Explication of Phllip Larkin’s “Cut Grass” Essay

In Cut Grass, Philip Larkin utilizes sound to word imitation, shading and bloom imagery, and accentuation to show that demise is unavoidable, and is ignorant of explicit conditions. By standing out the cut grass from the normally dynamic, energetic month of June, Larkin shows the brutal idea of death, and its negligence towards its environmental factors, while all the while giving a feeling of expectation once passing arrives. In the main verse, Larkin utilizes likeness in sound to make a striking picture of mown grass. The sharp hints of â€Å"cut grass† infer wildness, while the following expression â€Å"lies frail,† is suggestive of vulnerability and shortcoming. He keeps on resembling sounds by utilizing expressions, for example, â€Å"brief is the breath,† and â€Å"exhale,† whose sounds look like their individual activities. Through his utilization of sound to word imitation, Larkin interfaces the peruser to the grass, and hence summons compassion. While the peruser is touchy towards the passing, it in any case proceeds, paying little mind to the enthusiasm of â€Å"young-leafed June.† Larkin additionally stands out the â€Å"brief breath† from â€Å"long death† to show that life is generally concise when contrasted with the unending length of time of death. He makes most of the sonnet, in depicting passing, one sentence, from â€Å"long, long†¦Ã¢â‚¬  until the end, so as to delineate the drawn out and moderate kicking the bucket. He depicts the passing â€Å"at summer’s pace;† a lethargic and hesitating development that ignores its sprouting environmental factors. He shows that passing is unavoidable, and is consistently happening, even at assumed happy minutes. Nonetheless, Larkin likewise parts of the bargains development, to show that demise, albeit unavoidable, isn't really last, and that there is potential for a the great beyond. The rehashed reference to white additionally serves to show the different sides of death; while it is unadulterated and honest, it is likewise despairing. By embodying demise, Larkin shows that however one can assess passing from alternate points of view, it unavoidably comes back to the unjustifiable and coldblooded nature of death. He additionally specifies â€Å"chestnut flowers,† â€Å"white lilac,† and â€Å"Queen Anne’s lace,† three white blossoms, to speak to the different sides of death. Larkin represents the white lilacs, which are normally representative or energetic forthrightness, to bow to death to show that passing is relentless to its subordinate, youth. Howeverâ â€Å"white hours,† â€Å"and chestnut flowers† serve to delineate a lavish, charming air, which likewise depicts passing. Along these lines, Larkin shows a promise of something better for a future after death, and permits the peruser alleviation and unwinding when mo ving toward death. In utilizing the imagery of white and blossoms, likeness in sound, and pertinent accentuation, Larkin can depict passing as both everlasting and confident, and to reestablish a liberating sensation around death’s discouraging nature.

Disturbed Earth A Lament for the ‘Tollund Man’, and for Ireland - Literature Essay Samples

‘The Tollund Man’, as is his ‘sad freedom’, seems tellingly paradoxical in death – ‘naked’ and exposed, yet somehow venerated as a ‘trove’ and a ‘bridegroom to the goddess’. He is destroyed, but elevated as a sacred symbol of serenity after this sacrifice. This peaceful death is emblematic of Heaney’s concerns in this poem, as he conflates the metaphorical meaning of this death and the violent turmoil of a socially ruptured Ireland. The description of the Tollund man’s head and eyelids as a ‘peat-brown head’ and ‘mild pods’ imparts a richness to his skin; a sensory description that is evocative of the organic softness of smooth, nutrient-rich clay and the potent ‘dark juices’ that, like ‘juice’, seem sweet and intense. Heaney in this way depicts the bog body in a sort of perverse union in death, a quasi-divine ‘bridegroom’ to the ‘goddess’ of the earth, who ‘tighten[s] her torc on him’. The word ‘tightened’ evokes that this relationship is one of ardent devotion, that it is muscular and powerful, and subsequently, Heaney depicts the bog body is experiencing a sort of sacred rebirth, with life anew in death. The alliteration in ‘tightened her torc’ imparts a steadiness of rhythm to this line, which accentuates the