Species Essay Example | Topics and Well Written Essays - 750 words

Species - Essay Example The only us gauge that intrusive species cost its economy around $138 billion every year (Pimentel, Lach, Zuniga and Morrison, 1999). The presentation of this non-local species has demonstrated to have desperate outcomes to the conditions and biological systems. One obtrusive animal groups that has had extreme expenses to have countries is Bufflegrass. As an intrusive species it has now gotten naturalized in the Americas, Australia, Hawaii and Mexico to give some examples. Bufflegrass flourishes in low precipitation a condition which makes it the ideal species to acquaint with bone-dry nations and was first presented in the US and Mexico to improve scavenge for cows, Arizona and the Sonaran desert were the perfect biological systems for the grass to develop. Bufflegrass is dry spell safe so flourished in its local nations including Africa. The grass will withstand overwhelming eating as was presented for this reason so the transformation of woodland, homogenous prairie and savanna to pasture for nibbling made the perfect condition for this strong grass to develop. Anyway the issue lies in that this intrusive grass has spread from developed zones to characteristic biological systems at a disturbing rate as it will develop in all dirt sorts and including sandy and stony soils. Bufflegrass develops thickly thus swarms out local plants of comparable size and because of its capacity to oppose dry spell will stay thick even in dry years. It assaults local plants by its capacity to win rivalry for regular assets, for example, water, space and soil supplements so keeps homogenous plants from developing and sprouting and furthermore it is exceptionally combustible however impervious to fire, when a grass fire has happened it isn't strange that solitary the Bufflegrass becomes back. The Sonaran Desert developed without fire as an environmental factor and the greater part of its plants can't endure it. The Bufflegrass populaces in Saguaro National Park have quadrupled in size somewhere in the range of 2002 and 2006 in spite of the flare-ups of a few immensely spread flames (Bean and Betancourt, 2006). The monetary factor is that with the expanded danger of flames utility frameworks are compromised, property may diminish in an incentive as regions become known for f ire perils, protection rates rise also the expense to governments in discovering methods for dealing with the obtrusive grass. There is likewise the expense of life required, in November 2005 a man was scorched to death in a Bufflegrass fire in Arizona Book index Bean, Travis M. and Betancourt Julio L. (2006) Bufflegrass in theS onoran Desert: Can we forestall the unhinging of an exceptional American environment The Plant Press THE ARIZONA NATIVE PLANT SOCIETY VOLUME 30, NUMBER 1 (Recovered on eighteenth November 2008) http://aznps.org/PDFs/PlantPress/PP30.1.pdf Pimentel, D, Lach, L, Zuniga R, and Morrison, D. (1999) Environmental and Economic Costs related with Non-Indigenous Species in the United States College of Agriculture and Life Sciences, Cornell University, Ithaca

Accountable Actions Overseas Subsidiaries †Myassignmenthelp.Com

Question: Talk About The Accountable Actions Overseas Subsidiaries? Answer: Presentation: For this situation, it has been ob served that specific terms have been utilized to signify the idea of the organization. It is to be talked about basically by referencing all the fundamentals of these and the significance of them in the organization issues. Coordinating the psyche and will: It is obvious from the term that the people who are locked in to take all the essential choices in regards to the organization issues are fall in the term (De Wet 2017). It is no uncertainty to express that an organization is administered by the demonstrations of the Board of Directors. The organization isn't a fund individual however it is a different legitimate element. A few case laws bolster the idea with respect to the different legitimate element of the organization. Notwithstanding, Board of Directors is managing crafted by the organization and as such they are considered as the brain and will of the organization (Flint 2016). The term coordinating brain and will is built up in the year 1944 and the term got the perfect chit for the situation DPP v Kent and Sussex Contractors Ltd. Much of the time, it has been seen that the executives of the organization are drawing in them in certain unlawful works. The casualty party needs to endure a loads of issue seeing the case as the chiefs are embracing the normal reason with respect to the idea of the organization. In this precept, it has been expressed that if the executives know the way that the demonstrations to be done are illicit in nature,economywill be held at risk for the equivalent (Lipsitt 2013). It has been referenced in Tesco Supermarket v Nattrass (1971) UKHL 1 that the executives are the piece of the organization and they are speaking to the brain and will of the organization. In this way, if any devilishness has been finished with respect to the organization issues, the influenced party has the alternative to sue the organization for that. Penetrating corporate shroud: The term corporate shroud implies the legitimate idea of the organization. it has been seen by the court that the organization should not to be held at risk for the unlawful demonstrations of the chiefs and investors. Consequently, there is an invented layer applied on the legitimate idea of the organization and the equivalent is expressed as the corporate cloak (Yadav 2017). Nonetheless, in late case, it has been discover that the executives of the organization is taking the reason that chiefs are the piece of the organization and in this way, they ought not be held obligated for any unlawful demonstrations and they are concealing them behind the corporate shroud of the organization. This demonstrations of the