Industrial Revolution and Its Impact on the Society Essay

Industrial Revolution and Its Impact on the Society Change whether it be positive or negative is unavoidable. Change is the whole reason the Earth is a reality in the first place. If we look at the creation of the world both from a biblical sense, god wanted to create something new, thus we have all of the living creatures on this planet. If we look at the same example from the big bang and evolutional theory we have come to the same conclusion. Should that have been the only transformation of this short living history of this growing and ever changing world? This world has under gone tremendous transformations due to both human and natural factors. Volcanoes erupt, brush fires start, floods, and tornados, these are all factors of†¦show more content†¦The peasant would spend all day from sun up to sun down working. Other like nobles and kings did less real labor. Sure a noble did more than a king but less than common folk. Nobles often intermingled with higher society such as parliament officials and the royalty. With one rev olution after another all of that was soon to change. A small town by the name of Manchester, England would become the first industrialized city between 1780 and 1851. The population grew dramatically, and over half of that population now lived in cities. Changing the percentage from 80% rural, to about 50% rural, and 50% urban. By time of 1850 the revolution was underway. New mines, machines, and new and faster production techniques made iron cheap to produce, and easy work which was became available almost anywhere. Factories and railroads sprang up everywhere.ii Because of this more and families move into cities and worked in factories, therefore putting a lot of small farmers and businessmen out of business. In less than 100 years, the population of the city of Manchester, England grew from 25,00 to 367,000 by 1850. Both industrialization and urbanization changed the landscape forest shrank because space and wood was needed for construction of factories, cities, railroads, and mines.iii Because of this, the land water was altered. The land was now dead to new life. The factories and cities madeShow MoreRelatedIndustrial Revolution : Impact On Society1092 Words   |  5 PagesIndustrial Revolution: Impact on Society Chernyka Love HIST112 Professor Adam Howard American Military University 15 March 2015 The Industrial Revolution is a term used to describe a period characterized by a transition from old to new processes of manufacturing. This period occurred during the 18th and 19th century. The transition was seen to include movement from primitive hand production to the same type of production using faster more efficient means by use of machines. The era also featuredRead MoreThe Impact of the Industrial Revolution on Western Society1367 Words   |  6 PagesThe Industrial Revolution had a significant impact on Western society and the effects were numerous and mainly positive. The Industrial Revolution began in England in the 1790’s and spread throughout Europe and eventually to America. The extensive effects of the Industrial Revolution influenced almost every aspect of daily life and human society in some way. During this time period, widespread transportation such as railroads became available and important for the movement of goods and people. AlsoRead MoreIndustrial Revolution Impact On Western Society1521 Words   |  7 PagesWestern society today, it is easily possible to communicate with people, travel, make purchases, and use those purchases. People can easily buy things that they need at a store, drive a car to work and to visit friends, or pick up a phone or computer to speak to friends. However, none of this would be possible without a means of communication, factories to manufacture the products, places to work, and ways to travel and transport goods. It can easily be seen that the Industrial Revolution is oneRead MoreImpact Of The Industrial Revolution On Our Society1864 Words   |  8 Pages The Industrial Revolution The Industrial Revolution left an everlasting impact on our society because it changed the way humans produce goods and materials, and this impact was felt around the world. Things would be quite difficult today if we were still relying on the technology from 1812. Throughout the last century, technical innovations have enabled people to live better and more productive lives. Humans have evolved with time, and as we have evolved, so must our technology. Innovation is partRead MoreImpact Of The Industrial Revolution On Capitalism And The Contemporary Society Essay1625 Words   |  7 PagesThe impact of the Industrial Revolution on Capitalism and the Contemporary Society, When looking into the past during the Industrial Revolution, there were many cause and effect events that occurred, the Industrial Revolution changed the lives of many, these changes in society were caused by the innovations of the time period, and the need for a more productive environment. There was a movement from an agricultural society to a manufacturing society; these changes affected the family’s abilityRead MoreThe Industrial Revolution And Its Impact On Society And The Business World1668 Words   |  7 PagesThe industrial revolution had a significant impact upon society and the business world. This impact is keenly felt throughout Bartleby as Herman Melville tries to illustrate the strong sense of tension and dread that manifests during the industrial revolution. The source of these sensations comes from the growing influence of technology. The industrial revolution hailed a plethora of new technology all centered on business, commerce, and productivity. However, with the increasing efficiency of technologyRead MoreThe Impact of the Industrial Revolution on British Society and Economy2053 Words   |  9 PagesThe impact of the Industrial Revolution on British society and economy There is no doubt that the Industrial Revolution plays a central role in the modern British history. The structure of British society has forever changed by the impact and consequences of Industrial Revolution. The Industrial Revolution is often stated as the increase of the number of factories, the exercise of steam power in a wide range of area and the mass-production produced by new technology in the course of 1750 to 1850Read MoreThe Impact Of Industrialization On Society During The Industrial Revolution1721 Words   |  7 Pages Examine in detail the History of the Industrial Revolution. Discuss why Britain led the way in the Industrial Revolution and also explain in detail the effects of industrialization on society. Had it not been for the industrial revolution, I would doubt very much that we would enjoy the technology we have in the year 2000. The reason we have this technology is that between the years 1750 and 1914 a great change in the world s history was made. People started to discover faster methods of producingRead MoreImpact Of The Industrial Revolution On The Society Of The American Citizens1677 Words   |  7 PagesThe industrial revolution in the 1800s enhanced the lives of the American citizens. No longer were cultivation and farming a chief concern; instead, manufacturing and machinery were the major improvements of that time. Still today, big corporations are looking for the next big thing that could aid citizens in their everyday lives. What is often ignored, however, are the environmental factors that are being affected by the decisions made by these industries. Harmful acid rain, smog, and buried nuclearRead MoreThe Impact Of Industrialization On Society During The Industrial Revolution1724 Words   |  7 PagesThe Industrial Revolution Examine in detail the History of the Industrial Revolution. Discuss why Britain led the way in the Industrial Revolution and also explain in detail the effects of industrialization on society. Had it not been for the industrial revolution, I would doubt very much that we would enjoy the technology we have in the year 2000. The reason we have this technology is that between the years 1750 and 1914 a great change in the world s history was made. People started to discover

When Is It Ok For Companies Use Personal Data - 1864 Words

When is it Ok for companies to use personal data? Introduction For the past few years, new information technologies have increased the possibility for companies to collect, store, analyze, share and use personal information. These activities have had many positive effects on the economy in general and certain advantages for consumers, including more customization and better targeting of commercial proposals. However, adverse effects due to the knowledge of these data have also been updated, including one related to the privacy invasion. The variety of responses that the subject arouses has led researchers, individuals and companies to wonder what is the respect of private life to generate such a strong opposition and also contrasting†¦show more content†¦Holding face-to-face interviews minimize this challenge because a â€Å"trust relationship† is established with the researcher, prompting the interviewee to release and reveal more about their opinion. Furthermore, this technique allows to better understand the cause of their rea ctions, which was one of my goals. It also offers the advantage of promoting the validity of the data produced, to the extent that the answers are spontaneously generated by the interviewee and are therefore more likely to reflect what he or she thinks. To increase the reliability of the work, I was also committed to conducting interviews respecting the basic rules in this area (re-phrasing questions, sounding empathic and etc.). The protocol prepared for these interviews were composed of three parts. First there combined inaugural questions to establish a good relationship with the respondent and make them feel comfortable. Secondly, there was the main part that touched the topic itself; where participants were asked about situations where they had to share personal information, what feeling they had toward companies and the government collecting, sharing or using their personal information and the level of trust they attribute to these entities when it comes to the protection of their personal information. The last part was just a closure of the interview where the respondent was given the opportunity to share his thoughts on anything else he or she believe was necessary to take

The Vampire Diaries The Struggle Chapter Three Free Essays