impression that this union is one of peace, though ferocious and ardent. As He aney gazes at the ‘mild pods’, this close focus illuminates the scale of the body’s preservation, which indicates that Heaney is enraptured by this nature-defying corpse. The Tollund Man is emblematic of an ineffable, preservative strength and as such, he is the harbinger of Heaney’s later prayer to harness this seemingly supernatural power of the Tollund Man for rebirth in his own situation. In contrast to the tranquillity of the Tollund Man, the ‘scattered’ ‘flesh’ of labourers that Heaney wishes to ‘germinate’ in part II is redolent with savagery and violence. Firstly, the reverence with which Heaney treats the Tollund Man due to the extent of his preservation is decimated. In praying for these particles of ‘flesh’ to ‘germinate’ like seeds, Heaney implies that they are like the ‘seeds’ ‘caked in [the Tollund Man’s] stomach’. This creates a striking visual image in which the size of the Tollund Man utterly swamps and overwhelms the meagre remains of the ‘young brothers’, whose ‘skin’ is like confetti, ‘flecked’ along the ‘sleepers’ of the railway line on which they were killed. They have been so ruthlessly massacred that they are reduced to these ‘fleck[s]’ that seem papery and lifeless in contrast with the r ichness of the Tollund Man’s ‘mild pods’. Heaney in this way imparts that the sort of resurrection for which he is hoping is inconceivable, and irrational, since the ‘scattered, ambushed’ remains are so distant from the wholeness and peace Heaney extols in the Tollund Man. As the skin and teeth are ‘trailed for miles along the lines’, the internal rhyming between ‘miles’ and ‘lines’ is evocative and tactile; the extended vowel sounds mirror the dragging and ‘trail[ing]’ of the corpses along the ‘lines’, and in this way the reader is sonically pulled along the ‘lines’, just like the ‘young brothers’ were, and in this way Heaney may hope to emphasize the savagery of the act, and engender an understanding of this in the reader. Part II of the poem also marks a dramatic tonal shift from part I; dynamic verbs such as ‘risk’ force a marked contrast to the restful ‘repose’ and slow, seeping ‘juices’ of the previous stanzas. This is underlined by the forceful, alliterative plosive sounds in ‘consecrate’ which are jarring, and impart a new seething undercurrent to the poem; one of anger, disturbance, and above all, will. Heaney is now involved in the poem, emotionally challenged, as opposed to his peaceful and passive role as a voyeur in part I, as he ‘stand[s]’, entranced by the Tollund Man. In part I, Heaney says ‘I will go to Aarhus’, but as part II begins, a sense of discordance is also conveyed by the word ‘could’ in line one, as it evokes that, in contrast, action in this situation for Heaney here is merely a possibility. This immediately conjures in the reader an appreciation for the scale of the social situation in Ireland, for it is one of such austerity that Heaney feels so trapped that he is unable to act. This notion of desolation in the Irish landscape is underscored as Heaney refers to the land of Ireland as a ‘cauldron bog’. The ‘cauldron’ has connotations of the occult, and of diabolism, and in this way it is as if Ireland is the ‘cauldron’ to a coven of plotting, ominous figures setting it on a doom-filled trajectory of abhorrence. Furthermore, it also instils an idea that the very earth is poisoned and imbued with these acts of political violence. This is a particularly striking notion as Heaney treats nature with such reverence in many of his other poems, and it seems as if this beauty is inalienable. If the sumptuous ‘black butter’ of the earth (Bogland), has now been distorted into a ‘cauldron’, the audience comes to understand the magnitude of the problem; it has violated the land which Heaney holds so dear. It is t herefore understandable as to why Heaney feels that his hands are tied, for the problem may now be so deeply rooted in the very fabric of Ireland, that nothing can be done. Again a sense of helplessness is encapsulated in the proposed outcome of Heaney’s ‘pray[er]’; he wishes to transfigure this ‘cauldron bog’ into a ‘holy ground’. Since the connotations of ‘cauldron’ are antithetic to all this ‘holy’ or sacred, and the sloppy, formless ‘bog’ contrasts with the steady and definite ‘ground’, this sort of transformation therefore seems implausible, and