executives of the organization is influencing the idea of the organization and it gets important to take care of the issue in order to keep up lucidity among the chiefs. On account of the Gilford Motor Co. Ltd. v Horne, it was held that if the chiefs of the organization have done any criminal behavior, they would be held subject without influencing the legitimate substance of the organization. the court will play out the activity by lifting the corporate cover of the organization. this technique is known as the penetrating the corporate shroud. This teaching underpins the way that an organization ought not hold obligated for the demonstrations of the executives or the investors. In the event that blameworthy has been demonstrated against any official of the organization, they will be punished just and not the whole organization. End: In this manner, it can infers that the significance of these two expressions are very worthy in the organization issues. Reference: De Wet, M., 2017. Directing'The Absolute': towards destabilizing the person in question/activities paired in Sam Shepard's A lie of the brain (1985) (Doctoral thesis, University of Pretoria). Rock, D., 2016. Impetuses, Employers, and the Corporate Veil: Should Domestic Corporations Be More Accountable for the Actions of Their Overseas Subsidiaries?. Ariz. St. LJ, 48, p.833. Lipsitt, L.P., 2013. impression of outside items, regardless of whether pleasant or hostile; yet the brain, had of a self-coordinating force, may direct its concentration toward whatever it thinks appropriate. It should, in this manner, be utilized in the most helpful interests, not scarcely in consideration yet in such examination as may. Early Influences Shaping The Individual, 161, p.207. Yadav, P.K., 2017. Lifting of Corporate Veil

5 Books About C.S. Lewis on His Birthday

5 Books About C.S. Lewis on His Birthday Today is C.S. Lewis’s 117th birthday! To celebrate, here are five books that explore his life and work. 1. C.S. Lewis â€" A Life: Eccentric Genius, Reluctant Prophet by Alister McGrath C.S. Lewis â€" A Life is a comprehensive and highly readable biography that systematically delves into each stage of Lewis’s life, from his Irish childhood to the years of sorrow following his wife’s death. McGrath analyses a number of Lewis’s most read works, with a particular emphasis on The Chronicles of Narnia and Mere Christianity. McGrath also presents a compelling argument that Lewis scholars have heretofore misdated Lewis’s conversion to Christianity, making A Life unique among Lewis biographies. 2. The Fellowship: The Literary Lives of the Inklings: J.R.R. Tolkien, C.S. Lewis, Owen Barfield, Charles Williams by Philip Zaleski Carol Zaleski A detailed study of the intertwining lives and writings of the four most famous Inklings, The Fellowship lends a broader context to Lewis’s life and work. It explores the warming and cooling of his friendship with J.R.R. Tolkien, his great admiration of Charles Williams, and the many meetings, readings, and correspondences that influenced the development of his philosophy, religious thought, and literary style. 3. Women and C.S. Lewis: What His Life and Literature Reveal for Today’s Culture by Carolyn Curtis Mary Pomroy Key For many years a debate has raged over whether or not Lewis was sexist. Written in response to those accusations, Women and C.S. Lewis contains essays by Alister McGrath (author of C.S. Lewis â€" A Life), Randy Alcorn, Monika Hilder (author of Surprised by the Feminine: A Rereading of C.S. Lewis and Gender), Holly Ordway, Don W. King (author of Yet One More Spring: A Critical Study of Joy Davidman), Kathy Keller, Colin Duriez (author of The Oxford Inklings: Their Lives, Writings, Ideas, and Influence), Crystal Hurd (author of Thirty Days with C.S. Lewis: A Women’s Devotional), Jeanette Sears, David C. Downing (author of Into the Wardrobe: C.S. Lewis and the Narnia Chronicles), Michael Ward (author of The Narnia Code), Devin Brown (co-author of A Life Observed: A Spiritual Biography of C.S. Lewis), Malcolm Guite, Joy Jordan-Lake, Steven Elmore, Andrew Lazo (co-editor of Mere Christians: Inspiring Stories of Encounters with C.S. Lewis), Mary Poplin, Christin Ditchfield (co-author of A Family Guide to Narnia: Biblical Truths in C.S. Lewis’s The Chronicles of Narnia), Lyle W. Dorsett (author of Seeking the Secret Place: The Spiritual Formation of C.S. Lewis), Paul McCusker (author of C.S. Lewis Mere Christianity: The Crisis That Created a Classic), Crystal Downing, Kasey Macsenti, Brett McCracken, John Stonestreet, Kelly Belmonte, and Brad Davis. 4. Reading C.S. Lewis: A Commentary by Wesley A. Kort The latest addition to Lewis studies, Reading C.S. Lewis examines thirteen major works (Surprised by Joy, The Problem of Pain, The Screwtape Letters, Mere Christianity, Out of the Silent Planet, Perelandra,  The Abolition of Man, That Hideous Strength,  The Lion, the Witch, and the Wardrobe, Prince Caspian, The Four Loves, The Magician’s Nephew, and The Last Battle) with an emphasis on how Lewis uses religion to advance his arguments. It’s more objective than many Lewis studies in print today, which are often written from a distinctly Christian point of view. 5. The Narnia Code: C.S. Lewis and the Secret of the Seven Heavens by Michael Ward A few years ago scholar Michael Ward shook up the world of Lewis studies when he theorized that the seven books of the Narnia chronicles correspond to the seven planets of medieval cosmology. The Narnia Code delves into this theory, explaining its spiritual and academic significance, and hypothesizing why Lewis kept this cosmological theme a secret. The Narnia Code is written for the layman. For a more academic treatment of the same topic, read Planet Narnia: The Seven Heavens in the Imagination of C.S. Lewis by the same author. Sign up for True Story to receive nonfiction news, new releases, and must-read forthcoming titles. Thank you for signing up! Keep an eye on your inbox.