Bonnie stared. â€Å"I don’t remember anything about the bridge. It didn’t feel like a bridge. We will write a custom essay sample on The Vampire Diaries: The Struggle Chapter Three or any similar topic only for you Order Now † â€Å"But you said it yourself, at the end. I thought you remembered†¦Ã¢â‚¬  Elena’s voice died away. â€Å"You don’t remember that part,† she said flatly. It was not a question. â€Å"I remember being alone, somewhere cold and dark, and feeling weak†¦ and thirsty. Or was it hungry? I don’t know, but I needed†¦ something. And I almost wanted to die. And then you woke me up.† Elena and Meredith exchanged a glance. â€Å"And after that,† Elena said to Bonnie, â€Å"you said one more thing, in a strange voice. You said not to go near the bridge.† â€Å"She toldyou not to go near the bridge.† Meredith corrected. â€Å"You in particular, Elena. She said Death was waiting.† â€Å"I don’t care what’s waiting,† said Elena. â€Å"If that’s where Stefan is, that’s where I’m going.† â€Å"Then that’s where we’re all going,† said Meredith. Elena hesitated. â€Å"I can’t ask you to do that,† she said slowly. â€Å"There might be danger – of a kind you don’t know about. It might be best for me to go alone.† â€Å"Don’t,† said Elena quickly. â€Å"You were the one who said it wasn’t a game.† â€Å"And not for Stefan, either,† Meredith reminded them. â€Å"We’re not doing him much good standing around here.† Elena was already shrugging out of her kimono, moving toward the closet. â€Å"We’d better all bundle up. Borrow anything you want to keep warm,† she said. When they were more or less dressed for the weather, Elena turned to the door. Then she stopped. â€Å"Robert,† she said. â€Å"There’s no way we can get past him to the front door, even if he’s asleep.† Simultaneously, the three of them turned to look at the window. â€Å"Oh, wonderful,† said Bonnie. As they climbed out into the quince tree, Elena realized that it had stopped snowing. But the bite of the air on her cheek made her remember Damon’s words. Winter is an unforgiving season, she thought, and shivered. All the lights in the house were out, including those in the living room. Robert must have gone to sleep already. Even so, Elena held her breath as they crept past the darkened windows. Meredith’s car was a little way down the street. At the last minute, Elena decided to get some rope, and she soundlessly opened the back door to the garage. There was a swift current in Drowning Creek, and wading would be dangerous. The drive to the end of town was tense. As they passed the outskirts of the woods, Elena remembered the way the leaves had blown at her in the cemetery. Particularly oak leaves. â€Å"Bonnie, do oak trees have any special significance? Did your grandmother ever say anything about them?† â€Å"Well, they were sacred to the Druids. All trees were, but oak trees were the most sacred. They thought the spirit of the trees brought them power.† Elena digested that in silence. When they reached the bridge and got out of the car, she gave the oak trees on the right side of the road an uneasy glance. But the night was clear and strangely calm, and no breeze stirred the dry brown leaves left on the branches. â€Å"Keep your eyes out for a crow,† she said to Bonnie and Meredith. â€Å"A crow?† Meredith said sharply. â€Å"Like the crow outside Bonnie’s house the night Yangtze died?† â€Å"The night Yangtze was killed. Yes.† Elena approached the dark waters of Drowning Creek with a rapidly beating heart. Despite its name, it was not a creek, but a swiftly flowing river with banks of red native clay. Above it stood Wickery Bridge, a wooden structure built nearly a century ago. Once, it had been strong enough to support wagons; now it was just a footbridge that nobody used because it was so lay on the ground. Despite her brave words earlier, Bonnie was hanging back. â€Å"Remember the last time we went over this bridge?† she said. Too well, Elena thought. The last time they had crossed it, they were being chased by†¦ something†¦ from the graveyard. Or someone, she thought. â€Å"We’re not going over it yet,† she said. â€Å"First we’ve got to look under it on this side.† â€Å"Where the old man was found with his throat torn open,† Meredith muttered, but she followed. The car headlights illuminated only a small portion of the bank under the bridge. As Elena stepped out of the narrow wedge of light, she felt a sick thrill of foreboding. Death was waiting, the voice had said. Was Death down here? Her feet slipped on the damp, scummy stones. All she could hear was the rushing of the water, and its hollow echo from the bridge above her head. And, though she strained her eyes, all she could see in the darkness was the raw riverbank and the wooden trestles of the bridge. â€Å"Stefan?† she whispered, and she was almost glad that the noise of the water drowned her out. She felt like a person calling â€Å"who’s there?† to an empty house, yet afraid of what might answer. â€Å"This isn’t right,† said Bonnie from behind her. â€Å"What do you mean?† Bonnie was looking around, shaking her head slightly, her body taut with concentration. â€Å"It just feels wrong. I don’t – well, for one thing I didn’t hear the river before. I couldn’t hear anything at all, just dead silence.† Elena’s heart dropped with dismay. Part of her knew that Bonnie was right, that Stefan wasn’t in this wild and lonely place. But part of her was too scared to listen. â€Å"We’ve got to make sure,† she said through the constriction in her chest, and she moved farther into the darkness, feeling her way along because she couldn’t see. But at last she had to admit that there was no sign that any person had recently been here. No sign of a dark head in the water, either. She wiped cold muddy hands on her jeans. â€Å"We can check the other side of the bridge,† said Meredith, and Elena nodded mechanically. But she didn’t need to see Bonnie’s expression to know what they’d find. This was the wrong place. â€Å"Let’s just get out of here,† she said, climbing through vegetation toward the wedge of light beyond the bridge. Just as she reached it, Elena froze. Bonnie gasped. â€Å"Oh, God – † â€Å"Get back,† hissed Meredith. â€Å"Up against the bank.† Clearly silhouetted against the car headlights above was a black figure. Elena, staring with a wildly It was moving toward them. Ducking out of sight, Elena cowered back against the muddy riverbank under the bridge, pressing herself as flat as possible. She could feel Bonnie shaking behind her, and Meredith’s fingers sank into her arm. They could see nothing from here, but suddenly there was a heavy footfall on the bridge. Scarcely daring to breathe, they clung to one another, faces turned up. The heavy footsteps rang across the wooden planks, moving away from them. Please let him keep going, thought Elena. Oh, please†¦ She sank her teeth into her lip, and then Bonnie whimpered softly, her icy hand clutching Elena’s. The footsteps were coming back. I should go out there, Elena thought. It’s me he wants, not them. He said as much. I should go out there and face him, and maybe he’ll let Bonnie and Meredith leave. But the fiery rage that had sustained her that morning was in ashes now. With all her strength of will, she could not make her hand let go of Bonnie’s, could not tear herself away. The footsteps sounded right above them. Then there was silence, followed by a slithering sound on the bank. No, thought Elena, her body charged with fear. He was coming down. Bonnie moaned and buried her head against Elena’s shoulder, and Elena felt every muscle tense as she saw movement – feet, legs – appear out of the darkness.No †¦ â€Å"What are youdoing down there?† Elena’s mind refused to process this information at first. It was still panicking, and she almost screamed as Matt took another step down the bank, peering under the bridge. â€Å"Elena? What are youdoing?† he said again. Bonnie’s head flew up. Meredith’s breath exploded in relief. Elena herself felt as if her knees might give way. â€Å"Matt,† she said. It was all she could manage. Bonnie was more vocal. â€Å"What do you thinkyou’re doing?† she said in rising tones. â€Å"Trying to give us a heart attack? What are you out here for at this time of night?† Matt thrust a hand into his pocket, rattling change. As they emerged from under the bridge, he stared out over the river. â€Å"I followed you.† â€Å"Youwhat ?† said Elena. Reluctantly, he swung to face her. â€Å"I followed you,† he repeated, shoulders tense. â€Å"I figured you’d find a way to get around your aunt and go out again. So I sat in my car across the street and watched your.† Elena didn’t know what to say. She was angry, and of course, he had probably done it only to keep his promise to Stefan. But the thought of Matt sitting out there in his battered old Ford, probably freezing to death and without any supper†¦ it gave her a strange pang she didn’t want to dwell on. He was looking out at the river again. She stepped closer to him and spoke quietly. â€Å"I’m sorry, Matt,† she said. â€Å"About the way I acted back at the house, and – and about – † She fumbled for a minute and then gave up. About everything, she thought hopelessly. â€Å"Well, I’m sorry for scaring you just now.† He turned back briskly to face her, as if that settled the matter. â€Å"Now could you please tell me what you think you’re doing?† â€Å"Bonnie thought Stefan might be here.† â€Å"Bonnie didnot ,† said Bonnie. â€Å"Bonnie said right away that it was the wrong place. We’re looking for somewhere quiet, no noises, and closed in. I felt†¦ surrounded,† she explained to Matt. Matt looked back at her warily, as if she might bite. â€Å"Sure you did,† he said. â€Å"There were rocks around me, but not like these river rocks.† â€Å"Uh, no, of course they weren’t.† He looked sideways at Meredith, who took pity on him. â€Å"Bonnie had a vision,† she said. Matt backed up a little, and Elena could see his profile in the headlights. From his expression, she could tell he didn’t know whether to walk away or to round them all up and cart them to the nearest insane asylum. â€Å"It’s no joke,† she said. â€Å"Bonnie’s psychic, Matt. I know I’ve always said I didn’t believe in that sort of thing, but I’ve been wrong. You don’t know how wrong. Tonight, she – she tuned in to Stefan somehow and got a glimpse of where he is.† Matt drew a long breath. â€Å"I see. Okay†¦Ã¢â‚¬  â€Å"Don’t patronize me! I’m not stupid, Matt, and I’m telling you this is for real. She was there, with Stefan; she knew things only he would know. And she saw the place he’s trapped in.† â€Å"Trapped,† said Bonnie. â€Å"That’s it. It was definitely nothing open like a river. But there was water, water up to my neck.His neck. And rock walls around, covered with thick moss. The water was ice cold and still, and it smelled bad.† â€Å"But what did you see?† Elena said. â€Å"Nothing. It was like being blind. Somehow I knew that if there was even the faintest ray of light I would be able to see, but I couldn’t. It was black as a tomb.