Heaney depicts that the disparity between what Ireland should be and what it currently is, is gaping, and irreconcilable. Confirming the analogous significance of the Tollund Man is Heaney’s final proclamation that out in the ‘old man-killing parishes’ where the Tollund Man was killed, he ‘will feel lost, unhappy and at home’. The seemingly paradoxical of being both ‘lost’ and ‘at home’ is resolved in the notion that there are between Heaney’s native Ireland and Jutland – that both experience violence in the name of belief, at different times. The constancy of violence renders Heaney ‘unhappy’, but there is also a pervading sense of time’s expansiveness as the poem draws to a close. Consistent with the shifting tenses of the parts of the poem (past, present and future), the poem is all-encompassing concerning time. When Heaney refers to the Tollund Man’s death-cart as a ‘tumbril’, connections are drawn with the French revolution, in which these ‘tumbril[s]’ were used, and when He aney describes the violence in Jutland with the archaic ‘man-killing’, the reader is transported back to pagan society, evoking a sense of the primitive nature of these deaths. Heaney is this way inexplicably establishes that violence is an unwavering, unavoidable and constant presence in life and society. While the immediacy of the events in Ireland leave him ‘unhappy’, this sense of resignation to violence seems to be the only mitigator in a poem that is sobering and confronting in its examination of the social situation in Ireland. As such, the audience is left to hope that Ireland may one day return to being ‘holy ground’.

What Causes Rigor Mortis

A few hours after a person or animal dies, the joints of the body stiffen and become locked in place. This stiffening is called rigor mortis. Its only a temporary condition. Depending on body temperature and other conditions, rigor mortis lasts approximately 72 hours. The phenomenon is caused by the skeletal muscles partially contracting. The muscles are unable to relax, so the joints become fixed in place. The Role of Calcium Ions and ATP After death, the membranes of muscle cells become more permeable to calcium ions. Living muscle cells expend energy to transport calcium ions to the outside of the cells. The calcium ions that flow into the muscle cells promote the cross-bridge attachment between actin and myosin, two types of fibers that work together in muscle contraction. The muscle fibers ratchet shorter and shorter until they are fully contracted or as long as the neurotransmitter acetylcholine and the energy molecule adenosine triphosphate (ATP) are present. However, muscles need ATP in order to release from a contracted state (it is used to pump the calcium out of the cells so the fibers can unlatch from each other). When an organism dies, the reactions that recycle ATP eventually come to a halt. Breathing and circulation no longer provide oxygen, but respiration continues anaerobically for a short time. ATP reserves are quickly exhausted from the muscle contraction and other cellular processes. When the ATP is depleted, calcium pumping stops. This means that the actin and myosin fibers will remain linked until the muscles themselves start to decompose. How Long Does Rigor Mortis Last? Rigor mortis can be used to help estimate the time of death. Muscles function normally immediately after death. The onset of rigor mortis may range from 10 minutes to several hours, depending on factors including temperature (rapid cooling of a body can inhibit rigor mortis, but it occurs upon thawing). Under normal conditions, the process sets in within four hours. Facial muscles and other small muscles are affected before larger muscles. Maximum stiffness is reached around 12-24 hours post mortem. Facial muscles are affected first, with the rigor then spreading to other parts of the body. The joints are stiff for 1-3 days, but after this time general tissue decay and leaking of lysosomal intracellular digestive enzymes will cause the muscles to relax. It is interesting to note that meat is generally considered to be more tender if it is eaten after rigor mortis has passed. Sources Hall, John E., and Arthur C. Guyton. Guyton and Hall Textbook of Medical Physiology. Philadelphia, PA: Saunders/Elsevier, 2011. MD Consult. Web. 26 Jan. 2015.Peress, Robin. Rigor mortis at the crime scene.  Discovery Fit Health, 2011. Web. 4 December 2011.