The rights of a trustee - Free Essay Example

Sample details Pages: 8 Words: 2502 Downloads: 1 Date added: 2017/06/26 Category Law Essay Did you like this example? Upon a trustee accepting their role, they are bound by certain duties to the trust and its beneficiaries, which they must exercise with due regard when discharging their trustee power. These are predominantly governed by the Trustee Act 1925, as amended, however there have also been many occasions where the courts have sought to elaborate upon these duties in such a way that widens or restricts the scope of their application, and thus also affects the possible rights of beneficiaries to certain privileges under the trust. This brief will seek to explore the ways that the courts have imposed certain duties and restrictions on trustees, particularly in relation to the disclosure of information. Don’t waste time! Our writers will create an original "The rights of a trustee" essay for you Create order In order to analyse such an issue, it is important to firstly have an understanding of the general fiduciary duties, and other general law duties, of trustees upon their appointment to their position. As such, a number of legislative and common law provisions will be discussed. Perhaps the most important point to be made about the duties of trustees is that it is generally defined by the text of the trust instruments, and the general law simply provides a background that allows a settlor to set the boundaries of these duties. This is best evidenced in the case of Target Holdings Ltd v Redferns (a firm), where Lord Browne-Wilkinson said: à ¢Ã¢â€š ¬Ã‚ ¦the basic right of a beneficiary is to have the trust duly administered in accordance with the provisions of the trust instrument, if any, and the general law.[1] This means that a breach of duty can only occur if there was a specific duty outlined in the documents that established the trust, or are in breach of general law pro visions, and any absence of such a specification means that a trustee has effectively acted in accordance with their duties under the trust. It is also important to note that a testator can also modify or exclude any of the general law duties applicable to trustees by specifying as such in the trust instruments. This may be an unusual situation, however the common law provides for such a scenario to arise. This is best demonstrated by the case of Hayim v Citibank, where Lord Templeman stated: It is of course unusual for a testator to relieve the trustee of his will of any responsibility or duty in respect of the trust property, but a testator may do as he pleases.[2] Essentially then, while the general law imposes certain duties on a trustee, the testator is free to modify and amend these duties as he or she sees fit, thus limiting the scope of application of the general law in relation to trusteesà ¢Ã¢â€š ¬Ã¢â€ž ¢ duties. HayimHIn light of the issue at hand, this could be co nstrued as there not being a duty upon the trustees to minute their trustee meetings, unless there is a specific provision that requires them to do so in the trust instruments. The general law in relation to the disclosure of information to beneficiaries will be discussed in more detail shortly, however the general rule in relation to this would suggest that there is no specific requirement for trustees to document their decisions in the minutes of a trustee meeting. However, if they still choose to do so, they may be subject to the rules of disclosure of information to the beneficiaries upon request, which will be discussed in further detail shortly. In regards to the management decisions that a trustee is allowed to make, there are a number of statutory provisions that indicate to this extent. These include the power to raise money by sale or mortgage of the trust property (but does not apply to the trustees of a charity, which raises separate issues not necessarily within the sco pe of this brief),[3] the power to give receipts,[4] the power to insure the trust property and pay those premiums out of the trust funds,[5] and the power to compound any liabilities of the testator by taking action that they think fit to resolve the situation.[6] As one can see, the trustees of a trust are given substantial powers to exercise on behalf of the testator (or settlor, as the case may be). As such, there also needs to be recognised limits to this power, which this brief will now discuss. Common law does not recognise the fact that a trustee owes a duty of care to the beneficiaries (and the testator or settlor) when exercising their role, however equity does. Under equity, a trustee is à ¢Ã¢â€š ¬Ã…“merelyà ¢Ã¢â€š ¬Ã‚  required à ¢Ã¢â€š ¬Ã…“to conduct the business of the trust in the same manner that an ordinary prudent man of business would conduct his ownà ¢Ã¢â€š ¬Ã‚ .[7] This has since been codified in legislation, giving it a more direct and relevant eff ect.[8] The Trustee Act 2000 gives the duty of care the scope of application to apply to trusteesà ¢Ã¢â€š ¬Ã¢â€ž ¢ decisions relating to investment, acquisition of land, insurance, and also in instances where that managerial power has been delegated to others.[9] Limits to the application of this duty are also recognised, such as that in Re Godfrey, where Bacon V-C said: No doubt it is the duty of the trustee, in administering the trusts of a will, to deal with property intrusted into his care exactly as any prudent man would deal with his own property. But the words in which the rule is expressed must not be strained beyond their meaning. Prudent businessmen in their dealings incur risk. That may and must happen in almost all human affairs.[10] In other words, while the trustee is required to exercise a reasonable standard of care, they cannot be held accountable for any loss incurred where the risk of such a transaction was deemed to be coincidental to the ordinary course o f business. In addition to the duty of care, a trustee is required to also act in the interests of fairness to the beneficiaries of the trust, respecting the fact that the beneficiaries obviously need to benefit as a result of the trust. The most authoritative case on this duty is that of Nestle v National Westminster Bank plc, where Hoffman J said: This brings me to the second principle on which there was general agreement, namely that the trustee must act fairly in making investment decisions which may have different consequences for different classes of beneficiaries.[11] This means that a trustee must not only consider the interests of the beneficiaries as a whole when making management decisions, but must consider the fairness of the effects of these decisions with regard to all the different classes of beneficiaries under the trust. These are perhaps the two most relevant duties that a trustee must have regard for, beyond their other fiduciary duties imposed upon commenc ement of their appointment as a trustee. These fiduciary duties include not to sell trust property to him or herself (the self-dealing rule) and to make the purchase of such property fair (the fair-dealing rule),[12] a duty to not place themselves in a position of conflict,[13] and a rule against unauthorised profit.[14] These are just a few examples of the duties that trustees owe to the beneficiaries, and to the trust as a whole. As one will note, there seems to be no duty that has arisen under general law principles that provides for a requirement for minutes of trustee meetings to be kept. Rather, this is left either to the text of the trust instruments or, where such a specification is absent, the discretion of the trustees. The court recognises that trustees have a à ¢Ã¢â€š ¬Ã…“wide discretionà ¢Ã¢â€š ¬Ã‚  when exercising the role of their office,[15] however it is clear that these powers are quite restricted, but not to the extent where the rationale behind the decisions is required to be documented and presented to the beneficiaries upon request. The idea of a beneficiaryà ¢Ã¢â€š ¬Ã¢â€ž ¢s right to information has been significantly expanded upon by the courts in recent times. Previously, the courts have adopted the view that access to information by the beneficiaries is a proprietary right of being a beneficiary, and that they should have access to all trust documents upon request. This is best displayed in the case of Oà ¢Ã¢â€š ¬Ã¢â€ž ¢Rourke v Darbishire, where Lord Wrenbury said: The beneficiary is entitled to see all trust documents because they are trust documents and because he is a beneficiary. They are in this sense his own.