† â€Å"As a tomb†¦Ã¢â‚¬  Thin chills went through Elena. She thought about the ruined church on the hill above the graveyard. There was a tomb there, a tomb she thought had opened once. â€Å"No†¦ but I don’t get any sense of where itcould be then,† Bonnie said. â€Å"Stefan wasn’t really in his right mind; he was so weak and hurt. And so thirsty – â€Å" Elena opened her mouth to stop Bonnie from going on, but just then Matt broke in. â€Å"I’ll tell you what it sounds like to me,† he said. The three girls looked at him, standing slightly apart from their group like an eavesdropper. They had almost forgotten about him. â€Å"Well?† said Elena. â€Å"Exactly,† he said. â€Å"I mean, it sounds like a well.† Elena blinked, excitement stirring in her. â€Å"Bonnie?† â€Å"Itcould be,† said Bonnie slowly. â€Å"The size and the walls and everything would be right. But a well is open; I should have been able to see the stars.† â€Å"Not if it were covered,† said Matt. â€Å"A lot of the old farmhouses around here have wells that are no longer in use, and some farmers cover them to make sure little kids don’t fall in. My grandparents do.† Elena couldn’t contain her excitement any longer. â€Å"That could be it. Thatmust be it. Bonnie, remember, you said it wasalways dark there.† â€Å"Yes, and it did have a sort of underground feeling.† Bonnie was excited, too, but Meredith interrupted with a dry question. â€Å"How many wells do you think there are in Fell’s Church, Matt?† â€Å"Dozens, probably,† he said. â€Å"But covered? Not as many. And if you’re suggesting somebody dumped Stefan in this one, then it can’t be any place where people would see it. Probably somewhere abandoned†¦Ã¢â‚¬  â€Å"And his car was found on this road,† said Elena. â€Å"The old Francher place,† said Matt. They all looked at one another. The Francher farmhouse had been ruined and deserted for as long as anybody could remember. It stood in the middle of the woods, and the woods had taken it over nearly a century ago. â€Å"Let’s go,† added Matt simply. Elena put a hand on his arm. â€Å"You believe – ?† He looked away a moment. â€Å"I don’t know what to believe,† he said at last. â€Å"But I’m coming.† â€Å"From here we walk,† he said. Elena was glad she’d thought of bringing rope; they’d need it if Stefan were really in the Francher well. And if he wasn’t†¦ She wouldn’t let herself think about that. It was hard going through the woods, especially in the dark. The underbrush was thick, and dead branches reached out to snatch at them. Moths fluttered around them, brushing Elena’s cheek with unseen wings. Eventually they came to a clearing. The foundations of the old house could be seen, building stones tied to the ground now by weeds and brambles. For the most part, the chimney was still intact, with, hollow places where concrete had once held it together, like a crumbling monument. â€Å"The well would be somewhere out back,† Matt said. It was Meredith who found it and called the others. They gathered around and looked at the flat, square block of stone almost level with the ground. Matt stooped and examined the dirt and weeds around it. â€Å"It’s been moved recently,† he said. That was when Elena’s heart began pounding in earnest. She could feel it reverberating in her throat and her fingertips. â€Å"Let’s get it off,† she said in a voice barely above a whisper. The stone slab was so heavy that Matt couldn’t even shift it. Finally all four of them pushed, bracing themselves against the ground behind it, until, with a groan, the block moved a fraction of an inch. Once there was a tiny gap between stone and well, Matt used a dead branch to lever the opening wider. Then they all pushed again. When there was an aperture large enough for her head and shoulders, Elena bent down, looking in. She was almost afraid to hope. â€Å"Stefan?† The seconds afterward, hovering over that black opening, looking down into darkness, hearing only the echoes of pebbles disturbed by her movement, were agonizing. Then, incredibly, there was another sound. â€Å"Who – ? Elena?† â€Å"Oh, Stefan!† Relief made her wild. â€Å"Yes! I’m here, we’re here, and we’re going to get you out. Are you all right? Are you hurt?† The only thing that stopped her from tumbling in herself was Matt grabbing her from behind. â€Å"Stefan, hang on, we’ve got a rope. Tell me you’re all right.† There was a faint, almost unrecognizable sound, but Elena knew what it was. A laugh. Stefan’s voice was thready but intelligible. â€Å"I’ve – been better,† he said. â€Å"But I’m – alive. Who’s with you?† She slapped the top of his head. â€Å"Don’t joke about it! Get him up!† â€Å"Yes, ma’am,† said Matt, a little giddily. â€Å"Here, Stefan. You’re going to have to tie this around you.† â€Å"Yes,† said Stefan. He didn’t argue about fingers numb with cold or whether or not they could haul his weight up. There was no other way. The next fifteen minutes were awful for Elena. It took all four of them to pull Stefan out, although Bonnie’s main contribution was saying, â€Å"come on, comeon ,† whenever they paused for breath. But at last Stefan’s hands gripped the edge of the dark hole, and Matt reached forward to grab him under the shoulders. Then Elena was holding him, her arms locked around his chest. She could tell just how wrong things were by his unnatural stillness, by the limpness of his body. He’d used the last of his strength helping to pull himself out; his hands were cut and bloody. But what worried Elena most was the fact that those hands did not return her desperate embrace. When she released him enough to look at him, she saw that his skin was waxen, and there were black shadows under his eyes. His skin was so cold that it frightened her. She looked up at the others anxiously. Matt’s brow was furrowed with concern. â€Å"We’d better get him to the clinic fast. He needs a doctor.† â€Å"No!† The voice was weak and hoarse, and it came from the limp figure Elena cradled. She felt Stefan gather himself, felt him slowly raise his head. His green eyes fixed on hers, and she saw the urgency in them. â€Å"No†¦ doctors.† Those eyes burned into hers. â€Å"Promise†¦ Elena.† Elena’s own eyes stung and her vision blurred. â€Å"I promise,† she whispered. Then she felt whatever had been holding him up, the current of sheer willpower and determination, collapse. He slumped in her arms, unconscious. How to cite The Vampire Diaries: The Struggle Chapter Three, Essay examples

Marco Polo in Renaissance Essay Example For Students

Marco Polo in Renaissance Essay Marco Polo is today a well-known figure of pre-Renaissance travels, and for his ground breaking travels to lands never before Journeyed by Europeans. He was an Italian traveler and author, and spent the majority of his life traveling and exploring. His father Nicola and uncle Miffed, both merchants, had conducted business and trade in Constantinople (now known as Istanbul) and the Crimea. However, when Genoas merchants, rivals to the Italian Polos, took over trade in Constantinople, Nicola and Miffed were forced to find alternative trade opportunities. Thus, in 1260, they set out to the north of the Caspian Sea and reached Babushka (which was on the caravan route to China) and remained there for 3 years. Thereafter, in 1263, Joining the Persian envoys, they made their way to visit the Mongol Emperor Kabuki Khan in Changed (near present Beijing). To arrive there, they traveled the Silk Route via Samara Sand, the Northern Tibetan desert and the Mongolia Steppes. Upon their arrival, Kabuki Khan commissioned them to return with 100 missionaries to convert his nation to Christianity in opposition to the heartening Islamic armies. Over the next 3 years the Polo brothers traveled via Babushka, Persia, Syria and Acre (near Jerusalem) to arrive back home in Venice in 1269. The return to China In 1271, at the age of 17, Marco Polo accompanied his father and uncle back to China, visiting Acre to collect a letter from the newly elected Pope Gregory X for Kabuki Khan. They also collected a flask of oil from the Holy Land and 2 Dominican monks (who were later to desert the Polls) from Gregory X to deliver to the Khan. In the hopes of traveling to India by sea, the Polls traversed Persia to the mouth of the Persian Gulf, Horror. Yet, unsuccessful at finding a suitably safe boat, they continued traveling by land in a North-Easterly direction through Persians deserts and mountains to Karakas (now Khaki), on the Chinese border. As Marco Polo was ill, they waited here for a year to rest, after which they continued Journeying up the River Oxs (now AMA Daryl). They traveled through the Hindu Cush and Pamper mountains, (home of the large ironed sheep that now bear Marco Polos name), after which they traveled along the fringe of the Take Make desert to the region of Lop Nor in Sinking Province, China. Finally they crossed, by means of camel caravan, the Gobi Desert to reach (3 and a half years after leaving Europe) Kabuki Khans court in Changed in 1275. The Polls were the first Europeans to reach most of the territory they had covered, particularly the Gobi Desert and Pamper mountains. Marco Polos experiences in the Orient Marco Polo became an agent on numerous missions to various parts of the Mongolia Empire for 17 years as a part of the Khans diplomatic service. As part of his duties, he Journeyed through Tibet as well as along the Yanking, Yellow and upper Mekong rivers. He was probably also the first European to set foot on Burmese soil. It is believed he visited countries as far field as Siberia to Indonesian archipelago. He also visited the Mongolia capital at Khartoum. It is also believed that Marco Polo was city governor for Yanking (now Honchos) for three years from 1282 to 1285. During all this time, Marcos father and uncle served as military advisors to the Khan. As the Khan aged, the Polls were uneasy as to the Empires soundness. In 1292 the Persian Khan. They traveled for two years, having to use a sea route as war prevented the use of the land route. With a crew of 600 and a 14-ship fleet, they sailed from Gaiting (today known as Quantico) on Chinas coastline to Horror. On their way to Horror they Journeyed through Sumatra, the Strait of Malaria, past Sir Lankan, past the Madman and Nicolai Islands, reaching the city in 1294. .ubbb56669f03c6d8adc0fac72638352a9 , .ubbb56669f03c6d8adc0fac72638352a9 .postImageUrl , .ubbb56669f03c6d8adc0fac72638352a9 .centered-text-area { min-height: 80px; position: relative; } .ubbb56669f03c6d8adc0fac72638352a9 , .ubbb56669f03c6d8adc0fac72638352a9:hover , .ubbb56669f03c6d8adc0fac72638352a9:visited , .ubbb56669f03c6d8adc0fac72638352a9:active { border:0!important; } .ubbb56669f03c6d8adc0fac72638352a9 .clearfix:after { content: ""; display: table; clear: both; } .ubbb56669f03c6d8adc0fac72638352a9 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ubbb56669f03c6d8adc0fac72638352a9:active , .ubbb56669f03c6d8adc0fac72638352a9:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ubbb56669f03c6d8adc0fac72638352a9 .centered-text-area { width: 100%; position: relative ; } .ubbb56669f03c6d8adc0fac72638352a9 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ubbb56669f03c6d8adc0fac72638352a9 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ubbb56669f03c6d8adc0fac72638352a9 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ubbb56669f03c6d8adc0fac72638352a9:hover .ctaButton { background-color: #34495E!important; } .ubbb56669f03c6d8adc0fac72638352a9 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ubbb56669f03c6d8adc0fac72638352a9 .ubbb56669f03c6d8adc0fac72638352a9-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ubbb56669f03c6d8adc0fac72638352a9:after { content: ""; display: block; clear: both; } READ: Neolithic Revolution and the Renaissance Effects on History Essay ThesisBy this time, however, only 18 of the original crew had survived, and the Persian Khan had died a year earlier, leaving the Mongolia Princess to marry his son. Finally, 24 years after the commencement of their travels, the Polls returned to their hometown of Venice in 1295. By that stage they were very wealthy, as they had sewn precious gems and stones to their clothing for safekeeping. When Venice went to war with Genoa, Marco Polo was a captain in the Venetian fleet. However, he was taken prisoner by the Genomes in 1298, and during his imprisonment dictated the history of his travels to inmate Rustically of Pisa, a writer of romances. When he was released from prison in 1299, he returned to Venice where he married, had 3 daughters, and later died in 1324. He was buried next to his father in the church of Lorenz. Polos Legacy The account of Polos travels, first brought to light in French as Liver De Marseilles du Monde, later translated to The Travels of Marco Polo, is most probably the most influential travel book in history. Providing the reader with distinct descriptions and orphic detail, this account provided pre-Renaissance Europe with an influential and revolutionary knowledge of the geographical make-up, history and life of the Orient. Although known to be somewhat exaggerated with fabulous extravagances, this book became the foundation for the first correct maps of Europe and Asia. The Polos ultimately inspired Christopher Columbus interest in the East and spurred him on to set off on a new west-ward route to the Orient in 1492, and later spurring Vases dad Gamma to round the Cape of Good Hope in another new voyage in 1497.

From An Essay On free essay sample

Howl By James E.B. Breslin Essay, Research Paper Reprinted from the book, FROM MODERN TO CONTEMPORARY: American POETRY 1945-1965 by James E. Breslin published by the University of Chicago Press, right of first publication? 1983, 1994 by The University of Chicago. All rights reserved. This text may be used and shared in conformity with the carnival usage commissariats of US and international right of first publication jurisprudence and understanding, and it may be archived and redistributed in electronic signifier, provided that this full notice, including right of first publication information, is carried and provided that the University of Chicago Press is notified and no fee is charged for entree. Archiving, redistribution or republication of this text on other footings, in any medium, requires the consent of the University of Chicago Press. James E. B. Breslin Twenty old ages is more or less a literary coevals, Richard Eberhart comments, and Ginsberg # 8217 ; s Howl ushered in a new coevals. We will write a custom essay sample on From An Essay On or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Many modern-day poets have testified to the emancipating consequence that Ginsberg # 8217 ; s poem had on them in the late 1950ss, but ushered in is excessively tame a phrase to depict Ginsberg # 8217 ; s historical impact. Ginsberg, for whom every verse form begins, or ought to, with a frontal assault on established places, thrust a buffeting random-access memory against those protective enclosures, human and literary, so of import to the immature Wilbur and Rich. Angstrom ululation is a drawn-out animate being call and so an natural call, and Ginsberg # 8217 ; s poem still forcefully communicates the sense of a sudden, angry eruption of inherent aptitudes long thwarted, of the release of excluded homo and literary energies. Not irony but prophetic vision ; non a created character but bare confession ; non the autotelic verse form but wroth societal protest ; non the decorousnesss of high civilization but the linguistic communication and affair of the urban streets ; non disciplined craftmanship but self-generated vocalization and indiscriminate inclusion # 8211 ; Howl violated all the current artistic canons and provoked a literary, societal, and even legal dirt. Yet the Ginsberg of the late 1950ss was an curiously contradictory figure. He was a strident revolutionist who, when non denoting his absolute newness, was busily following his genealogical links with belowground traditions and ignored Masterss, particularly Blake and Whitman. History was bunk, but the new consciousness Ginsberg proclaimed was empowered by a reasonably familiar signifier of nineteenth-century Idealism, the footing for his esteem for Blake and Whitman. Ginsberg opened his poesy to sordid urban worlds, and he packed Howl with things, with affair. Yet, as we shall see, submergence in what he calls the entire carnal soup of clip was the first measure in a painful ordeal which ended in the airy # 8217 ; s flight out of clip. Ginsberg # 8217 ; s verse form ranges, nervously and ardently, after remainder from urban craze, a declaration the poet can merely happen in a perpendicular transcendency. Ginsberg # 8217 ; s going from the end-of-the-line modernism was a dramatic but barely a new one ; it took the signifier of a return to those really romantic theoretical accounts and attitudes that modernism tried to eschew. Ginsberg # 8217 ; s corruption of the prevailing artistic norms was non achieved either rapidly or easy. While poets like Wilbur and Lowell early built poetic manners and earned impressive critical acknowledgment, Ginsberg # 8217 ; s early calling consisted of a series of false starts. Howl # 8211 ; contrary to popular feeling # 8211 ; is non the work of an angry immature adult male ; the verse form was non written until its writer was 30, and Howl and Other Poems was Ginsberg # 8217 ; s first published but 3rd written book. Nor was Howl # 8211 ; contrary to a popular feeling created by its writer # 8211 ; a sudden, self-generated flood of originative energy. The verse form, started, dropped, so started once more a few old ages subsequently, was itself the merchandise of a series of false starts. The airy position of Howl had already been revealed to Ginsberg in a series of hallucinations he had experienced in the summer of 1948. The false starts were a portion of Ginsberg # 8217 ; s battle to accept these visions and to happen a literary signifier and linguistic communication that would dependably incarnate them. The letters, notebooks, and manuscripts in the Allen Ginsberg Archives at Columbia, along with Ginsberg # 8217 ; s published autobiographical Hagiographas and interviews, let us to document in ample item the slow development, in the late mid-fortiess and early 1950ss, of one dissenting poet. [ . . . . ] Ginsberg one time described Howl and Other Poems as a series of experiments in what can be done with the long line since Whitman. In Howl itself Ginsberg stepped outside the formalism of the 1950ss, stepped off from even the modernism of Williams, and turned back to the then-obscure poet of Leaves of Grass, transforming Whitman # 8217 ; s bardic jubilations of the airy yet stamp ego into a prophetic chant that is angry, agonised, fearful, amusing, mysterious, and affectionate # 8212 ; the drawn-out and ardent call of Ginsberg # 8217 ; s conceal ego which had survived. Loose shades howling for organic structure attempt to occupy the organic structures of populating work forces : this is how Ginsberg, from Howl onward, perceives the literary yesteryear: haunting signifiers tidal bore, like Moloch, to devour the present. Searching alternatively for a linguistic communication that would incarnate the ego, Ginsberg took the impression of signifier as find he had learned from Williams and pushed it in confessional and airy waies alien to the older poet. Form was no longer self-protective, like asbestos baseball mitts, but a procedure of compositional self-exploration, the activities of the notebooks turned into art. The Gates of Wrath had at the same time produced an ideal and an riddance of the writer # 8217 ; s personality ; the elevated formality of the linguistic communication, by its vagueness, confronts us with a poet who may be a grandiose figure but is besides cipher, and nowhere, in peculiar. In Empty Mirror, Ginsberg had tried to cast the eternal ego and descend to specifics ; but his imitativeness of Williams had produced the same self-annihilating consequence. Howl links the airy and the concrete, the linguistic communication of mystical light and the linguistic communication of the street, and the two are joined non in a inactive synthesis but in a dialectical motion in which an exhausting and penalizing submergence in the most seamy of modern-day worlds issues in transcendent vision. Ginsberg is still uneasy about life in the organic structure, which he more frequently represents as doing hurting ( i.e. , purgatoried their trunk ) than pleasance ; but in this manner he is, like his female parent in Kaddish, pained into Vision. At the stopping point of Howl, holding looked back over his life, Ginsberg can confirm a nucleus ego of innate Spirit and sympathetic humanity that has survived an agonising ordeal. Of the verse form # 8217 ; s three parts ( plus Footnote ) , the first is the longest and most powerful, an angry prophetic plaint. Its cataloging of existent and phantasmagoric images in long dithyrambic lines creates a motion that is rushed, frenzied, yet filled with sudden spreads and wild lights ; the verse form begins by plunging us in the appendages of modern urban life, overpowering and deluging us with esthesiss. Generalizing generational experience in Parts I and II, Ginsberg shows these best heads swerving back and Forth between extremes, with the abruptness and strength of an electric current spring between two poles ; they adopt attitudes