Pathophysiology Of The Following Signs And Symptoms

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Severe dehydration and electrolyte imbalance can occur. Diabetes may cause blood glucose levels to rise which can lead to increased glucose levels that cause one’s body to pull fluid from cells into the bloodstream and deliver the increased load to the kidneys. This can cause one’s kidneys to over work and produce more urine than normal. c. Polyphagia: increased food intake is due to loss or excess glucose in urine that leads the body to crave for more glucose. As calories are lost in urine, increasedShow MoreRelatedPathophysiology Of Chronic Asthma And Acute Asthma918 Words   |  4 Pagesand tuberculosis, affected disease location determines the signs and symptoms. Hereditary and environmental factors such as allergens and other irritants can be a contributory factor, especially in children. However, respiratory compromise occur as a result of incomplete airway development among this vulnerable population predisposing them to chronic asthma (Huether McCance, 2012). 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Allen Ginsberg and HOWL Analysis and Response Essay Example For Students

Allen Ginsberg and HOWL: Analysis and Response Essay Throughout the ages of poetry, there is a poet who stands alone, a prominent figure who represents the beliefs and mors of the time. During the 1950s and 1960s, the Beatnik era in America brought forth poets who wrote vivid, realistic poetry in response to the rise of bigotry, crimes against the innocent, and the loss of faith in the national government. With little euphemism, they wrote about homosexual sex, drug abuse, and other brazen topics. Of this Beat Generation, as they were called, Allen Ginsberg rises above the rest as the pseudo-poet laureate of the group (Burns 125). His most well-known poem, HOWL, caused an incredible amount of controversy; however, it also forever changed the world of poetry. Allen Ginsberg was born in Newark, New Jersey in 1926 to an upstanding middle class Jewish family. In a lifetime of literary accomplishment, he has moved from the position of a curiosity on the borders of society to become the hero of a broad-based subculture. In 1943, Ginsberg entered Columbia University where he met Jack Kerouac and William Burroughs, two names that would later join him as fathers of a literary/social movement known as the Beat Generation. Ginsbergs subject matter focused on the activities of his social circle and included such things as drug use and homosexual sex. These topics hadnt been written about so openly, without some sort of literary masking before. Ginsbergs far-ranging, wildly expressive style greatly impacted the evolution of modern literature. His literary odyssey created a vast legacy of poetry and the publication of many books of poetry and prose. Perhaps most notable, Howl, was published in 1956 by Lawrence Ferlinghettis City Lights bookstore in San Francisco. A landmark court decision found Howl to be not obscene (Ehrlich 57). Allen Ginsbergs monumental poem was first heard in a series of famous readings that signaled the arrival of the Beat Generation of writers. The first of these readings took place in October 1955 at the Six Gallery in San Francisco. It was Allen Ginsbergs first public performance, and it made him instantly famous at the age of twenty-nine. The poem is part Walt Whitman, part Old Testament hellfire ranting, and one-hundred-percent performance art. The lines in the famous first part of the poem tumble over each other in long unbroken breaths, all adding to a single endless sentence: I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night (Ginsberg 5) The rhythms of the rolling, crashing words portray a vivid picture of Ginsbergs friends and their numerous adventures across America. Ginsberg is describing his fellow travelers, the crazy, lonely members of his community of misunderstood poet artists, unpublished novelists, psychotics, radicals, pranksters, sexual deviants and junkies. At the time that he wrote this hed seen several of his promising young friends broken or killed: who distributed Supercommunist pamphlets in Union Square weeping and undressing while the sirens of Los Alamos wailed them down, and wailed down Wall, and the Staten Island Ferry also wailed, who broke down crying in white gymnasiums naked and trembling before the machinery of other skeletons, who bit detectives in the neck and shrieked with delight in police cars for committing no crime but their own wild cooking pederasty and intoxication (Ginsberg 7) Each of these describe real-life events by people Ginsberg knew, but the poem is especially dedicated to Carl Solomon, Ginsbergs insane hyper-intellectual friend who hed met in a mental hospital years before. In the poem, Ginsberg makes mention of Solomons actions at a lecture where he threw potato salad at the professor teaching on Dadaism. It is Carl Solomons insanity that drove Ginsberg to write this poem, especially because it reminded him of his mothers own unspeakable insanity (which he finally wrote about in Kaddish, but here he can only say with mother finally ******). Carls insanity also reminds him of himself (Hyde 22). This first section of the poem