[16] This presented a key issue. It assumes that all information relating to the management of the trust is able to be accessed on a proprietary basis, thus often denying the trustees the confidentiality and, in effect, trust to exercise their role fully without external and extraneous influence. This propri etary right was later objected to in the case of Re Londonderryà ¢Ã¢â€š ¬Ã¢â€ž ¢s Settlement,[17] where it was held that trustees who exercise a discretionary power are not bound to disclose the reasons for their decision to other parties, but can choose to do so if they wish. Interpreting such conflicting case law is tough. It presents two opposite points of view in relation to the duty of a trustee (or trustees) to disclose information to beneficiaries, making it difficult to establish whether such a duty exists. The most significant progress made on expanding this duty in recent times would be that made in the case of Schmitt v Rosewood Trust Ltd, where it was held that while the previous case law was not easy to reconcile, the overriding concern was to protect the confidentiality of information relating to managerial decision made by the trustees, thus granting them the privacy and security they require to exercise their dispositive discretions, and that such a right would over ride any proprietary right that a beneficiary may have to that information.[18] This case is technically not binding in England as it relates to a trust formed in the Isle of Man; however it is assumed it will be followed, given it has been followed in a number of other jurisdictions already.[19] In Australia, it has been established that the court must find a balance between disclosure of the information and the need to protect confidentiality in the interests of promoting a safe environment for managerial decision-making.[20] In short, it would appear that the courts are moving more towards the adoption of protection in favour of the trustees, more so than allowing the information to be discovered by the beneficiaries. While there is no clear duty in general law requiring trustees to either record or disclose reasons for their decisions in any event, there is also suitable protection ensuring that, even if such reasons are recorded, they are not subject to easy disclosure to the b eneficiaries, due to the often sensitive nature of such business material. In conclusion, this brief has considered many aspects of a trusteeà ¢Ã¢â€š ¬Ã¢â€ž ¢s duty to the beneficiaries and the trust. It discovered that most trusteesà ¢Ã¢â€š ¬Ã¢â€ž ¢ duties arise as a result of their inclusion in the documents that form the trust, and are merely expanded upon by the general law. As such, there is no clear requirement that requires trustees to document and record their decisions (and reasons for those decisions) in the minutes of the meeting, unless there is a specification as to such a procedure in the trust instruments. The general law remains silent on this issue, thus emphasis needs to turn toward the trust instruments themselves, given that it has been established that the testator or settlor is able to modify or exclude general law duties if he or she (or they) specify as such in the trust instruments. In any event, it has also been established that decisions made by the t rustees in relation to the management of the trust are afforded considerable confidentiality under the general law, which can often override any proprietary right which a beneficiary may have to the information. It has been established that the board of trustees is not required to disclose its reasons for making a decision, and also that the court will generally be required to make a consideration which balances the need for the information to be released in conjunction with the need for it to be protected in the interests of promoting a safe decision-making environment. The law seems to fall in favour of the trustees, imposing a burden on the beneficiaries to petition the court with just cause as to have the information released, however it seems in all likelihood that a court will often serve to protect the information relating to managerial and administrative aspects of the trust, as it is the trustees that are empowered to make these decisions and, given that the discretion they possess is considerably wide, there is a need for them to exercise this discretion in an environment that would promote safety and the integrity of the decision-making process. Bibliography Books Pettit, P, Equity and the Law of Trusts (2006, 10th ed), London: Oxford University Press Watt, G, Todd and Wattà ¢Ã¢â€š ¬Ã¢â€ž ¢s Cases and Materials on Equity and Trusts (2005, 5th ed), London: Oxford University Press Legislation Trustee Act 1925 Trustee Act 2000 Cases Boardman v Phipps [1967] 2 AC 46, HL Broere v Mourant Co [2004] JCA 009, [2004] WTLR 1417 Foreman v Kingstone [2004] 1 NZLR 841 Fry v Fry (1859) 28 LJ Ch 591 Hartigan Nominees Pty Ltd v Rydge (1992) 29 NSWLR 403 Hayim v Citibank [1987] AC 730, PC Nestle v National Westminster Bank plc (1996) 10(4) TLI 11, CD Re Godfrey (1883) 23 ChD 483 Re Londonderryà ¢Ã¢â€š ¬Ã¢â€ž ¢s Settlement [1963] Ch 918, [1964] 3 All ER 855, CA Re the Intermine and the Intertraders Trusts [2004] JLR 325 Re Thompsonà ¢Ã¢â€š ¬Ã¢â€ž ¢s Settlement [1986] 1 CH 99, CD Schmitt v Rosewood Trust Ltd [2003] UKPC 26, [2003] 3 All ER 76 Sergeant and another v National Westminster Bank plc (1990) 61 P CR 518, CA Speight v Gaunt (1883) 9 App Cas 1, HL Target Holdings Ltd v Redferns (a firm) [1996] 1 AC 421, HL Tito v Waddell (No 2) [1977] Ch 106, CD 1 Footnotes [1] Target Holdings Ltd v Redferns (a firm) [1996] 1 AC 421, 434A, HL (Lord Browne-Jackson). [2] Hayim v Citibank [1987] AC 730, PC (Lord Templeman). [3] Trustee Act 1925, s 16. Also note the fact that a trustee is also compelled to obtain the best price for the sale of the property, which may result in them having to renege on an already existing offer. For an example of this, see Fry v Fry (1859) 28 LJ Ch 591. [4] Trustee Act 1925 as amended, s 14. [5] Trustee Act 1925, s 19. This section is presented as amended by the Trustee Act 2000. [6] Trustee Act 1925, s 15. This section is also as amended by the Trustee Act 2000. [7] Speight v Gaunt (1883) 9 App Cas 1, HL. [8] See Trustee Act 2000, s 1 and sch 1. [9] Trustee Act 2000, sch 1. [10] Re Godfrey (1883) 23 ChD 483, 493 (Bacon V-C). [11] Nestle v National Westminster Bank plc (1996) 10(4) TLI 11, CD (Hoffman J). [12] Tito v Waddell (No 2) [1977] Ch 106, CD; Re Thompsonà ¢Ã¢â€š ¬Ã¢â€ž ¢s Settlemen t [1986] 1 CH 99, CD. [13] Sergeant and another v National Westminster Bank plc (1990) 61 P CR 518, CA. [14] Boardman v Phipps [1967] 2 AC 46, HL. [15] Nestle v National Westminster Bank plc (1996) 10(4) TLI 11, CD (Hoffman J). [16] Oà ¢Ã¢â€š ¬Ã¢â€ž ¢Rourke v Darbishire [1920] AC 581, 626-7, HL. [17] [1963] Ch 918, [1964] 3 All ER 855, CA. [18] Schmitt v Rosewood Trust Ltd [2003] UKPC 26, [2003] 3 All ER 76. [19] For example, this case has been adopted in New Zealand in Foreman v Kingstone [2004] 1 NZLR 841. See also Broere v Mourant Co [2004] JCA 009, [2004] WTLR 1417 and Re the Intermine and the Intertraders Trusts [2004] JLR 325 in Jersey. [20] Hartigan Nominees Pty Ltd v Rydge (1992) 29 NSWLR 403.