of rebelliousness, yearning, panic, zaniness, craze, supplication, choler, joy, cryings, exhaustion # 8211 ; climaxing in the absolutes of lunacy and self-destruction. Apparels and so flesh are invariably being stripped off in this ordeal ; the best heads are exposed and tormented, so cast out into the cold and darkness. So they are at one time hounded and neglected ( unknown and forgotten in the verse form # 8217 ; s words ) . But modern civilisation # 8217 ; s indifference and ill will provoke a despairing hunt for something beyond it for religious light. Again and once more, the immature work forces are left round and exhausted, entirely in their empty suites, trapped in clip # 8211 ; at which point they gain glances of infinity. Howl invariably pushes toward exhaustion, a dead terminal, merely to hold these terminals turn into minutes of shivering rapture. In one of the verse form # 8217 ; s metaphors, boundaries are set down, push in on and envelop the ego # 8211 ; so all of a sudden disintegrate. At such times panic displacements to ecstasy ; the madman rotter is discovered to be the angel-headed hippie, and round ( beaten, exhausted ) becomes beatific. As the catalog of Part I moves through gestures of greater and greater despair, the flower peoples eventually present themselves on the granite stairss house with shaved caputs and harlequin address of self-destruction, instantaneous leukotomy # 8211 ; an act that madly mixes rebelliousness and entry, clownishness and martyrdom. What they want is immediate release from their caputs, from enduring ; what they get is drawn-out captivity, the concrete nothingness of insulin shootings and therapy aimed non at release but accommodation, their organic structures turned to lapidate every bit heavy as the Moon. At this point, in its longest and most desperate line, the verse form seems about to fall in, to terminal : with mother eventually ****** , and the last antic book flung out of the tenement window, and the last door closed at 4am and the last telephone slammed at the wall in answer and the last equipped room emptied down to the last piece of mental furniture, a xanthous paper rose twisted on a wire hanger in the cupboard, and even that complex number, nil but a hopeful small spot of hallucination # 8211 ; With all communicating broken off and all vision denied, the ego is left in a lonely, silent, empty room # 8211 ; the ego is such a room # 8211 ; the room itself the apogee of the verse form # 8217 ; s many images of walls, barriers, and enclosures. In holding the airy quest terminal in the refuge, Ginsberg is mentioning to his ain hospitalization, that of Carl Solomon ( whom he had met in the Columbia Psychiatric Institute ) and that of his female parent. Furthermore, lunacy is here perceived as encapsulating the mind in a private universe. In a strikingly similar transition in Kaddish Ginsberg emphasizes the manner his female parent # 8217 ; s unwellness removed her into a private, hallucinatory universe ( her ain existence ) where, in malice of all his hysterical shriek at her, she remained unaccessible ( no route that goes elsewhere # 8211 ; to my ain universe ) . Ginsberg himself had found it impossible to pass on his ain visions, to do them existent to others. At this climactic minute of Part I, so, the status of separation, division in clip # 8211 ; a preoccupation of Ginsberg # 8217 ; s poesy since The Gates of Wrath # 8211 ; has been taken all the manner out: temporal world is experienced as a series of unbridgeable spreads, a nothingness populated with self-enclosed heads. Ordeal by submergence leaves the ego experiencing dead and walled-in ; the organic structure, heavy as rock, deficiencies affect and becomes a heavy load, while the spirit incarcerated inside the dead organic structure finds itself in no sweet aureate climate but a concrete nothingness. Ginsberg # 8217 ; s province of head at this point can be compared with his prevision temper of hopelessness, or dead-end : with nil but the universe in forepart of me and non cognizing what to make with that. Here, excessively, at the bounds of desperation # 8211 ; with the active will yielded up # 8211 ; Ginsberg experiences a sudden extract of energy ; the verse form # 8217 ; s temper dramatically turns and the concluding lines in Part I affirm the ego # 8217 ; s power to love and to pass on within a life universe. Immediately following the verse form # 8217 ; s most desperate lines comes its most fond: ah, Carl, while you are non safe I am non safe, and now you # 8217 ; re truly in the entire animate being soup of clip. Unlike Wilber and Rich, Ginsberg does non seek a cautious self-insularity, and he here endorses exposure to danger and a stamp designation with the victims of clip and history. I saw the best heads of my coevals, Ginsberg had begun, as if a prophetic and retrospective withdrawal exempted him from the destiny he was depicting ; but Ginsberg now writes from inside the ordeal, as if the purpose of composing were non to determine or incorporate, but sympathetically to come in an experience. By his ain unrestrained spring of images and feelings Ginsberg exposes himself as author to literary ridicule and rejection, and he does put on the line the obliteration of his poetic ego in the released inundation of natural experience and emotion. But by put on the lining these dangers Ginsberg can accomplish the sort of poesy he describes in Part I # 8217 ; s last six lines, a poesy that bridges the spread between egos by incarnating the writer # 8217 ; s experience, doing the reader, excessively, experience it as a esthesis. Immediately following the verse form # 8217 ; s most intimate line comes its most elevated and grandiose, as if Ginsberg could truly claim a prophetic function merely after admiting his vulnerable humanity. and who therefore ran through icy streets obsessed with a sudden flash of the chemistry of the usage of the elipse the catalog the metre A ; the vibrating plane, who dreamt and made incarnate spreads in Time A ; Space through images juxtaposed, and trapped the archangel of the psyche betwen 2 ocular images and joined the elemental verbs and set the noun and elan of consciousness together jumping with esthesis of Pater Omnipotens Aeterna Deus to animate the sentence structure and step of hapless human prose and base before you speechless and intelligent and agitating with shame, rejected yet squealing out the psyche to conform to the beat of idea in his bare and eternal caput, the lunatic rotter and angel round in Time, unknown, yet seting down here what might be left to state in clip to come after decease, and rose reincarnate in the apparitional apparels of wind in the goldhorn shadow of the set and blew the agony of America # 8217 ; s bare head for love into an eli eli lamma lamma sabachthani saxaphone call that shivered the metropoliss down to the last wireless, with the absolute bosom of the verse form of life butchered out of their ain organic structures good to eat a thousand old ages. In biographical footings, the agonised elation of these lines may remember the emotional lift given Ginsberg when, seemingly at the terminal of his rope when hospitalized, he discovered in Carl Solomon person who shared his vision of life, person he could communicate with. But the temper of these lines more evidently grows out of the authorship that # 8217 ; s preceded them, as the verse form turns on itself to see its ain nature, manner, and being ; in fact, these shuting lines of Part I drop some helpful intimations on how to read Howl, as if Ginsberg feared he had gone excessively far and needed to flip a few overcrossings across the spread dividing him from his reader. Subsequently on I want to take up some of these intimations and speak in item about the verse form # 8217 ; s thought and pattern of linguistic communication ; for now I want to stress what Ginsberg is stating here about the really act of composing his verse form. In the 1948 visions the living Godhead had spoken to Ginsberg as to his boy ; no secret about Ginsberg # 8217 ; s individuality here! Now, holding been persecuted for his visions, Ginsberg echoes the desperation of Christ on the cross: eli eli lamma lamma Sabacthani. Yet this modern christ incarnates divine spirit non in his organic structure but in his authorship, which embodies the esthesis of Pater Omnipotens Aeterna Deus. So the anguished Ginsberg arises transmigrate in the revelatory words of his ain verse form. Howl, butchered out of his ain organic structure, will be good to eat a thousand old ages. The motion of Part I # 8212 ; a edifice sense of being closed-in issue in a release of airy energy # 8212 ; becomes the motion between Parts II and III of Howl. What sphinx of cement and aluminium bashed unfastened their skulls and ate up their encephalons and imaginativeness? Ginsberg asks at the start of Part II ; his reply # 8211 ; Moloch! # 8211 ; becomes the perennial base word for a series of emphatic phrases ( Moloch the loveless! Mental Moloch! ) in which Ginsberg seeks to exorcize this diabolic power by calling it right and exposing its true nature. In Part I Ginsberg immerses himself and his reader in the anguished strength and sudden lights of the belowground universe ; now in Part II, strengthened by his descent and return, he can face his tormentor angrily, his words endeavoring for charming force as they strike, like a series of hammer blows, against the Fe walls of Moloch. As we have merely seen, Moloch is an ancient divinity to whom kids were sacrificed, merely as the rains and imaginativeness of the present coevals are devoured by a covetous and barbarous societal system. Moloch stands loosely for authorization # 8212 ; familial, societal, literary # 8212 ; and Ginsberg does non portion the immature Adrienne Rich # 8217 ; s belief in an authorization that is tenderly terrible. Manifest in skyscrapers, prisons, mills, Bankss, Bedlams, ground forcess, authoritiess, engineering, money, bombs, Moloch represented a huge, across-the-board societal world that is at best unresponsive ( a concrete nothingness ) , at worst a malign presence that provenders off individualism and difference, Moloch # 8212 ; whose head is pure machinery # 8212 ; is Ginsberg # 8217 ; s version of Blake # 8217 ; s Urizen, pure ground and abstract signifier. A clear contrast to the grave yet tender voice that Ginsberg heard in the foremost of his visions, Moloch is besides the heavy judger of work forces, the parent whose chilling glimpse can terrorize the kid, paralyze him with diffidence and do him experience loony and fagot. Moloch, so, is the rule of separation and struggle in life, an external force so powerful that it