is a seven page typed list of all the spirits broken, impaired , or thoroughly destroyed by a force he would not name until the second part of the poem. (Burns 104). Since he did not feel that he was writing for publication, Ginsberg felt free to experiment. He replaced his normally short lines with the Kerouac and jazz influenced long line. He employed a cataloguing style similar to that used by Walt Whitman in Song of Myself, and he broke the long lines into a triadic ladder structure that he learned from William Carlos Williams. Ginsberg describes the poems structure as a huge sad comedy of wild phrasing, meaningless images for the beauty of abstract poetry of mind running along making awkward combinations like Charlie Chaplins walk, long saxophone -like chorus lines I knew Kerouac would hear the sound of. (Schumacher 220) Part I of Howl was not completed , though, in the order in which it now appears. Ginsberg went back over the poem, categorizing each stanza thematically from A to D. He then grouped the stanzas accordingly. The categories were: A. Lines proceeding from or around New York, including Columbia University and Madison Avenue, the Lower East Side, and Ginsbergs apartment. B. Lines relating to the break of life between the womb of college days and the shock and alienation entering the world, making a crippled living outside of family and academic shelterthis motif accounting vocational failure or readjustment, leaving the city, or nervous breakdown, typical post-college crisis. (Schumacher 226) C. The Bill Of Rights EssayI didnt linger on it too long, I assure you. Ferlinghetti was found innocent of publishing obscene books and was quickly set free. Though this is Ginsbergs most famous poem, when a friend of mine asked him to sign a copy of it at a poetryreading he said, This isnt my best work. The year of 1955 was particularly difficult for Allen Ginsberg. Seeking a new creative direction after failing to get his collectionEmpty Mirror published, he decided to take his analysts advice and quit his day job, move in with his lover (Peter Orlovsky,) and devote all of his time to poetry. Having quit his job, though, he found himself plagued with financial difficulties. Living with his lover led to emotional problems; and to top it off he was suffering writers block. These problems led Ginsberg to begin studying Buddhism under his friend and fellow Beat writer Jack Kerouac. With the practice of Dhyana meditation, he hoped to attain a level of heightened consciousness similar to that he experienced during his visions of William Blake. It would take a great deal of study, however, until his Buddhist studies became infused into his work. In the meantime he immersed himself in Classical Greek and Roman poetry, Ezra Pounds translations of Chinese odes, and the works of Herman Hesse, in addition to classical Buddhist texts such as the Surangama Sutra. What seems to have had the strongest influence on Ginsbergs new writings of this period, however, was not literature but rather the painting of Paul Cezanne. Studying biographies of the painter and color reproductions of his work, Ginsberg sought to understand how Cezanne juxtaposed planes and made use of what he called petite sensation in such a way as to induce quick flashes of illumination in those looking at his works. The Great Bathers utilizes juxtapositioning of bathers in the foreground with a townscape in the background. It was this painting which provided Ginsberg with the illuminative flash comparable to his Blake vision. He would now seek the same effect with his poetry. The object would be to juxtapose written imagery in such a way as to produce what he and K erouac referred to as eyeball kicks. In Dream Record: June 8, 1955 Ginsberg recorded a dream in which he was back in Mexico having a conversation with Joan Vollmer, the accidentally murdered wife of William Burroughs. Devoting parts of the poem to passages about the dream, and parts to passages about Vollmers death, he was moderately successful in achieving the petite sensation effect. But despite praise by William Burroughs for the poem, Ginsberg was still basically blocked. He attempted unsuccessfully to complete two other larger works, and was only able to write in flashes, single lines of imagery recorded haphazardly in his journals. There was one line though, which he would soon return to alter somewhat and expand on greatly:I saw the best mind angel-headed hipster damned The poem which would grow out of this line was, of course,Howl. And quite a growth it was. Ginsbergs lover Orlovsky had recently left on a hitchhiking trip of the east coast, and Ginsberg now had some much needed solitude. One August afternoon Ginsberg was visited by the muse; she came back with a vengeance. In a few short hours the entire first section of Howl was finished. Ginsberg described how he: sat idly at my desk by the first-floor window facing Montgomery Streets slope to gay broadwayonly a few blocks from City Lights literary paperback bookshop. I had only a secondhand typewriter, some cheap scratch paper. I began typing, not with the idea of writing a formal poem, but stating my imaginative sympathies, whatever they were worth. He is an extraordinarily prolific artist, having had