactions of the a-subunits of heterotrimeric G-proteins with GPCRs, effectors and RGS proteins: A critical review and analysis of interacting surfaces, conformational shifts, structural diversity and electrostatic potentials. Journal of Structural Biology.2013;(182):209-218 Filmore, D.; Its a GPCR world. Modern Drug Discovery  (American Chemical Society).2004; (November): 24–28 Bansal, G., Druey, K.M., Xie, Z.; R4 RGS proteins: regulation of G-protein signaling and beyond. Pharmacology and Therapeutics. 2007;116(3):473-495 Joost, P., Methner, A.; Phylogenetic analysis of 277 human G-protein-coupled receptors as a tool for the prediction of orphan receptor ligands.Genome Biology. 2002;3(11): research0063.1–0063.16 Xie, G.X., Palmer, P.P.; How regulators of G protein signaling achieve selective regulation. Journal of molecular biology. 2007;366(2):349-365 CABRERA-VERA, T.M., VANHAUWE, J., THOMAS, T.O., MEDKOVA, M., PREININGER, A., MAZZONI, M.R., HAMM, H.; Insights into G Protein Structure, Function, and Regulation.  Endocrine Reviews. 2003;24(6):765-781 Rang, H.P., Dale, M.M., Ritter, J.M., Flower, R.J., Henderson, G.; Rang and Dales Pharmacology. 7th ed. UK. Elsevier Churchill Livingstone ; 2012; 3(32-33) Kimple, A.J., Bosch, D.E., Giguà ¨re, P.M., Siderovski, D.P.; Regulators of G-protein signaling and their GÃŽ ± substrates: promises and challenges in their use as drug discovery targets. Pharmacological Reviews. 2011;63(3):728-749 Oldham, W.M., Hamm, H.; Heterotrimeric G protein activation by G-protein-coupled receptors.NATURE REVIEWS | molecular cell biology. 2008;9:60-71 Keinan, D., Yang, S., Cohen, R.E., Yuan, X., Liu, T., Li, Y.P.; Role of regulator of G protein signaling proteins in bone.Front Biosci (Landmark Ed). 2014;1(19):634-648 Hollinger, S., Hepler, J.R.;. Cellular regulation of RGS proteins: modulators and integrators of G protein signaling.Pharmacological Reviews. 2002;54(3):527-559

The Age Of Criminal Responsibility Criminology Essay

The Age Of Criminal Responsibility Criminology Essay One must be aware that the United Nations Convention on the Rights of the Child professes anyone under the age of eighteen is a child. However, in the criminal law, greater distinctions are made: anyone under 18 is a juvenile, aged 14-18 are classed as young persons and a person under 14 years old are classed definitively as a child. What does it mean to be a child in this modern era? Every person has experienced life as a child and could easily accumulate their own perspective, but that is exactly what it would be; a subjective definition that begins with infancy and ends when they reach adolescence. However, adolescence, for legal purposes must portray a mental, intellectual, emotional and more specifically, a moral capacity to differentiate right from wrong. Before one looks at the legal observations of childhood, it is only sensible to consider the words of those who dedicate their lives to the study of child psychology, and ultimately have wider knowledge. Psychological theory Piaget in his work, The Moral Judgement of the Child  [1]  established a theory of not only the cognitive, but also the moral development of a childs mind, prà ©cising that they cannot undertake certain tasks until they are psychologically mature enough to do so. The psychologist Kohlberg expanded on Piagets position  [2]  , and their theories make it plain that by ten children are not capable of making moral decisions similar to that of an adult, as they have not fully learned to do so. The theories suggest that there are 2 stages of moral reasoning (which sometimes overlap) named the heteronomous stage and the autonomous stage. At the heteronomous stage, the child is egocentric and believes the world revolves around them, and they will act depending on the severity of the outcome. This stage continues past the age of ten, so before they reach the next stage it is unlikely that they will be aware of the severity of any outcome. Subsequently, when they are in the autonomous stage, intentions are more important than the consequences of action and should be the basis for judging behaviour, and it is then that a child should be held accountable for his or her actions, not before. The theories suggested here are, of course, non-conclusive and non-exhaustive, but at least give an insight into the questionable nature of the entire concept of an absolute age of criminal responsibility, so it would be worthwhile to keep these theories in mind throughout the discussion. The age of criminal responsibility The age of criminal responsibility in England and Wales is ten years.  [3]  All children under this age are presumed to be doli incapax (incapable of committing a crime). After reaching the age of ten however, and as Elizabeth Stokes informs us, there is nothing within the substantive criminal law regarding the attribution of guilt, which distinguishes the responsibility of young people from that of adults.  [4]   The Home Office White Paper in 1997, signalled the start of New Labours tough and punitive, No More Excuses campaign by declaring that; Young people who commit offences must face up to the consequences of their actions for à ¢Ã¢â€š ¬Ã‚ ¦ No young person should be allowed to feel that he or she can offend with impunity à ¢Ã¢â€š ¬Ã‚ ¦ Punishment is important as a means of expressing societys condemnation of unlawful behaviour and as a deterrent.  [5]   Even though there was much discussion with reference to raising the age in the late 1960s after the Government White paper Children in Trouble  [6]  (1968) along with Section 4 of the Children and Young Persons Act 1969 which would have raised the age of criminal responsibility to 14 but was never implemented and the provision was repealed in 1991. This introduced an unnaturally bold dividing line between criminal responsibility and irresponsibility for children who offend. This was the case even though arguments have been put forward suggesting that to criminalise and label children is very dangerous, with Deborah Orr proposing that, if a child has behaved in a fashion that he or she feels he had little or no control over, and then is told this is criminal, then the child is being taught that his or her criminality is something over which he has no control.  [7]  The following doctrine attempted to decrease the amount of children being labelled until it was abolished. Doli incapax Protection or a waste of time? Before the Crime and Disorder Act 1998 which abolished the doctrine, there had existed for hundreds of years  [8]  protection for children aged between 10 and 14 years. This protection was the rebuttable presumption that children were doli incapax. Under this legal doctrine, as expounded in the case of C v DPP  [9]  in addition to committing the actus reus and mens rea of a criminal offence the prosecution also had to prove beyond reasonable doubt that they knew what they were doing was seriously wrong. This doctrine was working as a filter which recognised childhood to stop 10 being the absolute age of criminal responsibility. Children aged between 10 and 14 years benefited from the presumption as it protected them from the detrimental effects of the enforcement of criminal law.  [10]  But despite this, it could be suggested that the doctrine did not work as it was professed to as it still did not stop children being prosecuted; as the prosecution only had to prove that children knew the difference between the extreme opposites of right and gravely wrong, and not mere naughtiness and wrong. For example, Bandalli suggests that children have a very flexible approach to ownership, if one were to look at the contents of the Theft Act 1968, s.1(1) describes the crime as dishonesty with intent to permanently deprive a concept which children might only be aware of as merely borrowing. So in practice it did not work sufficiently, but it cannot be ignored that it had very strong symboli sm, which was arguably the most important aspect. The symbolism of the doctrine An excellent point made by Pickford questions why the opponents of abolition continue to have faith in a doctrine which has proved to be so inadequate in protecting children anyway.  [11]  But this is perhaps because at least some acknowledgement was given to the notion of childhood with doli incapax, differentiating their treatment from that of adults. It made the police, the CPS and the judiciary stop and think about the degree of responsibility for each individual child,  [12]  and doing that, however briefly, kept the childhood status in tact. The symbolism of the abolition In spite of these arguments, Jack Straw said on 3 June 1998; with great respect, we are abolishing the concept of doli incapax and thus England and Wales saw the erosion of the policy of protection. However, this was combated with the justification that removal of protection was removal of excuse culture.  [13]  Nevertheless, supporters of the doctrine still implore the judiciary to recognise at least some protection. The recent case of R v T  [14]  in 2008 it was proposed that only the presumption had been abolished  [15]  and that the defence remained in tact. But this proposition was quickly flattened and children aged 10-14 would be treated in the same way as other juveniles in deciding whether to prosecute. The abolition of doli incapax was discoursed in conjunction with increasing the age of criminal responsibility, but now there has been an absolute abolition, the government has carried out one without the other, and has left a vacuum where protection should be. Th erefore, what doli incapax stood for; its symbolism of protection was quashed and children are treated like adults once again. The possible justifications for this are set out in Part Two. PART TWO CRIMINALISATION AND THE RIGHTS OF THE CHILD There is little doubt that punitive imperatives have shaped contemporary policy responses to child offenders in England and Wales.