eats its manner inside and divides the ego against itself. Moloch who entered my soul early! Moloch in whom I am a consciousness without a organic structure! Moloch who frightened me out of my natural rapture! It is Moloch who is the beginning of all the verse form # 8217 ; s images of stony coldness ( the granite stairss of the Bedlam, the organic structure turned to lapidate, the sphinx of cement and aluminium, the huge rock of war, the stones of clip, etc. ) . Like the Medusa of classical myth, Moloch petrifies. Ginsberg # 8217 ; s drive, heated repeat of the name, furthermore, creates the feeling that Moloch is everyplace, environing, enveloping # 8211 ; a cement or Fe construction inside of which the spirit, devoured, sits imprisoned and languishing ; and so Moloch is besides the beginning of all the verse form # 8217 ; s images of enclosure ( caput, room, refuge, gaol ) . Moloch whom I abandon! Ginsberg cries out at one point. Yet in malice of all the maledictions and even wit directed against this omnipresent presence, the release of repressed fury is eventually non emancipating ; choler is non the manner out. Part II begins with abounding rebelliousness, but it ends with loss, futility, and self-contempt buttocks Ginsberg sees all he values, visions! Omens! Hallucinations! Miracles! Ecstasies! # 8212 ; the whole shipload of sensitive Irish bull # 8212 ; gone down the American river! And so the temper at the stopping point of Part II, similar to the minute in Part I when the flower peoples with shaved caputs and harlequin address, present themselves for leukotomy, the temper here is hysterically self-destructive, with choler, laughter, and weakness uniting in a dizzy self-destructiveness: Real sanctum laughter in the river! They saw it all! the wild eyes! the holy cries! They bade farewell! They jumped off the roof! to solitude! wave! transporting flowers! Down to the river! into the street! An spring of choler against compressing authorization may be a phase in the procedure of self-liberation, but is non its terminal ; choler, perpetuating division, perpetuates Moloch. In fact, as the last line of Part II shows, such fury, futile in its whippings against the rocky consciousness of Moloch, at last bends back on the ego in Acts of the Apostless that are, nevertheless zany, suicidal. But in Part III, dramatically switching from self-consuming fury to renewal in love, a sort of self-integration, a reconciliation of destructive and originative urges, is sought. Carl Solomon! I # 8217 ; m with you in Rockland, Ginsberg begins, turning from angry declamatory rhetoric to a simple, conversational line, affectionate and reassuring in its gently swaying beat. Repeated, this line becomes the base phrase for Part III, its utterance each clip followed by a response that farther defines both Rockland and Solomon, and this unfolding word picture provides the dramatic motion of this subdivision every bit good as the declaration of the full verse form. At first, the responses stress Rockland as prison and Solomon as victim # 8211 ; where you # 8217 ; re madder than I am where you must experience really unusual where you imitate the shadiness of my female parent # 8211 ; but these are balanced against the undermentioned three responses, which stress the power of the lunatic to exceed his mere physical imprisonment. where you # 8217 ; ve murdered your 12 secretaries where you laugh at this unseeable wit where we are great authors on the same awful typewriter A little more than midway through, nevertheless, get downing with # 8211 ; where you bang on the catatonic piano the psyche is guiltless and immortal it should neer decease ungodly in an armed Bedlam # 8211 ; the replies begin to acquire longer, faster in motion, more phantasmagoric in imagination, as they, proclaiming a social/political/religious/sexual revolution, affirm the transcendent freedom of the ego. Part III # 8217 ; s forbear therefore establishes a context of emotional support and religious Communion, and it is from this base, taking off in progressively more audacious flights of rebellious energy, that Ginsberg eventually arrives at his existent ego. I # 8217 ; m with you in Rockland where we wake up electrified out of the coma by our ain psyche # 8217 ; aeroplanes boom over the roof they # 8217 ; ve come to drop beatific bombs the infirmary illuminates itself fanciful walls prostration O skinny hosts run outside O starry-spangled daze of clemency the ageless war is here O triumph bury your underwear we # 8217 ; rheniums free I # 8217 ; m with you in Rockland in my dreams you walk dripping from a sea-journey on the main road across America in cryings to the door of my bungalow in the Western dark Again, boundaries ( fanciful walls ) prostration, in a surging minute of revelatory release ; and the ego # 8211 ; which is guiltless and immortal # 8211 ; interruptions free of Moloch, of whom Rockland # 8217 ; s walls are an extension. The verse form, so, does non near with the self-destructive rescue of Part II ; nor does it stop with a amusing apocalypse ( O triumph bury your underwear we # 8217 ; re free ) ; it closes, alternatively, with a Whitmanesque image of love and reunion. Howl moves from the ordeal of separation, through the projecting out of the rule of division, toward fusion, a procedure that happens chiefly within the ego. Harmonizing to Ginsberg, Part III of Howl is a litany of avowal of the Lamb in its glorification. His repeat of the conversational I # 8217 ; m with you in Rockland turns it into an elevated liturgical chant. Wordss, no longer arms as they were in Part I, construct a charming conjuration which delivers us into a vision of the inexperienced person Lamb, the ageless Spirit locked inside Rockland, or inside the difficult surfaces of a defensive personality. Carl Solomon maps partially as a alternate for Naomi Ginsberg, still hospitalized in Pilgrim State when Howl was written ; Ginsberg, who hints every bit much in the verse form ( where you imitate the shadiness of my female parent ) , has late conceded this to be the instance. But less of import than placing the real-life referents in the verse form is to see that a actual individual has been transformed into ageless original, the Lamb of both Christian and Blakean mythology, and that Ginsberg # 8217 ; s loving reassurance is chiefly directed to this everlastingly guiltless facet of himself. The chorus line in Part II articulates the human understanding of the poet, while his responses uncover his messianic and airy ego which at foremost rendered him terrified and incommunicado but subsequently yielded what Ginsberg calls in Kaddish the cardinal to unlock the door of the encapsulated ego. Howl stopping points with Ginsberg # 8217 ; s loving credence of # 8211 ; himself ; the portion of him that had been lost and banished in clip in The Gates of Wrath has been reborn ( dripping from a sea-journey ) and reintegrated. The mirror is no longer empty. Yet this integrity, happening merely in a dream, is attained by agencies of flight and return. Howl battles for liberty, but Ginsberg, as he had when he moved to the West Coast, keeps looking back over his shoulder, confirming his fidelity to Carl Solomon, to Naomi Ginsberg, to images from his past life. Similarly, he says the tradition is a complete fuck-up so you # 8217 ; re on your ain, but Ginsberg leans for support on Blake and Whitman, both of whom he perceives as maternal, stamp, and hence non-threatening governments. Ginsberg in fact terminals by retreating from the societal, historical nowadays which he so strongly creates in the verse form. He stuffs the verse form with things from modern urban life ; but materiality maps in the verse form as a sort of whip, scourging Ginsberg into vision. Moloch, it seems, can non be exorcised, merely eluded through a perpendicular transcendency ; what starts out as a verse form of societal protest terminals by withdrawing into private religious/erotic vision, and Ginsberg # 8217 ; s silent premise of the immutableness of societal world establishes one regard in which he is a kid of the 1950ss instead than of the existence. Ginsberg decided non to compose a verse form so that he could show his existent ego # 8211 ; which turned out to be his idealised ego: the Lamb in its glorification. Confessional poesy frequently presents non an exposure but a mythologizing of the ego, as Plath # 8217 ; s poems strive to ordain her transmutation into the mulct, white winging myth of Ariel. In Howl Ginsberg wants to retrieve an original integrity that has been lost in clip ; he wants to continue a self-image which he can merely continue by maintaining it separate from temporal, physical world. Compositional self-exploration turns out to be compositional self-idealization. The lone manner to be like Whitman is to compose unlike Whitman, Williams believed. Ginsberg surely did take over some specific proficient characteristics of Whitman # 8217 ; s work # 8211 ; the long line, the catalog, the syntactic correspondence ; he was in fact rereading Leafs of Grass as he was working on Howl. Is it possible, so, that in larning to compose unlike Williams Ginsberg ended up composing like Whitman and therefore being like neither of these independent and advanced poets? The reply, I think, is that while Ginsberg did non carry through the absolute fresh start that he sometimes liked to conceive of, he does non simply reiterate the literary yesteryear. He imagines Whitman as the laminitis ; Ginsberg wants to travel frontward along lines initiated by the earlier author. Whitman # 8217 ; s signifier had seldom been farther explored, Ginsberg said ; the character of his progress can be defined by comparing the first two lines of one of Whitman # 8217 ; s long catalogs in Song of Myself # 8211 ; The pure contralto sings in the organ loft, The carpenter # 8217 ; s plane whistles its wild, go uping lisp, with two lines near the beginning of Part I of Howl : who bared their encephalons to Heaven under the El and saw Mohammedan angels reeling on tenement roofs illuminated, who passed through universities with beaming cool eyes hallucinating Arkansas and Blake-light calamity among the bookmans of war Both poets build a catalog out of long, end-stopped lines that are syntactically analogue. Yet Whitman # 8217 ; s lines, each entering a individual ascertained image in a crystalline manner, are simple and travel with an easy carefreeness, while Ginsberg, an embattled visionary, packs his lines with phantasmagoric images, and makes them travel with an about frenzied strength. As he does here, Ginsberg works throughout the verse form by juxtaposing the linguistic communication of the street ( El, staggering, tenement roofs, illuminated ) in electrifying ways. Howl therefore arrives at the airy by manner of the actual, as the verse form in The Gates of Wrath did non ; and Ginsberg here creates images / That work stoppage like lightning from ageless head instead than discoursing the possibility. Ginsberg # 8217 ; s linguistic communication incarnates spreads # 8211 ; between street and Eden, actual and airy # 8211 ; so leaps across them in a sudden flash. His usage of images juxtaposed shows that Ginsberg came to Whitman by manner of the modern poets ; but the resulting line is his ain. The line serves an expressive intent in baring the tormented mysterious consciousness of the poet ; but it serves a rhetorical intent as good # 8211 ; seeking to interrupt people # 8217 ; s mind systems unfastened by rationally overthrowing ( mechanical ) consciousness and replacing it with a wild associatory logic which sees connexions where before there were resistances. As a concluding illustration we can look at the line uncomparable unsighted streets of shivering cloud and lightning in the head jumping toward poles of Canada A ; Paterson, lighting all the inactive universe of Time between At foremost the line moves toward a terrorizing dead-end ( blind streets ) but so the landscape is internalized ( in the head ) and a flash illuminates the temporal universe and releases the archangel of the psyche from the dead-end of clip. As we have seen, the verse form as a whole # 8211 ; plunging us in the actual and temporal, so let go ofing us in a minute of vision # 8211 ; works in merely this manner. By James E.B. Breslin. Copyright? 1983, 1994 by University of Chicago

Marketing Communication in Benetton

Marketing Communication in Benetton The advertising objectives of the two companies The advertising objective of Benetton group was to create awareness about the brand and at the same time inform potential consumers about the ideals that the company supports.Advertising We will write a custom essay sample on Marketing Communication in Benetton specifically for you for only $16.05 $11/page Learn More This strategy was supposed to evoke emotions and to attach them to the company’s brand so that consumers can see it either as an agreeable personality or as an offending one or even a controversial personality. In this strategy, the objective of the company, which was to create awareness and imprint its logo in consumer’s memory, would be realized easily. Benetton used its controversial approach to advertising as a way to appear unique among its competitors. On the other hand, the objective of Yeo Valley was to inform customers of its products and to demystify the notion that organic foods must always be expensive and only to the rich. Several theories can explain the way advertising works, and these theories are useful for understanding the objectives of the two companies and their reason for the particular advertising strategies that they chose. Theories can either be on a singular version relating to the notion of hierarchy-of-effect. They can also be considering a multiple process approach and at the same time highlight the importance of location or brand attitude as the main communication objective. Irrespective of the underlying theory, communication ideas for advertising usually require companies to include six steps in separate or combined form. The steps are to become an advocate of the product, service or cause and then learn everything about it before going on to create an ad.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More The second one is to lear n about the target audience in conventional and specific terms that relate to the business such as their location and their opinion about the competition. The third step is to take the information learned about clients and target audience and to use it to come up with ideas and philosophies or techniques that can work. With several ideas in place, the fourth step is to expand on a few main ideas to ensure they communicate the message well. The next step is execution of the ideas and the last one is to collect feedback about the advertising. Based on the above six steps, the two companies appear to have met the criteria and this enabled them to achieve their objectives. For example, Benetton first defined its communication message and then proceeded to come up with advertising ideas that would help it create the relevant ads. The use of an internal ad team allowed it to control the process and to use ads that were coherent with the intentions of top management at the firm. The compan y collected feedback through media reactions of the ads it ran. In some cases, the feedback was bad and required public apologies from the company. Overall, Benetton could tell the success or failure of the ads by its performance in the market (Wardle, 2002). Yeo Valley also followed the steps to achieve its objective of reversing misconceptions about organic food and to promote its organic milk product.Advertising We will write a custom essay sample on Marketing Communication in Benetton specifically for you for only $16.05 $11/page Learn More It collected feedback through surveys and was able to engage consumers using social media, which helped Yeo Valley to determine whether its strategy was working or not. This came after extensive research into consumer trends and opinions on organic foods (Tiltman, 2011). Discussion on advantages and disadvantages of the advertising campaign used by Benetton for many years Benetton opted to capture social issues and h ighlight them in its advertisement for company values of promoting equality for all. When evaluating the ads in a postmodern society, they appear suiting to the characteristic of restlessness and use of an uncertain environment. They show that the company is not taking a business as usual approach and instead is trying to rearrange social power though advertising activism. In society, advertising works as a source of propaganda and people gain satisfaction when they purchase. Advertising at its core tries to sell a product by associating it with a particular socially efficacious characteristic such as what Benetton did with its â€Å"united colours of Benetton† ad campaign. The ads point to a preindustrial age where the object was to focus on events rather than objects where consumers would look at particular events such as arrival of ships and remember that it was time to make particular purchases. Today, the same would be applicable when talking of the arrival of new stock or holidays that come with massive sales from most companies (Bernardin et al., 2009). Advertising as Benetton case showed is a powerful social force but it caters mostly for mass consumers and does not actually change their attitudes and behaviours.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More The disadvantage of the Benetton historical approach is that it was concerned with changing people’s opinions about social issues that may or may not relate to the brand (Tungate, 2007). Although the brand would benefit by staying in the news for various reasons, it also clearly demarcated itself. In one communication, it would appeal to a segment of consumers only to lose them in another communication attempt. The campaign failed to realize that people harbour different sentiments on different social issues. Thus, being controversial alienates some of its customer bases (Tiltman, 2011). The ad campaign did well in packaging people’s emotions and selling it back to them in a classic sense of what advertising is supposed to do (Wardle, 2002). Good advertising works as a mirror to society where individuals see their fears and aspirations and channel the feelings into consumer choices. Thus, by using already existing social concerns, the ads excelled because they function ed by redirecting issues that target audiences already shared. For example, some ads by Benetton used images that highlight social attitudes about poverty and homosexuality as cues to sell to people. Since the ads were using contrasting images, they were very attractive and the social nature of the contrast created enough interest to cause viewers to take more time and analyse the ad. As they did, they internalized the message and the slogan of the company. They would recall it later when making purchases. The same would happen whenever they interacted with the company slogan again. This method allowed ads by the company to remain timeless as compared to the competition (Sutton, 2009). A disadvantage of controversial advertising strategy is that provoking thoughts of consumers does not always work as expected. It can backfire not only on the company’s reputation but also on its finances. In the US, Benetton had to pay fines and it was banned in Germany (Ganesan, 2003). These outcomes can create adequate public hype about a company or a brand, but without access to particular markets, they end up being advertising funds spend for no monetary benefits in return (The Economist, 2004). The ad campaigns by Benetton were also not working because the company was relying on one strategy when pursuing a global brand building campaign. It should have recognized differing cultures, ideologies and opinions among and within countries (Percy, 2008). Disadvantages of overlooking cultural and market differences in advertising arise when words have different meanings to different people yet the company persists with one slogan and communication method. For example, the company sought to express its values of equality using images, but the same equality message would be empowering to some people and disempowering to others. Instead of noticing these differences caused by people’s culture in some countries, it went ahead to create additional ads with the same under lying message. This only worked to alienate some people from the brand. Those oppressed because of allowing equal access to dangerous people or groups in society would not take the message well (Phillips, Doole Lowe, 2008). A universal approach fails to recognize the predominant stereotype that could be influencing perceptions of equality (Pincas and Loiseau, 2008). In predominant white populations as in most of the Western world, minorities are interpreted in the mainstream according to the way the overall white population accepts and views them. Thus, in advertising, equal representation will seek to make minorities of race, economic states or cultures achieve similar standards as the dominant population. However, since the view used is the one popular with the majority, it may not capture the actual wishes of the minority. In the Benetton case, a disadvantage of its adverting approach was that, the message communicated