over forty books published and eleven albums produced. Aliens friendship and literary experimentation with Jack Kerouac and William Burroughs began in 1945, and a decade later as this core group expanded to include other poets and writers, it came to be known as the Beat Generation. (Hyde 72). He has received numerous honors, including the National Book Award for Poetry, a Guggenheim Foundation Fellowship, National Arts Club Medal, 1986 Struga Festival Golden Wreath, and the Manhattan Borough President David Dinkins Medal of Honor for Literary Excellence 1989. A potent figure in the cultural revolution of the sixties, he has been arrested with Dr. Benjamin Spock for blocking the Whitehall Draft Board steps, has testified at the U. S. Senate hearings for the legalization of psychedelics and been teargassed for chanting Om at the Lincoln Park Yippie Life Festival at the 1968 Presidential convention in Chicago. His Collected Poems 1947-1980, were published in 1984 with White Shroud and the 30th Anniversary Howl annotated issue in 1 986. Several books of his photographs and a recordlCD of his poetry-jazz album, The Lion for Real, appeared in 1989. He is a member of the National Institute of Arts and Letters, and is a Distinguished Professor at Brooklyn College and a member of the Executive Board of PEN American Center. A practicing Buddhist, Alien cofounded Naropa Institutes Jack Kerouac School of Disembodied Poetics in Boulder, Colorado. In 1997 the Beat Generation lost their beloved poet, and Allen Ginsberg became a legend (Schumacher 312).

National Jazz Hall free essay sample

This would also allow the NJ to sponsor jazz festivals, workshops and scholarships. The museum would be used to remember great Jazz artists, serve jazz enthusiasts along with education he public on the Importance of Jazz in American culture and history. Question 2 The stakeholders in this project begin with Mr.. Rutland himself. After that, some of the other stakeholders Include the board of directors for the INCH, the City of Charlottesville departments renovating the historic district of downtown Charlottesville, the consultant hired by the board, other tourist attractions in aroundCharlottesville and in Western Virginia, they include Monticello, James Monomers house, and the University of Virginia. Other stakeholders would be the contractors employed to renovate the Paramount, possible donors to the project, they could be private as well as governmental such as the National Endowment for the Arts, and the National Endowment for the Humanities. The potential jazz performers that are potential members of the NJ are also very important stakeholders. We will write a custom essay sample on National Jazz Hall or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page If this is not a highly recognized and reputable hall of fame, some of these Iconic Jazz musicians will not want to be members of the organization. Finally, Jazz fans as a whole are key stakeholders as well. Without them, there would not be a need for this type of attraction. Question 3 There are three major issues facing Mr.. Rutland and the NJ. They are: 1. Fund raising, 2. Building and leading a professional team to complete the project. 3. Marketing In order to promote the NJ and gain national recognition.In order to successfully address these issues the following skills will be needed: Good communication skills Since the PM will be dealing with many different type of people, groups and audiences, they will need to be able to communicate effectively n all of these different levels. They need to communicate with government entities In order to secure the necessary permits and Inspections once the theatre is set to be renovated. They will have to speak with philanthropic groups In order to raise private funds for the renovation of the theatre along with donations to run the NJ. OFF such as the National Endowment for the Arts. For issue two, the PM will be the team leader and have to communicate well with each group of the project team. They will have to work with the different teams to create the renovation plan. Once that is one, they will have to work with many different contractors to secure bids before deciding on who will complete the renovations. Other groups that the PM will have to communicate would include the finance team, the procurement team and the budget team. As for issue number 3, the PM will have to work with several marketing firms who specialize in the work needed for the NJ to establish national recognition. They will have to meet with many different firms in order to select the best one for the NJ. Once that group is selected, the PM will be the interface to that group for the project. Communications with this group will of course be vital to the longevity of the NJ. Ability to command respect The PM needs to be to command respect from every group involved in each aspect of the project.Without respect, none of the groups will be encouraged to complete their assigned tasks. Also, without respect the project as a whole will not have any credibility. It is this respect and credibility that will help generate private and government funding. Also, if there is no respect in the project, the NJ will not gain any respect in the Jazz