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Goldson (2002) The government is ignoring the widespread discourse and European recommendations about the rights of children. With their apparent stubbornness, not to mention the abolition of the centuries old presumption of doli incapax, the question is why are we wedded to the extreme desire to pull children into the criminal justice system and criminalise, rather than taking the civil route which is based on the foundations of protection and welfare? Their policy has brought a large group of children under the auspices of the criminal justice system where previously they may have been successfully diverted. This current punitive climate can be justified to an extent because people have an innate interest in punishment. Namely, they will view children as adults seeing them as autonomous beings who bear responsibility for what they do, despite their age. In the NACRO youth crime briefing as recent as December 2008, the Committee expresses concern about the findings of a survey commissioned by Barnados  [16]  which show the negative public perception of children: 49% of people believe that children are increasingly a danger to each other and adults, 54% agreed that children are beginning to behave like animals, 35% of people feel like the streets are infested with children. In addition to this, after the 1994 government submission to the UNCRC, Barnados and the NSPCC highlighted their outrage of what the government purported to be happening in England and Wales, that it did not reflect what was happening in reality, and thus decided to write their own submissions such as these, showing that the UK Government has much to answer for. The public have a diverse perception of children in contrast with psychologists  [17]  and they want to prosecute them. To prosecute and put a child through the criminal system costs between  £75,000 (for a youth to be in a young offenders institute) and  £150,000 (for secure accommodation).  [18]  Although it might be a generally useful deterrent to use the threat of prosecution, recently it can be seen how arbitrarily it is used (which is in breach of Art 37(b) United Nation Convention on the Rights of the Child). For example, an article in The Mail Online  [19]  states that in Newark, Nottinghamshire, letters of warning have been sent out that children face prosecution and fines of up to  £100 if they annoy neighbours with ball games. . But if the child was to be prosecuted for kicking a ball around in the street, what would this really achieve? The answer is nothing. Prosecution and custody in this respect would be equivalent to an employer paying a new employee to go through a process which they know does not work,  [20]  which is obviously a waste of time for everyone involved. The government maintains that it is providing proportionate penalties for child offending and in its report to the CRC states they are keen to ensure that children are not prosecuted whenever an alternative can be found but the NACRO youth crime briefing successfully contests this articulating even those who are diverted [away from the courts] by being dealt with reprimand of final warning, are in effect [still] criminalised. It is also exceptionally questionable whether children should be tried in the Crown Courts, as the NACRO briefing  [21]  suggests that the Crown Court is primarily an arena for dealing with adult offenders through jury trial, and children who commit grave crimes are, in large degree, processed as if they were adults.  [22]   And so, in the shadow of sympathetic European progressiveness, New Labour, with its No More Excuses draconian approach has conceded to the whims of the public and are practically stealing away what it is to be a child, including what they deserve and have a right to protection, which a higher age of criminal responsibility would ensure. In Europe: UN Convention on the Rights of the Child (UNCRC) According to United Nations Committee on the Rights of the Child regarding the age of criminal responsibility, countries should consider whether a child can live up to the moral and psychological components of criminal responsibility and notes that if the age of criminal responsibility is set too low the notion of responsibility would become meaningless. The Committee has recommended State Parties not to set a minimum age of criminal responsibility at a too low level and to increase an existing minimum age to an internationally acceptable level concluding that the minimum age below the age of 12 is considered unacceptable. According to UK Childrens Commissioners Report to the UNCRC, although the UK has ratified the UNCRC, the Convention is not part of domestic law and remains unenforceable. Recent legislative and policy developments are in clear breach of the UNCRC, for example, the naming and shaming of children subject to anti-social behaviour orders  [23]  . Even if these did not breach the Convention rights, it would be unsuccessful anyway, as some children, especially the higher end of the spectrum would actually be proud of having an ASBO, or as Deborah Orr suggests  [24]  , they would be badges of pride and perverse achievements. Thompson and Venables case study How it came about that two mentally normal boys aged 10 of average intelligence committed this terrible crime is very hard to comprehend . . . Morland, J The cases of R v. Secretary of State for the Home Department, Ex parte V. and R. v. Secretary of State for the Home Department, Ex parte T, concerned Robert Thompson and Jon Venables, both 10 ½ year old boys, being convicted of the murder of a two year old boy. They were only just over the age of criminal responsibility. They were sentenced to detention during Her Majestys Pleasure and the trial Judge; Morland J set the minimum term to be served at eight years to reflect their extreme youth. The NACRO youth crime briefing  [25]  Grave crimes, mode of trial, and long term detention, reports that the European Court of Human Rights (ECHR hereafter) determined that the defendants were denied a fair trial since they were unable to participate effectively in the proceedings given the nature of the court room and the intense public scrutiny saying the formality and ritual of the Crown Court must have seemed incomprehensible and intimidating for a child of eleven. This breaches Art 3 of the Convention, to have the best interests of the child as the primary consideration. The Youth Crime Briefing  [26]  reports that even after the Lord Chief Justice issued a Practice Direction (in February 2000), which gave guidance for the conduct of such proceedings and calls upon Crown Courts to have regard to the welfare of the child and to avoid exposing him or her, so far as possible, to intimidation, humiliation or distress (my emphasis added),further cases go on to breach Convention rights. This was detailed in the case of SC v UK  [27]  where an eleven year old boy who did not have the intellectual, moral or cognitive capacity for his age group, had his right to a fair trial breached even though the procedure adopted would have complied with the Practice Direction. The ECHR stated that: [He] has little comprehension of the role of the jury . Even more strikingly, he does not seem to have grasped the fact that he risked a custodial sentence, and even once sentence had been passed à ¢Ã¢â€š ¬Ã‚ ¦ he appeared confused and expected to be able to go home with his foster father. The Court then went on to make recommendations as to how a child with the handicap of childhood should be processed that they should be tried in a specialist tribunal noting afterwards that there are at present no proposals to develop one. The United Nations Standard Minimum Rules for the Administration of Juvenile Justice The Beijing Rules. The Beijing Rules adopted by the General Assembly in 1985, specifies in section 4.1 that the lower age of criminal responsibility shall not be fixed at too low an age level, bearing in mind the facts of emotional, mental and intellectual maturity. The commentary states that a specific approach should be taken, which is whether a child can live up to the moral and psychological components of criminal responsibility and making explicit reference to the individual discernment and understanding. This relates profusely to the theories that Piaget and Kohlberg propose where they have said that moral development is a continual process that occurs throughout the lifespan, and I would suggest that to fix the age at ten is to put a limit on an uncertain event, that is to say, they are severely generalising the mental capacity of children, leading to injustices in the due process that children are entitled to have. Even if it can be argued that increasing the age would lead to net-widening of children (who may have developed moral capacity earlier) being excused for crimes, that does not displace the argument that the majority of crimes committed by children are minor, and could be prevented with concern for the individual offender and n ot the offence. . In fact, the Beijing Rules state in part 11.1, consideration shall be givenà ¢Ã¢â€š ¬Ã‚ ¦to dealing with juvenile offenders without resorting to formal trial emphasizing that, this practice [will] serve to hinder the negative effects of subsequent proceedings, such as the stigma of conviction and sentence. The Rules also make clear the relationship that the age of criminal responsibility must have with its other limitation counterparts; the legal age of consent, the legal age of drinking, marital status, civil majority for example. There is also the notion of the need of a higher mental intelligence, emotional and moral capacity to be responsible in respect to all of these, and this just does not sit well with having the age of criminal responsibility at ten.  [28]   Risk and Predictive Factors In addition to disregarding the Beijing Rules, the government have actually contributed to the reason that children are committing crimes, evidenced by certain predictive factors that have led to increased youth crime in certain contexts. The Youth Offending Board  [29]  maintains that anti-social behaviour and crime is not immediately down to the childs choice, but rather the context in which they are placed. From their web page headed, Targeted Prevention of Youth Crime and Anti-Social Behaviour they raise the policy issue of funding for a start, and reinforce that, one of the best and most cost-effective ways to reduce youth crime is to prevent young people from getting into trouble in the first place, by dealing with the problems that make it more likely they will commit crime or anti-social behaviour. They then proceed to list possible predictive factors such as lack of or poor education, poor family relationships (bad parenting), and the child living in public housing locat ed in high risk, inner city areas. To start with, the report from the UK Childrens Commissioners to the UN Committee on the Rights of the Child evidenced that child poverty is high with around 3.1 million people living in poverty (29% of children) in England and more than 1 million children living in poor housing, which is a possible reason why children commit crime. Here it is not individual choice, but the governments own policy that is creating the increased likelihood of child offenders. The Joseph Rowntree Foundation suggests that current measures mean child poverty will rise from 18% to 33% over the next 20 years. They say the poverty gap is created by state benefits which are linked to inflation, rather than earnings, and that is of government concern. And so, if the Government is likely to miss its target to halve the number of children living in poverty by 2010, then they are in theory adding to the offending rates instead of reducing them, defeating their whole objective of being tough on crime. Other factors arise from poor parenting and bad education. In a speech to the Association of Teachers and Lecturers in 2002, the former education secretary Estelle Morris argued that bad parenting has created a cycle of disrespect among children, and again does not show it to be the individuals own choice. Poor education leads to truancy, alcohol misuse and other antisocial activities that adults would not be punished for. The Joseph Rowntree Foundation found that almost half the young people aged 11 to 17 reported committing at least one criminal act in a survey of 14,000 school students.  [30]  It is fair to argue that this shows crimes are being committed by children to whom doli incapax formerly applied, but this paper is not insisting that children between 10 and 14 do not commit crimes, it is reiterating that the punitive measures for this age group are a step backwards in an otherwise progressive world, and alternative measures are needed. The government have excused thems elves of any blame, when it is obvious from the above factors that they have an inherent part to play. Children are no longer treated as special cases when it comes to the types of penalties available to the courts when they ought to be. The status of childhood still remains and needs to be protected. But condemning children to the penalties that adults have, they are subverting the whole concept of childhood and are returning to the stage in history where children were no less than little adults  [31]  a definition which philanthropists such as Mary Carpenter in the very early stages of the youth justice system were trying to eradicate. PART THREE ALTERNATIVES Justice/Welfare Burgeoning youth incarceration and high reconviction rates in England and Wales have prompted a search for alternative responses. Pitts and Kuula  [32]   The overall aims of the criminal justice system are to avoid future re-offending and to exact retribution on behalf of the victim and society  [33]  as defined in s.37 of the Crime and Disorder Act 1998. The UK government for England and Wales have two main options they could take towards a child who has committed a crime; a diversionary approach operating at a cautionary level or to prosecute amounting to either a judicial process of punishment on the basis of harm done or a punishment approach regarding the welfare of the child. The inability to comply with the UNCRC recommendations is exposed where they take the punitive route almost every time. The response to juveniles oscillates between the justice or welfare approach, that is to say whether you look to the offence of the offender. The welfare approach is founded on determinist reasons outside of the childs control, so he or she bears no responsibility. However the justice approach appears to predominate in England and Wales, which will inevitably mean that the age of criminal responsibility will remain too low, as it does not allow a child to be anything but responsible. Civil Law approach The civil family law is an example of the welfare approach. There is an odd dichotomy because, in contrast with the criminal law which employs a fixed cut-off point, family law takes an individualised and functional approach, joined with a completely different perception of childhood, which is in line with the UNCRC. The perception seems nearer to that outlined by Piaget and Kohlberg which understands the vulnerable and dependent nature of a child, and again works on the basis that the childs welfare is paramount. Helen Keating also suggests that the child may also be seen as incompetent in legal terms, and that developmental discourse has found expression in law and has made its way into the system through the test formulated from Gillick v West Norfolk and Wisbech Area Health Authority and Another  [34]  . . The level of competence required is sufficient understanding and intelligence to enable him to understand fully what is proposed and sufficient discretion to enable him to make a wise choice in his or her own interests.  [35]  Despite the problems that the test can amount to, such as delay in ascertaining the competence, its influence has become enshrined in statute. The Children Act 1989 even begins with a checklist for the welfare principle stating that the court should have regard to the the ascertainable wishes and feelings of the child considered in the light of his or her age and understanding.  [36]  Ã‚   . There is no such parallel in criminal law, which begs the question of why two systems running side by side are contradictory. It cannot be that the children in family law cases are more vulnerable than those in criminal law, so it must be due to the approach. The UK Government should take a step back and try to ignore the distorted perceptions of children that the public emanate, and look more closely at the individual child perhaps even looking at them as if they were their own young. Comparative Systems With the New Labour policy so behind most other countries it is unsurprising that one can find models of welfare based systems which, despite their own shortcomings (such as paternalistic decision-making) still puts us to shame. Lesley McAra introduces a substantive summary of the developments in Scottish Youth Justice  [37]  noting it exhibited a high degree of stability in its welfare based institutional framework and policy ethos, up until it started acting like England. By filtering in punitive measures such as anti-social behaviour legislation when the Children (Scotland) Act was passed in 1995, Scotland has conceded to the publics moral panics about persistent offenders and is transforming. The fact that their age of criminal responsibility is going to raise to 12 (from 8) when the Scottish Governments Criminal Justice and Licensing Bill passes in 2009, may just have saved them from themselves. This was the philosophy of the Kilbrandon Committees  [38]  childrens hearing system. Here a child, passing several grounds for referral (which are astonishingly similar to the grounds that the civil (family) law invokes for a Care Order  [39]  .. is or is likely to suffer serious harm and/or with admission of guilt) are referred to a tribunal consisting of lay-people, who operated from a needs not deeds viewpoint was in direct contrast with Englands Ingleby Committee. It will bring Scotland into line with most of Europe, but the Scottish Government said the rise would not mean letting off younger offenders, as Justice Secretary Kenny MacAskill said amongst recent discourse, Evidence shows that prosecution at an early age increases the chance of reoffending so this change is about preventing crime. Rather they will be held to account in a way that is appropriate for their stage of development and ensures that we balance their needs with the need to protect our communities. Similarly in Finland a different approach is taken. The age of criminal responsibility is 15, and their answer is to look at the child on the whole; their environment whilst dividing children into their age groups based on cognitive functions, needs, and understanding. Moving from a punitive to welfare syste

Positioning Essay -- Marketing Advertising Advertisements Essays

Positioning Many people consider marketing as a means to let creative juices flow. In many ways, this can be true. But what many do not realize is that marketing needs common sense and logic to a certain extent. This applies to both internal and external marketing. Companies tend to lose focus – whether it be because it is having a difficult time dealing with high growth or because a few upper management ‘wanna-be’s’ try something bold (without thinking). This is where positioning comes into play – if you want to survive or prosper, that is. So what is positioning about? Positioning is a concept that sparked a revolution in advertising. It was developed in by the authors of â€Å"Positioning: The Battle for Your Mind†, Al Ries and Jack Trout. The book was published in 1981 and became one of the top sellers or all time. Positioning was the first concept to deal with the problems of communication in an over-communicated society. With positioning you can beat the competition and win the battle for recognition in an overcrowded, media-blitzed marketplace. With this approach, a company creates a ‘position’ in the prospect’s mind, one that reflects the company’s own strengths and weaknesses as well as those of its competitors. Product positioning is an important strategy for achieving differential advantage. Positioning reflects the â€Å"place† a product occupies in a market or segment. A successful position has characteristics that are both differentiating and important to cons...