United States And Philippines The Melting Pot Of...

In our country today, we are a nation of diverse cultures. America is considered the melting pot of different ethnic groups. By today’s standard, â€Å"American Culture† is the result of a variety of races integrating their own cultural beliefs into American society. Throughout the years the US has seen a massive increase of people migrating from Asian countries. Like other immigrants, Asians come here in order to seek a better life and experience civil liberties and I include myself to that. Immigrating from the Philippines and going to the United States forced me to grow up and learn to adapt its culture. I have learned to embrace American culture along with my Filipino culture. Over the past 8 years of living in America, I have learned to adapt its environment. Coming here as an eleven year old, I noticed similarities and differences between United States and Philippines. Most Filipinos tend to not be as assertive as Americans when it comes to speaking their mind. Verbal communication is constrained, which can be a positive in that our non-verbal communication has become well-developed to the point that it s literally possible for us to effectively communicate with each other without talking. Filipinos would just nod or smile to acknowledge an acquaintance s presence is a good example. Which I often do a lot whenever I’m with my family especially my siblings because we understand each other. Here in America, it’s impossible to communicate without talking. It isShow MoreRelatedEssay on Asian American History914 Words   |  4 PagesNowadays, United States is often associated with the term â€Å"melting pot†, which refers to the assimila tion of immigrants who were initially heterogeneous with their own distinct backgrounds. Corresponding to that fact, racial discrimination has been significantly reduced within â€Å"melting pot†, in which people gradually understand the differences between them without aversion. 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They often misrepresent the reality thus promoting myths and stereotypes. Studies have found that media create and spread images of the society (DeFleur and DeFleur). Social representation as myths or

Empress Wu’s rise to power is interesting Free Essays

There is A Confucian dogma that pushes women ruling as â€Å"unnatural† (Empress Wu Zetian, 2008).   However, in China there lived one woman who rose to power. Wu Hou, also called Empress Wu Zetian, ruled China during the Tang dynasty, the only female to do so (2008). We will write a custom essay sample on Empress Wu’s rise to power is interesting or any similar topic only for you Order Now While some depict Empress Wu’s regime as autocracy, it could not be denied that she ruled China effectively, preserving the country’s diplomatic relationships with other nations (Hucker, 1975, p.143). Empress Wu’s rise to power is interesting. The Tang dynasty is described as a time when women experienced some freedom, at a time when women were not limited to being subservient (Empress Wu Zetian, 2008). It was a period where women became part of cultural and political endeavors (2008).   Wu came from a noble family and thus was taught music, how to write and read Chinese classics (2008).   Her father was one of Emperor Kao- tsu’s supporters while her mother descended from the Sui royal family (Safra, 2002, p.90). When she was 13 years old, she was sent to Emperor Tai Tsung’s court to be a servant (2008). Soon, Wu became Emperor Tai Tsung’s favorite concubine. When the emperor died, Wu was removed from the palace, as customary (Hucker, 1975,b p.142). The emperor’s son, Kau-Tsung became the emperor at age 21 (2002). However, the new emperor, as fate would have it, was also enamored with Wu, giving him sons (Empress Wu Zetian, 2008). Wu soon became the emperor’s favorite concubine and soon was hungry for power. Rumors have it that that Wu killed her own child and blamed Empress Wang (Kau- Tsung’s wife) of the crime (Walsh, 2003).   Kau-Tsung believed Wu and married her, making her the new empress (2008). Five years into their marriage, the emperor was struck with stroke and soon gave power to Empress Wu. When Emperor Kau-Tsung died, Empress Wu used her power to renounce the new emperors, her sons and by 690, Empress Wu was crowned as the Emperor of China (Walsh, 2003). She ruled China until 705 (Hucker, 1975, p.142). Empress Wu soon began her campaign to uplift the women in a relatively men-dominated environment. She ordered scholars to write biographies of prominent women (Empress Wu Zetian, 2008). She also saw to it that her mother’s clan was given high positions in the political arena (2008). The new empress favored religion and symbolism. Rituals were changed during her reign (Safra, 2002, p.90).   Names of officials were even altered, and the emperor or empress, in her case, was dubbed with the new title â€Å"Heavenly Emperor† (p.90).   Empress Wu manipulated the government to follow her, employing informers and agents (p. 90). She made Buddhism as the preferred state religion (Empress Wu Zetian, 2008). Empress Wu was able to engineer the Buddhist scripture into building a Ming T’ang or â€Å"Hall of Light†, a shrine to Heaven as depicted in the Classics (p. 90). She was even able to convince every prefecture to create a temple which alludes to Wu being an incarnation of Buddha (p.90). The empress’ given surname ‘Wu’ was also exploited. Everyone who had the same surname as the empress was exempted from paying taxes (p.90). In 690, Empress Wu changed the dynasty from T’ang to Chou (Safra, 2002,p. 90). She had become China’s female ruler. During Empress Wu’s reign, China was in the midst of foreign battles.   Despite being depicted as a dictator, Empress Wu was instrumental in China’s diplomatic relationships. Together with Kao-Tsung, Wu mediated in the Korean Civil War (Hucker, 1975,p.143). At that time, Koreans were able to dominate in the Korean state of Silla, they acknowledged Wu’s reign (p.143). When Empress Wu was 80 years old, her power had started to diminish. She was finally abdicated and the T’ang dynasty was restored (Safra, 2002,p. 91). Empress Wu is truly an interesting leader. For one, she is female. At a time when males where dominating the political arena, she rose to power. It is remarkable especially since Asian culture tends to be patriarchal and for a female to rule and succeed, that is exceptional. True, Empress Wu’s reign was plagued with intrigues and scandals.   She was a dictator, a usurper and while this is not new to some leaders, it is still rather surprising to find a woman who is such. That is not to say that only men can be dictators. Women can also be dictators but sometimes they simply do it subtly. Empress Wu was shrewd and she let the world knew it.   