community. Without that, why would any of the potentials Jazz musicians want to be member of this hall of fame? Conflict Resolution skills this is a basic skill that every PM must have. Without it, no project would move forward.In this project, the conflicts could be many for all three issues. If the PM cannot resolve the conflicts that will arise from the renovation of the theatre alone, the other two issue will never come to fruition. Good knowledge of project management principles Of all of the PM principles, risk management is key in this project. If you look at issue two, fundraising, what happens to the project if a major source of funding becomes compromised? One real world example is the Boy Scouts of America. They received almost of their annual budget from a donation by the American United Way.A few years ago, the United Way reduced their donation significantly. The BAS now receives only one percent of its budget from that organization. It was real blow to their ability to maintain their year round projects. In order to recoup this budgetary loss, they established the Friends of Scouting project. They now solicit donations from the parents of Scouts, former Scouts and other companies and non-profit organizations to fulfill the gap. The PM for this project will have to have contingency plans in place like the BAS has done.Be comfortable in an uncertain environment This is a huge, multifaceted project that a PM can understand every aspect. The PM for this project needs to be able to manage well the pieces they know very well and have the ability to manage the pieces they are not so familiar with. They need to put the right people in place for the aspects of the project they are the least familiar. Say the PM is strong in construction but weak in fund raising, they need to find a good fund raiser and someone who is good with marketing. Question 4 I feel that Mr.. Rutland does have credibility.He is a professor of History at the University of Virginia. I dont think that he would have been able to have had Jazz didnt feel that Mr.. Rutland and the board of directors he established were credible. Having two famous Jazz musicians like that on the board definitely adds credence and credibility to Mr.. Rutland plan. Is Mr.. Rutland a leader? A leader is defined as interpersonal influence, exercised in situations and directed through the communication process, toward the arraignment of a specified goal of goals. Mr.. Rutland has shown that ability in the first year of building the NJ. Mr.. Rutland came up with the NJ and locating it in Charlottesville, VA. He enlisted the help of his fellow Jazz enthusiast, and created the board of directors for the hall of fame. After that he found a possible building location that, by name, has ties to the famous jazz era of the sass and 19402 in New York City. This would give the NJ a headquarters with a credible and recognizable name. After establishing the board, Mr. . Rutland went out to generate funds for the hall by applying for grants from philanthropic groups along with various government agencies.They were denied for two reasons, inexperience of the board members and the brevity of their existence. This could not be construed negatively toward the board or affect their credibility. Mr.. Rutland also understood that the NJ would need visitors to help generate revenue to continue the halls existence. He found that over half a million people visit the Charlottesville area to see many other attractions. He knew he had to work with the various venues and tourist organization to help promote the NJ as a viable attraction. Finally Mr..Rutland showed his leadership in hiring a consultant to help answer two questions. One, what is the interest level of the respondents for Jazz and the establishment of a National Jazz Hall of Fame. The survey was conducted on a national level and on a local level. This allows Mr.. Rutland to find out if people were actually interested in a Jazz Hall of Fame and if they would attend, Jazz music as a whole, if people would be willing to donate money to such an organization, what services and events they would expect from the hall and what the average person interested in such a place would be willing to pay for admission.This gave the board n idea of what kind of funding they could expect from eh public through donations and admission fees. Question 5 The cultures relevant to this project are the African-American, Cajun, Africans, and American. Jazz was influenced by different cultures and sub-cultures. The music also has roots in the development of other music movements around the world. In the US, Jazz has influenced, the Blues, RB, Mouton, Dixieland, Classical and Country music. Jazz is a melting pot of music as well having its roots in other genres.The project environment for the National Jazz Hall of Fame was a struggle to get off he ground, but was met with great enthusiasm. After the first year, even though they had many setbacks due to difficulties raising contributions from outside sources and finding out they needed at least $600,000 to renovate the theatre, Mr.. Rutland and the board felt the project showed promise. Mr. . Rutland did not seem to give up, but found other ways to promote and endow the NJ. He tried