Brutus vs Antony Essay examples -- essays papers

Brutus vs Antony The most predominate and important aspect In the play Julius Caesar, by William Shakespeare are the speeches given to the Roman citizens by Brutus and Antony, the two main charaters, following the death of Caesar. Brutus and Antony both spoke to the crowd,using the same rhetorical devices to express their thoughts. Both speakers used the three classical appeals employed in the speeches: ethos, which is an appeal to credibility; pathos, which is an appeal to the emotion of the audience; and logos, which is an appeal to the content and arrangement of the argument itself. Even though both speeches have the same structure Antony’s speech is significantly more effective than Brutus’s. Both speakers used an ethical appeal to the crowd and established their credibility first. Brutus starts off by saying he was Caesar’s friend, and he loved him, but because Ceasar was â€Å"ambitious† he had to â€Å"slew† him. Brutus knew that everyone in town thought he was an honorable man and he used that to establish his credibility, unlike Antony, who was thought to be a play boy, not serious about anything. He had to work harder to gain the crowd’s attention. The first sentence out of his mouth was that he was here to â€Å"bury Caesar, not to praise him† which is a great way to start since most of the people didn’t like Caesar at the time and didn’t want to listen to some silly friend of Caesar’s say wonderful things about him. Antony also mentioned many times that their hero Brutus is an â€Å"honorableâ€Å" man. This also helped get the crowd to listen to him, because they had just heard Brutus and were all fire d up about the wonderful things he had said. So both the characters start off their speeches the same, gaining credibilit... ...d how fickle the crowd was, he made sure that they were really listening to him and really going to be his followers. Two times Antony called the people back from running away in anger and said another thing to deepen the seed he had planted in them. Although both gentlemen used the same three persuasive appeals in their speeches, one was obviously more effective. Antony did a more sufficient job of getting his point across. He understood what he would have to od to win the crowd. He used the three appeals, ethos, pathos, and logos, to his advantage and evn though Brutus also used the same three appeals, his speech did not impact the Roman countrymen nearly as much as Antony. Both speeches had the same structure and used the same rhetorcial devices but Antony’s speech was much more influencial and because of that, he help build the great history that is Rome. Brutus vs Antony Essay examples -- essays papers Brutus vs Antony The most predominate and important aspect In the play Julius Caesar, by William Shakespeare are the speeches given to the Roman citizens by Brutus and Antony, the two main charaters, following the death of Caesar. Brutus and Antony both spoke to the crowd,using the same rhetorical devices to express their thoughts. Both speakers used the three classical appeals employed in the speeches: ethos, which is an appeal to credibility; pathos, which is an appeal to the emotion of the audience; and logos, which is an appeal to the content and arrangement of the argument itself. Even though both speeches have the same structure Antony’s speech is significantly more effective than Brutus’s. Both speakers used an ethical appeal to the crowd and established their credibility first. Brutus starts off by saying he was Caesar’s friend, and he loved him, but because Ceasar was â€Å"ambitious† he had to â€Å"slew† him. Brutus knew that everyone in town thought he was an honorable man and he used that to establish his credibility, unlike Antony, who was thought to be a play boy, not serious about anything. He had to work harder to gain the crowd’s attention. The first sentence out of his mouth was that he was here to â€Å"bury Caesar, not to praise him† which is a great way to start since most of the people didn’t like Caesar at the time and didn’t want to listen to some silly friend of Caesar’s say wonderful things about him. Antony also mentioned many times that their hero Brutus is an â€Å"honorableâ€Å" man. This also helped get the crowd to listen to him, because they had just heard Brutus and were all fire d up about the wonderful things he had said. So both the characters start off their speeches the same, gaining credibilit... ...d how fickle the crowd was, he made sure that they were really listening to him and really going to be his followers. Two times Antony called the people back from running away in anger and said another thing to deepen the seed he had planted in them. Although both gentlemen used the same three persuasive appeals in their speeches, one was obviously more effective. Antony did a more sufficient job of getting his point across. He understood what he would have to od to win the crowd. He used the three appeals, ethos, pathos, and logos, to his advantage and evn though Brutus also used the same three appeals, his speech did not impact the Roman countrymen nearly as much as Antony. Both speeches had the same structure and used the same rhetorcial devices but Antony’s speech was much more influencial and because of that, he help build the great history that is Rome.

Drama and Theatre Studies structured records

‘Use of space' explored the broad topic of social and professional satisfaction and happiness. In order to highlight the universal implications of our piece, we decided that it was necessary to use diverse characters allowing the audience to identify with aspects of each persona's issues. Initially, we brainstormed several different problems that could affect an individual's happiness in the work place, and came up with the fundamentals for five characters. The original basis of my character came from my own anxieties towards life. During devising we were contemplating university choices and starting to arrange our lives after college. As a group we all felt anxious and many felt a lack of direction. This insecurity we felt towards leaving the secondary education system, led to the creation of Pamela (the character I played. ) After discussing Pamela's initial characteristics, focusing on her feelings of anxiety and confusion we had to decide her plot. Her lack of control and direction led us to create her objective to gain a secure role in the work place to solve her anxieties. After creating the fundamentals of each character we discussed as a group their characterisation. The role of Pamela primarily emerged through a series of role-plays. Firstly, I performed as her character in different situations allowing me to develop her personality. The remaining members contributed as supporting characters in the role play and often suggested ways to present her. I feel that my understanding of Pamela's persona emerged during the staging of her box monologue. Through this monologue we hoped to communicate to the audience Pamela's feelings of anxiety and confusion towards her professional future. As a group we felt the most effective way to portray this was through the use of physical theatre, therefore, the remaining members of the group adopted the role of a maze in which Pamela was metaphorically trapped. During the staging of this sequence I had to deliver my monologue whilst struggling through a figurative maze. As a performer I was sensitive to my characters claustrophobic feelings allowing me to successfully communicate her anxieties to the audience. Throughout the staging of this monologue the remaining group members concentrated on the performing space I was given. Although it was frustrating for me to be contained to a very small performing area, it allowed me to sympathise with my characters feelings of confinement and eventually resulted in a very successful portrayal of Pamela. During devising our characters, we were aware that each individual had to adopt a dream persona in the ‘fantasy' scenes. We hoped to communicate to the audience contrasting characteristics in these persona's, to highlight their desire to escape the frustration they feel towards reality. Whilst creating the character Angela's ‘fantasy' persona we analysed the reality Angela. Angela shows boredom towards her monotonous life. Through her character we hoped to communicate to the audience the necessity of having hobbies and dreams. The fantasy Angela emerged through the improvisation of a Latin American soap opera. We created the vivacious and dramatic character Maria who starkly contrasted Angela. As a group we agreed that the performance of Maria should be melodramatic and exaggerated to further contrast Angela's tedious reality. It was important to introduce a character for Maria to interact with to inject more energy into the scene. Through discussion we settled with a clichi love story and decided to introduce a male character who Maria is having an affair with. It was essential for this scene to maintain intense energy levels to contrast with the previous office scene. Firstly, we researched typical novella characters to influences our roles. I suggested that the group members in this scene (Helia and Payam) should highlight the sexual attraction between the characters. Initially this provoked awkwardness between Payam and Helia; therefore, we felt it was necessary to introduce an activity to make the two more comfortable with each other. We used several team building exercises to make Helia and Payam more physically comfortable with one another; the most successful was the leading the blind exercise. Through this exercise the participants were forced to be more sensitive towards each other, in partners one partner was chosen to lead the other blindly by the tip of the nose. Through constant contact and reliance this was very successful in making Payam and Helia more at ease. Similarly, it helped to distance the novella character to the actor. Through exaggerated physicality and melodramatic acting techniques the actor was dissociated with the character. Costumes successfully contributed to the portrayal of my character in the murder mystery fantasy. I played a stereotypical, stock detective character originally based on the Agatha Christie character Hercule Poirot. Initially I struggled to effectively portray this character