It is even shocking to discover that she may have murdered her own child just to fulfil her desire to become empress. Although this was never confirmed, the thought of parent harming his/her child is disturbing. It is something that people read in newspapers or see in the television now but to think that it happened way before it has become a norm, to say the least, it truly startling. Stories of leaders conning people to get what they want is normal, albeit wrong. This just goes to show that even during those times; power and greed were already present and destroying individuals. On a positive note, Empress Wu was one who paved the way for women empowerment. She used her position to uplift the status of women in her country.   It is interesting to know during a time when women were thought to be subservient; there rose a woman who wanted to change the norm. Leaders, regardless of gender, can learn something from Empress Wu- good traits and bad ones. References Empress Wu Zetian (2008). Retrieved 17 February 2008 Hucker, C. (1975). China’s Imperial Past. An Introduction to Chinese History And Culture. California: Stanford University Press. Safra, J. (Ed.). (2002). China. The New Encyclopedia Britannica, Vol.16, pp.90-91. Walsh, J. (2002). The Empress Wu Hou- China’s Only Female Ruler, Retrieved 17 February 2008, from http://www.suite101.com    How to cite Empress Wu’s rise to power is interesting, Essay examples

The Rebirth Of American Musical Theatre Essay free essay sample

, Research Paper Two great authors of American musical theater, Richard Rodgers and Oscar Hammerstein II, had one thought in common. They wanted to show to the American populace a new and radical musical that would stand out above the remainder. They wanted to do an impact on the societies of the epoch. They wanted to be originative and do something that was considered rebellious. When they eventually combined their thoughts together they created an American chef-doeuvre in musical theater: Sooner state! . It was the first Rodgers and Hammerstein coaction, get downing the most successful originative partnership in the history of American musical theater. Harmonizing to Joseph Swain in his book The Broadway Musical: A Critical and Musical Survey, there are a figure of grounds why a peculiar work of art might be considered a milepost in the history in its genre. It might present inventions of technique and manner so converting that they may go highly influential. We will write a custom essay sample on The Rebirth Of American Musical Theatre Essay or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page It might pull such broad acclamation that it can non be ignored by the creative persons who come after, even if the acclaimed celebrity finally fades with clip. It could stand as the first work of an of import series. Or possibly, it sets a new criterion of prowess. ( 73 ) For whatever factors that influenced the authors to make the plants they did, they produced some of the most successful and improbably influential plants of musical theater in their clip. In the old ages before Oklahoma! was created, Broadway was deceasing. New and bracing musicals were a rare juncture and when an creative person tried to make something that he hoped his audience would wish, he was unhappily defeated. Broadway was enduring from a deficiency of what it was revered for: astounding dramas and musicals. Its clip of glamor and flashiness was about forgotten, and was in demand of being saved. That is why Oklahoma! is considered a metempsychosis of the American musical theater at the clip. It brought Broadway back to life, make fulling theaters seats with enthusiastic audiences who embraced the alterations of this new theatre musical with unfastened weaponries and made it a fable. Oklahoma! put new criterions for authoritative American theater by presenting new techniques of showing the musical to the audience, presenting a new genre of music into the theater, and strayed off from the usual authoritative signifier and construction of a musical that audiences had grown used to. It was a clip of alteration, a clip of exhilaration, and a clip of puting criterions for the hereafter. About from the first public presentation at the St. James Theatre on March 31, 1943, Oklahoma! has been recognized as a new sort of musical drama that denied its Broadway audiences many of their most cherished traditions, says David Ewen in American Musical Theatre. There was no gap chorus line, no chorus until midway through the first act, in fact. There was instead a serious concert dance and other serious overtones, including a violent death in act two. The narrative, which was so simple, seemed to prosecute the audience in more than mere flushing recreation. ( 248 ) These alterations, far from let downing to viewing audiences, were upheld by a success that had neer been seen in the history of musical theater. He continued to state that with their first coaction, Rodgers and Hammerstein ushered in a new epoch for the musical theater. This beautiful common people drama realized to the full that which the earlier Rodgers and Hart musicals had been endeavoring to obtain: a synchronism of all the elements of the musical theater into a individual entity. At best Sooner state! could put legitimate claim to hold carefully woven a new component, dance, into the disingenuous cloth of the modern musical. No longer would singers sing and so travel into their dance, a strictly cosmetic dance at that. ( 248 ) Dance was non a new component in the theatre kingdom. It had been used for old ages as a manner of reading of feelings of a character that the author or manager wanted the audience to experience visually. Through motion, look of those feelings was portrayed and helped the audience to somewhat experience that individual emotion of fright, hatred, love, or guilt right along with the character on phase. But what was usual was that it was neer brought together with the music and vocalizing. The vocal was normally followed by the cosmetic dance. A vocal followed by a dance would normally lost the audience? s attending, or even if the dance was excessively long or did non match to the vocal or narrative line what so of all time. Rodgers and Hammerstein set a criterion that incorporated the two elements ( music/song and dance ) so that the audience would happen more logic in the dance. It would hold a significance and a intent in the drama and rise the exhilaration in the musical. And in ma ny cases, it would farther the secret plan or at best aid the audience to to the full understand the single character? s feelings at that point in the musical. David Ewen uses the illustration of Agnes de Mille # 8217 ; s ( choreographer of Oklahoma! ) concert dance, which brought to life the heroine # 8217 ; s dream and provided her motivation for declining the hero # 8217 ; s invitation to a box particular. it was portion of the narrative. ( 248 ) Harmonizing to Gerald Bordman, the writer of American Musical Comedy, the thought that integrating was something new and urgently needed took clasp of Broadway # 8217 ; s believing. In fact, it became so stylish to incorporate dance into the musical, that it was sometimes injected when it served no dramatic intent, and sometimes even when it hindered the flowering of the narrative. ( 160 ) After awhile dance became overused, which seemed to destroy what Roadgers and