to utilized the local tourism outlets, the NJ promoted concerts to raise money and awareness. Mr..Rutland visited other halls of fame to gain ideas and insights into their success. He interest the public would have for a Jazz hall of fame. Question 6 Mr.. Rutland should do the following: Budget- Philanthropic organizations Since they had difficulties raising funds from these types of organizations due to a lack of experience on the part of the board, they need to hire an executive director with fund raising experience. This will give them someone with the proper background that these organization are looking for and a higher level of credibility. This will help solidify them as a true purveyor off hall of fame for Jazz.Government Agencies Once they have a qualified executive director ND have been established for over two years, they should reapply for government funds from groups like the National Endowment for the Arts. They will be able to get enough funds so that they may even begin to renovate the theatre. Donations The survey showed that they could receive an average of $23. 40 per donation. They should pursue a low cost way of garnering these donations in order to increase their bottom line. The survey targeted individuals over 35 years old with an income of $50,000+. Perhaps they can target other age and income range along with woman.Memberships These are an excellent way to raise money. You can usually provide a few low cost incentives to individuals and they will pay a little more of an admission fee to benefit from those perks. However, at this time, without an actually facility for the hall of fame, memberships may be something they should wait on. It was recommended that they pursue Founding Memberships. This would be a more viable option until it is decided on where the actual NJ will be located. Everyone likes to say that they were the first ones to be involved in a new endeavor. Visitors The survey found that the average admission fee could be $3. 0. This is a good price engendering how many tourists visit the Charlottesville area. Again, until a facility if build and functional, this idea should be set aside. Budget Expenditures. The Paramount Theatre is the NSF largest expenditure at $600,000. Other expenditures are the cost of the surveys. Future costs will be setting up the Founding Membership accounts, the regular memberships (if any), the salary of the executive director and all of the operational costs of an office for that individual. There will also have to be a budget for correspondence, fliers for concerts and workshops, etc.A Travel budget or the executive director will be required as well. Performance: service/activities The NJ will have to continue to sponsor concerts and workshops. This will help them promote their mission along with getting their name out there. Offering a scholarship will help as well. This would also help gain credibility with the National Association of Jazz Educators. Competition The NJ needs to work with their competition. This will allow them to learn about how they are doing things. What works and what does not. It could also give them an opportunity to create an association with other hall of fames.

Better Living Through Genetic Engineering essays

Better Living Through Genetic Engineering essays In today's society, we have made great strides towards living longer, healthier, and more productive lives. With current medical technology, we have stopped smallpox, eradicated polio, restored vision to the blind, and transplanted a human heart. Now it seems that we have made these great efforts towards a better life, we have to stop and ask ourselves where we are now going with human genetic engineering. Is genetic engineering moving faster than society is evolving? Are we as a human race prepared for all that is encompassed in the science of cloning? Or could our final goal be achieving immortality? Centrally, the issue of cloning has been a hot topic in the media mainly because it has become a technological as well as a medical breakthrough. The possibilities of cloning are innumerable that is if it works. But the other side of the coin is the ethics of the process. What happens when we master cloning of body parts and venture out to clone humans? Will this clone be someone who has feelings and mind and a spirit of its own? Will it have a soul? Genetic Engineering, the alteration of an organism's genetic, or hereditary, material to eliminate undesirable characteristics or to produce desirable new ones.(Brennan, 57) . Genetic engineering is used to increase plant and animal food production; to diagnose disease, improve medical treatment, and produce vaccines and other useful drugs (Brennan, 58). Cattle and pigs have first domesticated about 8000 years ago and through selective breeding have become main sources of meat for humans. Dogs and horses have also been selectively bre d for thousands of years for recreational purposes. Over the past 20 years, genetic engineering has been revolutionized by a new technique is known as recombinant DNA, or gene splicing, with which scientists can directly alter genetic material (Encarta, 03). Genes consist of the chemical deoxyribonucleic acid (DNA). In recombinant DNA, the DNA of one organi...