because it was such a contrasting role to my reality. Physicality was a very important aspect of this character because of the desired effect we hoped to achieve. We had chosen to use melodrama and clichid anecdotes, therefore, it was important that the audience drew parallels between my character and Poirot for comedic effect. Through further independent research I discovered Poirot's defining feature was a French trench coat, and I decided to rehearse wearing this item. Surprisingly, the trench coat allowed me to connect with Poirot's physicality and personality, through wearing the coat my characterisation improved and allowed me to successfully perform as a response to Poirot. How the group planned for a range of responses from the audience. Initially we intended to present a serious production highlighting the importance of life satisfaction parodied through working life, based in an office. However, during the initial devising stages we decided to introduce fantasy scenes to contrast the monotonous office scenes and highlight the significance of dreams and ambition. As a group we showed interest towards comedic genres and felt that these would juxtapose the natural and static nature of the office scenes. However, although many of our fantasy scenes were intended for humorous effect a few were interpreted by the audience as humorous without intent. Fortunately, we decided to perform a dress rehearsal to a mock audience to gain an understanding of the successful aspects of humour the results were unexpected. Through devising the silent movie fantasy scene, we were expecting humorous results due to the slapstick nature of the comedy, however, we had to take into account the clichi and overexposed format of the silent movie. As a group we discussed the possibility that the audience would not react well to this scene due to the lack of originality. Throughout popular culture for the past fifty years in some opinions this genre has been exhausted, therefore we had to be prepared for an underwhelming reaction towards this particular scene. In order for the humorous response to be successful we decided that the content of our silent movie had to be obviously inspired by original content. As a group we decided that we were not going to aim to be original in this scene but aimed to create a polished and skilful tribute to silent films. It was important for us to consider different attitudes towards comedic genres. In particular silent films and slapstick comedy often generate various opinions. Through discussion we discovered that in our group of five alone there were several different opinions regarding slapstick comedy. Personally, I contributed an annoyance towards the genre explaining that I found it tedious, patronising and often crude. However, contrastingly, Payam presented his enthusiasm towards slapstick comedy and defended his fondness towards slapstick comedians such as Lee Evans and Charlie Chaplin. Therefore we were initially prepared for an audience varied responses to the slapstick moments throughout our piece. This discussion led us to consider our target audience. Due to the content of our play we discussed that it transcended a fixed target audience, any age group could respond to the implications and the messages we were hoping to portray. However, because of the universality of our play we discussed different attitudes towards aspects of the play. Firstly, we evaluated that a younger audience would react better towards the humorous aspects especially ages between 12 and 19, therefore we decided to target the humour to this age group. We initially decided to do this by exaggerating our humorous stereotypes and characters physicality to the extreme. However, during a viewed rehearsal run it became apparent that our characterisations needed to be exaggerated, especially in our silent movie scene. Through discussion we came to the conclusion that older audience members would react well to the stereotypes used in out murder mystery fantasy. In particular the detective stereotype took inspiration from the fictional character Poirot. Generationally, we were aware that a younger audience member would be alienated by the introduction of this stock character because they would not be able to identify with the original. The characterisation of the detective also played a large reliance on the audience members, creating a pantomime like effect. Whilst playing the detective character I often made eye contact with the audience and projected jokes to them, therefore their reactions were very important at these stages. We used lighting to gain more audience reaction during this scene by up lighting the audience subtly allowing the performers to see their reactions and in turn play off their reactions to the humour. During the novella fantasy scene, melodrama was employed. An argument between Carlos and Maria the Latin American characters led to Maria slapping Carlos around the face. This prompted a shocked reaction amongst the audience because they were not expecting it. Difficult reactions from the audience- racist generalising Latin American, stereotyping French maids, stereotyping in general we had to be sensitive towards the audience whilst approaching these scenes. Explore the impact of social, cultural and/or historical conditions on your devised piece. – Vicki Marks. Our devised piece ‘Use of Space' is socially and culturally influenced by traditional conventions of popular culture. Foremost, we decided to exploit the familiarity of these conventions to highlight social perils. Most poignantly we decided to highlight the implications of a female in the workplace and comment on the fact that women still earn substantially less from their employment than men. We chose to emphasize this by going against traditional clichis. Primarily, the character of Nicky symbolised an ambitious business women hoping to succeed in the workplace. To highlight her characters struggle to be successful we altered the traditional female clichi. We felt that typical stereotypes of women came from medieval genres; furthermore the clichid format was a damsel in distress being rescued by her knight in shining armour. For this social comment to be accessible to the audience we simply chose to invert the roles of the typical damsel in distress and knight in shining armour. This resulted in highlighting the fact that women are capable of metaphorically ‘rescuing' themselves, in turn reaching success without help, showing the capability of women and hopefully promoting sexual equality in the workplace. Additionally, through our research into the presentation of women in conventional medieval drama, we learnt the historical relevance of female roles. In a traditional damsel in distress story women are patronised and demeaned. To emphasise the inequality between the sexes we chose to use contrasting levels. For example we chose to place the damsel on higher levels than the knight; this allowed the damsel to take a more commanding role. However, throughout we made constant references to the traditional format through humour, by showing the characters awareness of the reversed roles. I feel that this was very effective because we were culturally aware that a modern day audience would be aware of the clichi allowing it to become humorous in itself. Whilst devising another characters fantasies we settled on the concept of a traditional Latin American soap opera. We chose to use this format to contrast the tedious nature of the characters work life. This idea initially was influenced by the popular television series ‘Ugly Betty' showing clips of traditional Latin American soap opera's or novellas. This genre was particularly useful because of the melodramatic acting techniques used, to give this scene authenticity we chose to have the characters speak a few words or phrases in Spanish and maintained a Spanish accent throughout. Surprisingly, the use of accents and clichid Spanish phrases created a comedic effect, the audience reacted well to this humour. To further the humorous effect we exaggerated the Spanish personalities getting inspiration from the Mexican cartoon character ‘Speedy Gonzales' which allegedly depicts a stereotypical Mexican. Through popular culture we were aware of many of the love clichis also apparent through this scene, in particular the over poetic declaration of love using the analogy of the ‘fake red rose. ‘ Initially, we wanted to explore the format of a silent film in order to highlight the importance of communication, but were anxious to use such a challenging convention on stage and were worried that the audience would become confused. However through research we were able to adopt this style very successfully. Silent movies were made before technical advances allowed an audience to view a film with both images and sound. We wanted to make our silent scene as authentic as possible therefore through our research into silent movies we noticed the projection speed and decided to significantly slow the scene down; some scenes were intentionally slowed down further in order to accelerate the action, particularly in the case of the slapstick moments. One of the main messages of our production was the importance of job satisfaction. There have been many recent surveys and articles surrounding job prospects and the amount of people dissatisfied in their current job placements. We therefore decided to show a group of characters that want to break free from the confinements of an unsatisfying job to highlight the importance of passion and dreams. We feel as young adults embarking on our working lives and starting to make important decisions that will shape our futures, it is very relevant that we have shown our anxieties towards working life. Work related stress is also socially rife especially in western culture therefore; through one of our characters we showed the importance of maintaining hobbies outside of a job to hopefully indicate that money is not the most important thing. Use of Space is an escapist piece; the fantasies represent each character hoping to escape the constraints of their tedious, impassionate lives. Dream worlds are a commonly used plot device in fictional works, most notably in science fiction and fantasy fiction. The use of a dream world creates a situation whereby a character (or group of