Hammerstein had set out to make ( the incorporation of dance to rise the significance of the musical ) . Other authors or choreographers who inserted dance were non adding it when it would assist the musical. Directors came to believe that dance was a necessity in a musical, for it was one of the cardinal grounds why Oklahoma! was so successful. So the add-ons were made, but were non truly thought about their intent when they were added. What was forgotten was the obvious demand for the dance at all. Dance was thought to be a privation of the audience, non taking into consideration if the musical even required the dance at all. So, this job developed into an? interpolation craze? , adding dance merely for the mere spectacle of it. But in Oklahoma! , everything tantrum into its topographic point. For the first clip, non merely were the vocals and narrative inseparable, but the dances heightened the play by uncovering the frights and desires of the taking characters. Harmonizing to Bordman, Richard Rodgers one time said, when a show works absolutely, it # 8217 ; s because all the single parts complement each other and fit together # 8230 ; in a great musical, the orchestrations sound the manner the costumes look. That # 8217 ; s what made Oklahoma! work # 8230 ; it was a work created by many that gave the feeling of holding been created by one. ( 160 ) Dance was non the lone thought that Rodgers and Hammerstein brought into their new coaction. Joseph Swain adds that much was made at the clip of the hero # 8217 ; s killing the scoundrel on phase in Oklahoma! . This excessively was non new. But while the claim to originality was one time once more overdone, Oklahoma! by virtuousness of its immense popularity, a popularity in no manner reduced by an unpleasant scene, did unfastened doors. ( 74 ) Sooner state! was in fact in the genre of Musical Comedy, and many critics felt that scoundrels and slaying were non elements that should look in a comedy. It was thought that such points would turn audiences away from Oklahoma! , holding the thought of traveling to see a comedy and go forthing experiencing like they had seen a slaying enigma, and non express joying at all was non the chief aim of comedy theater. But one time once more, these elements were a cardinal portion of the musical. David Ewen pointed out in The Story of America? s Mu sical Theatre that the original drama had both scoundrels and a slaying, and Rodgers and Hammerstein had no purpose of taking them from their musical. Ewen quotes Hammerstein stating, We realized that such a class was experimental, amounting about to the breach of an implied contract with the musical-comedy audience. I can non state truthfully that we were worried by the hazard. Once we had made the determination everything seemed to work right and we had the interior assurance people feel when they have adopted the right and honest attack to a job. ( 180 ) But one time the doors opened and tickets began to sell and shows finally became sold out, Rodgers and Hammerstein truly did non hold anything to fear. Their show shortly showed itself to be a success, even with a scoundrel and a slaying. The audiences were at first disturbed to see these elements in a comedy, but shortly came into understanding with these new add-ons and liked its originality and creativity. Besides if these two elements had been removed, it would hold disturbed the synchronism and brotherhood of all the other elements of vocal, dance and secret plan in the musical, which was what the authors were seeking to avoid at all costs. Merely like the dance component, the scoundrel and the slaying were a cardinal portion of the narrative line, and to take them merely to do the audience feel more comfy would in bend shake the foundation of the secret plan. This was a opportunity Rodgers and Hammerstein were willing to take ; a hazard that proved to be a wise one to take in the terminal. Audiences found alleviation in the violent death of the scoundrel and a certain justness in the decision of the musical. The? bad cat? had lost and? justness reigned supreme? . In The Story of America? s Musical Theatre, Ewen states that there were? no tickets ? . Sooner state! had proved, on opening dark, a arresting phase experience such as one does non frequently encounter in a life-time of drama traveling. From the minute the drape rose and the first lines of the first vocal were Sung, down to the concluding scene with the presentation of the rubric figure, the audience sat spellbound as a new sort of phase art unfolded with uncomparable beauty and stateliness. ( 181 ) Along with dance and scoundrels, Rodgers and Hammerstein besides took on a new attack to organizing the music that they included in the musical. In Gerald Bordman? s 2nd book American Musical Theatre: A Chronicle, he stated that long before they wrote their first words to # 8220 ; Oh What A Beautiful Mornin # 8217 ; # 8220 ; , Rodgers and Hammerstein had arrived at an all important determination. The # 8220 ; jetsam and jetsam # 8221 ; of musical comedy would hold to be abandoned in interpreting a sensitive, poetic common people drama for the musical theater. Musical comedies traditionally opened with a large, crowded phase scene. Sooner state! would get down merely: a individual character would be seen on the phase ( a adult female churning butter ) , and from off-stage would come the strains of the first vocal. Musical comedies normally started with a eye-popping line of chorus misss from the phase aprons early in the production, but Rodgers and Hammerstein decided to detain i ts visual aspect until midway through the first act. ( 535 ) Audiences had become accustomed to the expansive gap figure and chorus. It did convey a certain charming and exultant beginning to a musical, get downing with exhilaration and volume. This was besides criticized, many experiencing an audience would non stand for their most cherished properties of a drama being taken off. But Rodgers and Hammerstein one time once more took another hazard, and it proved to be a hazard that was non excessively bad to take. Audiences were at first disappointed with the omission of the gap chorus, but finally excused it, for they fell in love with the manner of musical that Rodgers and Hammerstein were showing to them. The drama grew from a simple gap to a expansive coda, which built the exhilaration of the audience and kept them stimulated and interested in the flowering of the musical until the concluding chorus line and drape call. It built suspense and a combustion for more. Rodgers and Hammerstein evidently knew what they were making, even if the cri tics thought they did non. Bordman besides noted that the show # 8217 ; s musical manager, Jay Blackton, appreciating the work # 8217 ; s nature, discarded the common musical comedy pattern of holding the full chorus sing merely songs # 8217 ; tunes. Alternatively, he reverted to the tradition of light opera and amusing opera by spliting his vocalists and delegating them assorted parts, non ever the chief melodious line. ( 535 ) Once once more, Oklahoma! was doing breakthrough