characters) is placed in a marvelous and unpredictable environment and must overcome several personal problems to leave it. The dream world also commonly serves to teach some moral or religious lessons to the character experiencing it a lesson that the other characters will be unaware of, but one that will influence decisions made regarding them. When the character is reintroduced into the real world (usually when they wake up), the question arises as to what exactly constitutes reality due to the vivid recollection and experiences of the dream world. How acting techniques or design elements and the use of dramatic form were consciously employed to achieve intended effect. The dramatic form of ‘use of space' was inspired by abstract theatre. Our devised piece does not follow a typical chronological time sequence; it has a warped sense of time due to our introduction of ‘fantasy' scenes. Dreams allow the repressed parts of the mind to be satisfied through fantasy and let the mind express things that would normally be suppressed in the waking world. Dreams may also offer a view at how future events might proceed; this is similar to running future events through the mind, for instance a work presentation or a job interview. As a group we identified dreams as an interaction between the unconscious and the conscious. Therefore we wanted to highlight the contrast between reality and fantasy. To begin with we discussed using contrasting lighting effects to show an obvious transaction between reality and fantasy. To express the abstract, fantasy scenes we felt the audience would react well to pink colour fill lighting. This was successful because, the unnatural pink lighting allowed the audience to be aware of the abstract format of the scene. We also relied on the audience's familiarity with clichi dream scenes shown in popular culture. Dream worlds are a commonly used plot device in fictional works, most notably in science fiction and fantasy fiction. Lighting is often used similarly when representing a dream, often flashing lighting is used and mists to show the audience the unreality. As a group we took this into account and decided to use soft lighting throughout the ‘fantasy' scenes by using a flood effect to fill the whole stage. Flash lighting was also used subtly during the transaction from a reality scene to a fantasy scene. We decided as a group to only use subtle flash lighting during the transition because we did not want to reproduce the clichi formats of a dream sequence, we felt that this would undermine the intended serious messages we were trying to relay to the audience. Firstly each fantasy scene is triggered by an action and a simple freeze frame to link the office reality to the dreams. This use of gestus was an acting technique developed by Bertolt Brecht which reflects the characters emotional conflict through a brief frozen action. Gestus was employed during the transaction from my characters monologue to her fantasy scene. As a group we discussed our desired effect of the gestus and decided to show an obvious link between the character's emotional conflict and the freeze frame, for the audience's accessibility. We therefore decided to each come up with a simple freeze frame highlighting the principal emotions of my character, due to the lack of direction my character was feeling we chose to physically interpret the emotion confusion. Coincidentally, each member of the group similarly replicated a curled up freeze frame with their hands clasping their heads. As a group we decided that this composition showed the audience the characters basic feelings of confusion. Sound plays a big part in our production. Our opening scene begins with a metronome to highlight the artificial nature of the office scene and the rhythm of a monotonous life. We decided to open with a metronome to cause a feeling of anticipation through the audience; the ticking rhythm exaggerates and builds tension therefore immediately engaging with the audience before the action begins. The metronome rhythm also acted as a beat to keep our opening routine in time. The beat and the routine showed the audience the typical rhythm of an unsatisfying job. Due to the intimacy of our staged environment we decided not to use microphones because we wanted the sound to be raw and natural even in the fantasy scenes to accentuate the fine line between dreams and reality. This also made the audience feel close to the actors and therefore able to relate to the performers more easily. However to contrast this effect we chose to show all costume changed on stage employing the popular Brechtian technique Verfremdungseffekt through using this we hoped to communicate that the audience's reality was, in fact a construction. During the silent movie scene we used clichi silent movie music. We wanted to stay authentic to a conventional silent film therefore we had a pianist. This music contributed to the atmosphere and gave the audience vital emotional cues. Silence is also an important tool in our production because it is in contrast to the loud interludes of music for example in the silent movie fantasy. Silence was often used after intense sections of dialogue or monologue. For example during my characters monologue the volume levels of my voice were used to create intensity building up to a climax. The silence during my characters gestus freeze frame is poignant because when the sound is taken away the audience begins to focus more on the movement and the emotion of the character, the silence intrigued them. There are many different characters and settings in our play; therefore we decided that our set should remain very neutral. We designed our set in a deliberately ambiguous way, so we could move easily between fantasy and office scenes. We decided that altering the layout of the stage and the set between each scene would prove noisy and would distract the audience's attention. We were however very aware that a permanent set would become boring and the audience would lose interest, nevertheless we decided through rehearsals and a practice production that the intensity of the action made up for the lack of set changes. We used two black oblong boxes as the fundamentals of each scene, occasionally changing the positioning of them to create a different atmosphere. We chose not to have a specific setting contributing to the representation of free-flowing images within the characters mind. However, we decided to introduce an element of decaying society preoccupied by work ambitions and promotions through the use of broken computer monitors, keyboards, mice, and disks positioned around the stage. This gave the stage an overall look of disarray and immediately introduced the audience to the conflict within the characters in the production. How research material was gathered and used within the process. – Vicki Marks To begin the devising process our group was presented with five quotes that took inspiration from different aspects of life, this supplied us with an excellent starting point for developing a challenging piece of theatre, however our initial responses to the stimuli shaped our early work and many aspects were later changed as the piece matured. Firstly each member of the group decided separately which quote inspired them and worked towards abstractly analyse the meaning of these quotes. As a group we were drawn towards the quote â€Å"fear is a dark room where negatives are developed. † We felt that this quote gave us enough scope to produce a brainstorm surrounding the analysis of it. After analysing the quote through a brainstorm we decided to focus on the idea of fear. These fear aspects of the quote lead our group to research and gain an interest surrounding common phobias. As an initial response to phobias we decided to explore phobias that restrain and dominate everyday life. As a group we were interested in the psychological effects of irrational fears, through discussion, we realised one of our member's arachnophobia and decided to research real life stories showing the influences of phobias. We began to gain an understanding of the psychological effects of living with an irrational fear, this allowed us to contemplate the way a person living with a phobia views the world. This topic particularly appealed to our group because three of the members were studying a course in psychology and took a specific interest in phobias. Through research we were drawn to highlighting different perceptions of the world, this is initially why we decided to show a dream or fantasy of each character. I was currently studying Margret Atwood's dystopian novel â€Å"A Handmaid's Tale. † And inferred parallels between dystopian societies and living with a life altering phobia. As a group this led us to discuss the concepts of normality and initially directed us to create a dystopian society to base our phobic characters in. However, we felt that through creating a dystopian society we were overcomplicating the piece and decided in order to create an accessible message we would have to simplify the plot. Many of our responses to the quote were detached and impersonal; therefore we decided to take a more personal approach to the analysing the quote. We wanted to create a more abstract approach to analysing, consequently, rather than brainstorming we played a word association game. Our earlier research indicated to us the potential of exploring fear; for that reason we opened by associating responses to the word ‘fear'. This resulted in a discussion of our apprehension and anxiety towards our futures, each member of the group was in the process of applying to university and planning the next step of their lives. It was important for us to follow our dreams and mistakes in choices at this stage worried us and we were sensitive to the idea of being stuck doing something we were not passionate about. This discussion allowed us to infer parallels between our fears towards losing our passion and job satisfaction in the work place. This led us to create a work place scenario, highlighting different characters problems with the way their lives have transpired. Although we had created an initial scenario we had to decide how to highlight the importance of job satisfaction and dreams. This is where our ideas surrounding an exploration of dreams and fantasies linked in with our running idea. How group skills contributed to the development of the drama. – Vicki Marks As an ensemble, we had many different approaches to the production of our devised piece. Firstly, after the initial discussions of the basic structure of ‘use of space' we decided that each member should separately prepare an initial suggestion for a fantasy scene. Subsequently as an ensemble we modified each member's idea to fit the characters objectives incorporating each group member's requirements. Two of the four fantasy scenes required only two characters, therefore allowing the two remaining members to direct. This particularly put pressure on the team and initially certain members of the group did not respond well to being directed, however, we had to be flexible whilst blocking a scene and be open to criticism and changes. Considering the ensemble approach to devising we wanted each member to experience directing each scene, this also allowed us to incorporate more than one member's objective for a particular scene. Therefore, we often resorted to switching roles mid scene to appreciate the way each member would perform certain characters and situations. I feel that this successfully allowed us to create two dimensional characters and by including aspects of everyone's ideas created an overall satisfaction towards each scene. Each member of the group had a monologue allowing the audience to understand each individual characters state of mind. The preparation of a monologue is often very personal, initially, Helia and I scripted each monologue, but we worked as a group throughout the blocking and performing, however, this proved difficult. Due to the individual approaches of a monologue, taking control of scripting them was ineffective. This approach resulted in confusion and the monologues were less emotionally effective, because members struggled to connect with them on a personal level. Therefore, firstly, we each took our monologues separately and worked on the content through closely analysing our characters objectives and intentions. After we were happy with the essential content of our monologues we worked as a group to develop them. Group timing was essential during the silent movie fantasy, due to a lack of dialogue the scene required carefully choreographed action, which required the group to work carefully in relation to one another. At one stage of this scene, Helia was required to jump on Payam's back and knocked to the ground. In order to prevent any injuries we applied a partnering system, involving a free member of the group shadowing Helia, providing support during the initial stages of rehearsals. During the later stages of devising the murder mystery scene we became uninspired with the outcome An evaluation of the ways in which ideas were communicated to the audience. – Vicki Marks Throughout the devising process we focused predominantly on comedic genres, to allow the audience to access the central messages through humour. Although we were aware of the comedic value of each scene it was difficult to predict the audience's reactions, therefore we decided to perform it to a small audience during our rehearsal to evaluate which areas of humour were successful and which were less effective. Consequently, we realised that many of the melodramatic fantasies such as the silent movie were physically being underplayed resulting in a misrepresentation of our desired style. This resulted in a member of our group to employ a technique that we had used on a physical theatre work shop. Performing our characters physicality on levels from one to ten, ten being the most physically expressive allowed us to evaluate which level of physicality was successful. As a group we decided that the audience reacted best towards the silent movie scene when we employed a physicality level of ten. Due to lack of dialogue, physicality and expression allowed the audience to follow the storyline whilst also creating humour. As a result of working with a limited number of actors it was necessary to multi-role; however, through multi-rolling it is often easy to confuse an audience. We therefore decided to employ the Brechtian technique of changing our signifying costumes on stage. This allowed the audience to understand the style of our piece, and the abstract nature of the fantasy scenes. We also decided to place each change of costume on stage from the opening scene to intrigue the audience and allow them to become more involved in the action. We also had to take into account the wide range of characters we used. For example in one fantasy scene Payam took on the role of a Spanish soap character and during the next fantasy scene his character changed to a medieval knight. As a group we realised that a change of costume would not be sufficient to demonstrate to the audience a change in character, therefore we had to ensure that each actor varied their physicality according the role they were playing. As a group we consciously casted many of the characters as stock characters and stereotypes, allowing us to successfully communicate to the audience a significant change in role. Naturalistically it was difficult to vary each member's character therefore by using melodramatic genres we were able to separate each members character. Originally, we intended to highlight the importance of job satisfaction through juxtaposing the office scenes with the fantasy scenes. We hoped to communicate to the audience the monotonous routine of being unsatisfied in a job. In order to convey this to an audience we decided to use opposing theatrical styles for the fantasy and office scenes. We decided on a naturalistic approach for the office scenes to highlight the dissatisfaction of the characters, similarly we decided to use abstract and melodramatic genres for the fantasy scenes to show the positivity. The accessibility of the humour in our piece relied on the audience's knowledge of the common clichis we drew inspiration from. I feel we did not fully take into account the age range of our audience and miscalculated the universality of the clichis. After discussing with our audience their reactions towards our piece many of the younger members did not understand the humorous aspects on every level. For example in our murder mystery fantasy we took inspiration from the popular detective character Poirot, however many of the younger To open our piece we decided to have each character on stage the composition involved my character facing the audience frozen in a spotlight and a visible shadow of the four other characters in the background, to show individual stories and the universal message that applied to each character. t. How rehearsal and the production process contributed to the final performance. – Vicki Marks During the rehearsal process, we encountered many difficulties with the staging of certain idea's and aspects. Initially we had decided to each perform a separate monologue as our office characters to highlight the objectives of each individual, we felt that it was important to portray to the audience an interesting insight into the characters feelings and wanted each monologue to project different forms. After the initial scripting of the monologues, we brainstormed the different approaches to staging them. Fortunately, each monologue adapted distinctive structures which allowed us to manipulate and create visually appealing scenes. During the staging of Payam's monologue initially aimed to block the physical placement, this required him to be free to travel across the stage, and therefore, a remaining member of the group read his monologue whilst he attempted to block it. Surprisingly, this created an interesting effect of daydreaming; therefore we decided to continue having his monologue projected from off stage. At one stage during our rehearsals we were challenged to find an original and inspiring way to present our idea. We had already decided that we wanted to contrast reality and fantasy. We had devised the fundamentals of ‘office scenes' created to depict our original character Dylan's disconnection with a dystopian society. Because we had created a leading character we struggled to introduce equal roles. Therefore, we decided to create a structured brainstorm addressing our themes and the ideas we hoped to communicate. Through this we discovered a situation where Dylan's disconnection with society linked to a modern day scenario. Dylan's alienation towards an unfamiliar society was transformed into a group of office workers unsatisfied with their situations. Luckily, through former improvised scenes we had created characters which fitted this scenario. Throughout the devising process we were interested in developing an interpretation of parallel universes. We were initially drawn to this idea through different interpretations of phobia's and the way an individual interprets fears. This idea led one member of the group to compare parallel universes to dreams, and fantasies. As a group we decided that we were interested in highlighting the importance of following your dreams, therefore began to research different fantasies and dream scenarios. We began to discuss different genres and settled initially on medieval clichis drawing on the typical female fantasy of being rescued by a knight in shining armour. As a group we decided that our acting techniques should mirror this genre therefore we settled on melodrama. Previously, we had only attempted naturalistic acting techniques, and as a group we were aware of the contrast between naturalism and melodrama. In order to familiarise ourselves with this acting technique we attended a physical theatre workshop, it was apparent to us that in order to effectively portray a melodramatic genre we would have to introduce exaggerated physicality. Initially this felt unnatural to most of the group members due to our back ground in naturalism, therefore, the support we received from the workshops group leader was very helpful. We benefited from the group leader knowledge surrounding physical theatre and he introduced us to a technique which allowed us to exaggerate the physicality during rehearsals. How the influence of ideas of other playwrights and/ or directors, designers and performers have been used. Originally, we hoped to achieve a depressing and desolate office scene highlighting the impassionate