inventions in the universe on Musical Theatre. A denial of basic features of the original musical comedy could hold upset the audience, and push Sooner state! into an country of friendless musicals that all authors fear. But Rodgers and Hammerstein? s thoughts were undeniably reviewing to the American audiences. Rodgers # 8217 ; music besides marked a new way for the author in Oklahoma! . He reinvented his manner of music from what he knew was popular to the audience to a rugged two-dimensionality. Davis Ewen besides states in his book The Story of America? s Musical Theatre, that most musical comedies expected the music to be written before the wordss, since the wordss were something functional tacked on to the tune. But the authors were so determined to do each word an indispensable portion of the text that they agreed at one time for Hammerstein to compose the wordss foremost, and Rodgers would compose the music from the wordss. ( 180 ) Bordman reiterates that it is sometimes difficult to recognize that # 8220 ; Oh, What A Beautiful Mornin # 8217 ; # 8221 ; is a walk-in. The tune of # 8220 ; The Surry With The Fringe On Top # 8221 ; captures the clip-clop of a Equus caballus drawing the vehicle. Rodgers # 8217 ; long-sustained gap note of his rubric vocal coupled with the driving tune that follows was of the freshest innovations of the kind and the faultless blending of words and music in # 8220 ; Peoples Will Say We # 8217 ; re In Love # 8221 ; justifiably made it the most popular of the twelvemonth. Much proclaiming ensued over how good the vocals and secret plan were integrated. ( 535 ) This coordination of musical beat and words was astonishing. They were able to catch simple sounds of the actions on phase and integrate them into the vocal, as if the lives of the characters could merely last with the music. This combination of music, sound, and phase motion is an indispensable key in musical theater. The audience must be made to believe that the character? s life is a vocal. It is indispensable that the character make the audience feel like the music is non merely a cockamamie add-on to the development secret plan, but an bing point that has and will ever be at that point in clip. The audience must be pulled into the universe of the musical, non merely merely entertained. And one time once more, Rodgers and Hammerstein had achieved that end. The integrating was complete to the? T? . They were good on their manner to making a musical that was so seamless that pull outing one minor item of it would throw the whole work of art off. It was a work of complete brotherhoo d and an achievement that was in no manner easily to make in the first topographic point. One factor in the success of Oklahoma! that can non be overlooked was the attitude of the American people at the clip it was presented. In The World of Musical Comedy, Stanley Green adds that World War II was more than a twelvemonth old when the musical opened, and those who remained at place were going progressively cognizant of the heritage they enjoyed as a free people. Sing the happier, sunnier yearss that were so much a portion of this heritage gave audiences both an flight from day-to-day headlines and a feeling of optimism for the hereafter. ( 212 ) In American Musical Comedy, Bordman believed that Oklahoma! # 8217 ; s importance ballad elsewhere. The show made the American musical theater expression at America # 8217 ; s ain heritage for inspiration. Members of the American yesteryear afterlife provided a fertile field for librettists. ( 160 ) Playwrites were get downing to acknowledge the huge sum of inspiration the American state could supply for the new revolution of mus icals. During the clip of and after World War II, pride in America was deriving strength and so was the involvement of composing dramas and musicals that showed that pride of how great America was. Oklahoma! in bend brought more than merely new inventions of vocal, music, and dance to the phase, but a love for musicals that showed how beautiful older American civilization was. Oklahoma! was a musical of America? s enlargement into the western forepart and the western civilization. In more ways that one, Oklahoma! was a manner for metropolis inhabitants in New York City who sat in the audience to happen their manner to the West without of all time go forthing the metropolis. Rodgers and Hammerstein had experienced accomplishment when they could state a narrative through vocal and dance and transport the audience into the scene of the musical. Playgoers would go forth the theater experiencing like they had merely returned from an escapade out West, which is a playwrite? s sole aim whe n making a drama. The audience must be made to believe that they are sing the secret plan right along with the histrions on phase. Thus is the chief aim of theater in general ; to capture the audience and convey them to a different topographic point and clip where the secret plan of the drama is the lone battle in the universe at the clip. Rodgers and Hammerstein captured the kernel of the musical art in Oklahoma! . The audience was able to see the sounds and gestures of the West through the characters, music, wordss, costumes, sets, and dance of the musical. All facets had been woven together to organize a? musical comforter? that attracted a spectrum of attending and astonishment like no other drama or musical had done earlier. Bordman writes in American Musical Theatre: A History that what started in 1927 was perfected in 1943 when Oklahoma! premiered. It is considered by many to be the first musical comedy to hold a secret plan, musical mark and dances that were necessary ingredients to progress the narrative line. ( 536 ) It is merely just to hold with him. Rodgers and Hammerstein added the exact? ingredients? to make a charming and seductive musical that riveted audiences and even continues to pull audiences all over the universe to this twenty-four hours. Although Oklahoma! premiered some 40 old ages ago, and its manner of music and dance have grown old with the passing of clip, it still demands regard for its combination and inventive thoughts that revolutionized the musical industry at the clip. Rodgers and Hammerstein were the dominate force in musical comedy in the 1940 # 8217 ; s and 50 # 8217 ; s. Even their floating-point operations had noteworthy vocals. Several of their shows became successf ul movies. Oklahoma! # 8217 ; s importance in opening a new epoch in the American Musical Theatre will neer be challenged. It has become an American classic that society will forever hoarded wealth for its beautiful integrating of vocal and dance. Works CitedBordman, Gerald. American Musical Comedy. Oxford: Oxford UP, 1986. # 8212 ; . American Musical Theater: A Chronicle. Oxford: Oxford UP, 1986. Ewen, David. American Musical Theater. New York: Henry Holt, 1959. # 8212 ; . The Story of America? s Musical Theater. New York: Chilton, 1968. Green, Stanley. The World of Musical Comedy. Washington, DC: Da Capo, 1980. Swain, Joseph P. The Broadway Musical: A Critical and Musical Survey. Oxford: Oxford UP, 1990.