emotions of the characters. We initially decided that the characters would remain deadpan to express their negative attitudes towards their work environment; however, we wanted to employ a more exciting abstract format to express this further. We therefore turned to ‘Machinal' by Sophie Treadwell which one of our group members had previously studied. The opening scene to Machinal is a powerful expression of a monotonous office scene. Treadwell uses an expressionist form employing repetitive dialogue and action and harsh audio effects to create a tedious and mechanical impression. Inspired by Treadwell's use of repeated dialogue and action we began to improvise scenes using similar techniques. Firstly, we chose words and phrases linked to an office environment and repeated them, overlapping each other and increasing in volume throughout to create an intense atmosphere. Unfortunately, due to the small group, this did not achieve our desired effect. This then lead us towards a more physical representation, as an alternative to repeated dialogue we chose to highlight the routine of the office through repeating typical office actions. The use of stylised actions reminded a member of the group of a performance of ‘absolute beginners' through which the director had expressed the rigidity of the office through women typing in unison creating a routine effect. Considering the size of the group we were not enthusiastic to have each character simultaneously performing one action, we therefore, took inspiration from the over exaggerated nature of each movement. Instead of using a routine we highlighted a sense of artificiality by introducing a metronome to emphasise the mechanical and artificial nature of the scene. Characterization was very important to the success of our performance. Because we had chosen to show many stark and stereotyped characters throughout it was important to exaggerate the physicality of the characters in certain places. Physicality was expressed most poignantly through the silent film fantasy. Because this was such a challenging format to express due to the lack of dialogue it relied fully on each actor's physical representation of the character. Inspiration was originally taken from Charlie Chaplin. Through research we learnt that as a Silent film actor he emphasized his body language and facial expression so that the audience could better understand what his character was feeling and portraying on screen. However, simply watching and attempting to replicate Chaplin's style was not enough. As a group we decided to participate in a ‘Jet' physical theatre company workshop. This not only allowed us to work on our physicality as performers in general but gave us excellent scope to improve our silent film scene. Costumes were not hugely significant in our performance. We did not want to over complicate things and circumstantially our performance consisted of many short scenes and an array of different characters, similar to the conventions of epic theatre employed notably by Bertolt Brecht we decided to do all of the costume changes on stage. These changes only consisted of small variations to costumes such a hats a jackets that symbolised each character Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself, which he called the Verfremdungseffekt. Such techniques included changing costumes on stage. Through this Brecht hoped to communicate that the audience's reality was, in fact a construction and, as such, was changeable. Another Brechtian technique used in our performance was the use of song. We decided that this allowed the audience to distance themselves from the action hopefully making the social comments throughout more accessible and setting the abstract theme from the beginning notably the entire performance was strictly episodic and many scenes were in isolation from each other. Each fantasy scene is triggered by an action and a simple freeze frame to link the office reality to the dreams. This use of gestus was also an acting technique developed by Bertolt Brecht which reflects the characters emotional conflict through a brief frozen action. Gestus was employed during the transaction from my characters monologue to her fantasy scene. As a group we discussed our desired effect of the gestus and decided to show an obvious link between the character's emotional conflict and the freeze frame, for the audience's accessibility. We therefore decided to each come up with a simple freeze frame highlighting the principal emotions the character. The initial idea to dress each character in their own variation of full black was inspired by a performance of ‘attempts on her life' at the national. The director Martin Crimp chose to dress each character in their own interpretation of completely black. We adapted this idea to our performance because it allowed each character to show their own individuality whilst still highlighting the monotony and dull nature of the office and their negative emotions towards their situations. We took a large amount of inspiration from the melodramatic acting techniques employed by soup opera's. We particularly focused on the style of acting used in traditional Novella's or Latin American soups. Whilst approaching this style we researched the soup opera ‘Days of our lives. ‘ To help us adopt similar persona's. How the stimulus material was developed through the drama process. To begin the devising process our group was presented with five quotes that took inspiration from different aspects of life, this supplied us with an excellent starting point for developing a challenging piece of theatre, however our initial responses to the stimuli shaped our early work and many aspects were later changed as the piece matured. Firstly each member of the group decided separately which quote inspired them and worked towards abstractly analyse the meaning of these quotes. As a group we were drawn towards the quote â€Å"fear is a dark room where negatives are developed. † We felt that this quote gave us enough scope to produce a brainstorm surrounding the analysis of it. After analysing the quote through a brainstorm we decided to focus on the idea of fear. These fear aspects of the quote lead our group to research and gain an interest surrounding common phobias. As an initial response to phobia we decided to explore phobias that restrain and dominate everyday life. As a group we were interested in the psychological effects of irrational fears, through discussion, we realised one of our member's arachnophobia and decided to research real life stories showing the influences of phobias. We began to gain an understanding of the psychological effects of living with an irrational fear, this allowed us to contemplate the way a person living with a phobia views the world. This inspired us to contemplate feelings and emotions surrounding living in a different mindset to the norm. We therefore decided to create five different freeze frames, abstractly exploring the physicality of emotions.

Summary of “Protecting Freedom of Expression on the Campus”

In â€Å"Protecting Freedom of Expression on the Campus†, the author, Derek Bok shows how expressing yourself falls under the First Amendment, whether it is on a private college campus or public college campus. He further explains that just because it is protected by law does not mean that it is â€Å"right, proper, or civil. Bok goes on to show how censoring freedom of speech would cause people to â€Å"test the limits† to gain more attention than is needed and if dealt with in the proper manner, behaviors such as displaying a Confederate flag or a swastika in rebuttal of the flag can be avoided. Freedom of expression is a right and should not be used inappropriately. The First Amendment rights have caused much controversy because it allows people to say, act, or feel how they see fit; for example, hanging of a Confederate flag or displaying a swastika in public view. It is an insensitive act; although it is their right to do so. According to the Supreme Court’s ruling, the displaying of these symbols is protected under the First Amendment. Regretfully, people act and react because they are offended by things like this, but it is one of our many freedoms as Americans. Although it cannot be prohibited it should be responded to in such a way they do not feel put down or that they are wrong in expressing themselves, but rather suggest to them that it is hurtful and offensive to others. We have the right to be offended as others have the right to display or express their own interests. Diverse communities in the United States set certain laws to protect their properties from being vandalized with graffiti and protect them from loud noise; rules of this kind should be evenly upheld in order to not discriminate for or against anybody’s opinions or ideas. If the governing authorities see fit to change the laws to prohibit such expressions, they should be cautious, because censoring such a great freedom can potentially become â€Å"dangerous†. When one or more people feel that they are being pushed in the opposite direction than what they feel is right they tend to rebel in a sense. More often than not they will try to push the boundaries to prove that they are free to do as they see fit and the more attention that is given to their cause the more they will show that they will not be told no. If an offensive act is being displayed it can be dealt with in a discrete manner to prohibit future conflict. For example, the offenders actions are ignored, they may eventually stop. Those in authority need to take charge and try an approach that may be more effective than prohibiting it. Persuading one to see the errors of their ways would be more productive rather than criticizing or condemning them. It will help them become more aware of others around them and potentially create a more balanced for those around them. Therefore, members of faculty and officials should seek to educate the students and persuade them instead of using threatening tactics, as persuasion is more likely to produce beneficial results. People are more willing to change when they are approached respectfully with inquiry, instead of abruptly and demanding. As a result, we should be conscious to uphold the moral standards of schools and colleges; so we can positively coexist in these communities.