to the majority in any particular issues was not the same as the one communicated to the minority despite the use of a universal message. For example, some African-Americans felt offended by an image of a black woman feeding a white baby, and some white people may be offended by the same image for its associated corruption of the white race. Nevertheless, these sentiments belong to minorities, but highlighted them can have a negative impact on the overall association of the ad communication strategy of Benetton (Ganesan, 2003). Although the appeal by Benetton was well intentioned, its effect could be fearful and tormenting to some audiences. The emotions evoked could linger in the target person’s memory for long after viewing the ad and can even spark social discussions on the issues to arouse additional negative emotions that will channel back to the brand. In the end, the brand becomes very popular, but rather than promote equality, it creates more animosity for those who like it against those who do not agree with its adverting pri nciples (Nan and Faber, 2004). However, there is a benefit associated with controversially separating the target community. The ad ends up creating a community of loyal followers and defenders of its ideals, which translates to brand ambassadors that act as key influencers in the rest of society and help the company to achieve its objectives of growing sales or increasing awareness without incurring additional costs. Controversy is an essential element for making advertising messages go viral (Scott Scott, 2011). Types of companies that might find the type of advertisement effective The mandate for companies to support social and environmental issues is loud and comes from increasing global consumer awareness and activism practices. Companies have to embrace social issues as part of their business growth strategies (OBarr, 2010). Therefore, embracing social issues as part of advertising can be a welcome twist that connects them well with their target consumer communities. Neverthel ess, the suitability of a given advertising strategy to controversial social issues remains limited to particular industries and nature of business together with company objectives. In this regard, the following are some of the companies that are use the model of Benetton in advertising and be effective (OBarr, 2007). Companies believing that there are only shocking realities and no shocking pictures could include advocacy and consulting companies seeking to promote corporate or individual behaviour change. Here companies seek to make subsequent images of their advertising unique so that they can be provocative and create a scandal (Moriarty et al., 2015). A company that is entering a highly competitive market can benefit greatly from shock advertising because it will be able to create a lot of buzz in a short time with a limited budget. Companies dealing in high street fashion are an example, because they need to create hype about their new clothing lines just in time for a particu lar season and use up the generated attention to make sales before rivals react to the marketing strategy (Schultz and Schultz, 2004). A company that is seeking to promote an alternative product to an addictive product is also a good candidate for shock advertising. A company that is making electronic cigarettes can use shocking images of traditional cigarette smokers or associated effects of the smoking to pass its message (Mooij and Hofstede, 2010). Another good candidate for shock advertising is a children’s home, a charitable organization or a company that is carrying out social sensitive corporate social responsibility projects such as feeding the homeless. Concordia Children’s Services, an organization from Philippines in 2008 carried out a print and online ad campaign showing pig breastfeeding human babies similar to the way it would breastfeed several piglets concurrently. The ad was controversial and included a copy message of â€Å"if you don’t help t hem, who will?† It also included a number and the name of the organization. The contrast was interesting and thought provoking just as Benetton ads are (Bashin, 2011). Analysis of Yeo Valley’s 2010 campaign The Yeo Valley’s 2010 campaign was successful in its attempt to create seek attention, create interest and drive through a particular communication to compel viewers to act in a certain way. With the hierarchy model of advertising, which contributes to the hierarchy-of-effects theory, a consumer moves through three main stages namely cognitive stage, affective stage and finally behavioral stage. An effective ad is the one that allows consumers to transition smoothly through all the three stages. Ads that fail and lose consumers in any part of the process will not succeed overall. Therefore, every part of the model is essential. In the actual hierarchy-of-effects theory, consumers move from awareness to knowledge and this are all parts of the cognitive stage (G anesan, 2003). In the Yeo Valley’s 2010 campaign, consumers already first become aware of the farmers and the musical nature of the ad and then they realize that is actually farmers who are rapping. The ad uses their knowledge of hip-hop culture of rapping and they might have seen in popular hip-hop music videos. The ad combines it with their awareness of farmers and the familiarity of a farm with its machinery and buildings. Shooting the video in a farm quickly places the ad in context. The controversial image of farmers rapping creates interest, but to sustain the interest, which comes as the next step in the hierarchy-of-effects theory, the farmers mimic actual hip-hop videos and glorify their farm equipment, their clothing and the product, which is Yeo Valley’s yoghurt. There are scenes of cows with tags and neckbands that mimic scenes in actual rapping videos where rappers show their chains and glamorous wristwatches. There is a repeated scene of a tractor lifting itself on its back wheel and excavator (Covert, 2011). The interest in the ad is sustained by actual lyrics of the ad that communicate the brand message, informing people about the culture of consuming organic milk products is cool just the way hip-hop and rap music is cool. The strategy is appealing to a young population that is the target market, and this makes the ad effective (Barker Angelopulo, 2006). The final steps of the advertising model are evaluation, trial and evaluation. The ad succeed in making customers evaluate its products, and try them from stores then evaluating the product in relation to its advertised ideals as captured by customer feedback on the ad and on social media (BBC, 2011). The source of the ad communication is Yeo Valley and its message is that the company is capable of coming up with slick products and practices that make its customers appeal cool. In addition, the company is passing on the message that it is in harmony with nature. Customers receiv e cues about Yeo Valley showing the company following natural farming practices in a passionate way to make a difference in people’s lives. The channel for communication was online video, traditional media and social media. The traditional media airing of the video helped to create awareness, while the other two channels allowed the company to benefit from the awareness through sustained word-of-mouth referrals for the ad and adequate sensitization of the brand and the product. This eventually compelled people to try the product and evaluate it (Scott and Scott, 2011). Effect of marketing communication strategy of Benetton and Yeo Valley on the society The communication strategies of the two companies create new goals for advertising because they shatter social expectations. They increase the achievement threshold of advertising by extending the scope of traditional channels and designs of communication brand awareness beyond features that already familiar to consumers. On th e other hand, the brands make it possible for companies to change consumer perception about particular social issues that go beyond a particular product or brand. Benetton succeeded in highlighting plight of the minority and needy is several aspects of conventional stereotype images. Yeo Valley succeed in changing perception of its target community about organic foods in general and to increase support for natural farming practices by dissociating the practice with wealthy consumers and instead attaching it to a sustainability cause for the environment (Acton, 2011). Advertising that breaches social norms ends up creating more fear as the ideal method of advertising and the overall effect is that companies heighten fear levels in society than may work in the short term but alienate consumers in the end. Society ends up getting used to more stimulating images and videos of advertisements and immunity to advertising increases overall. Even with shock advertising, there is always a bet ter and more effective method of arousing interest and causing scandal compared to what currently works in the market. Therefore, firm are always playing catch-up to each other, and end up desensitizing consumers on the issues that they are supposed to arouse caring feelings (Batra, Myers and Aaker, 2006). However, the advertising strategy of the two companies also demonstrates the capabilities of non-verbal communication as an effective way of penetrating particular messages to consumers without risking alienation. It also shows that advertising is merging with other traditional forms of marketing to become a continuum rather than discrete segments. With interactivity built into advertising, the society is getting powers to shape advertising by companies through real-time reactions that defend a brand or tarnish it in public. Thus, companies are able to embrace advertising as a cyclic process in their marketing communication strategy. Conclusion The marketing communication strategy by Benetton and Yeo Valley is unique because it relies on novelty of concepts and communication messages. This paper analysed the two company marketing communication strategies to show some similarities sand unique features. The two companies succeed in different ways, but the turnaround in the Benetton strategy as explained in the case study shows that a shock-advertising model might not work so well for many companies. The controversies created by ads require additional marketing campaigns to correct and this can defeat the purpose of going with the strategy in the first place. Reference List Acton, A. (ed.) (2011) Issues in advertising, mass communication and public relations, Scholarly Editions. Barker, R. and Angelopulo, G. (2006). Integrated organisational communication. Cape Town: Juta. Bashin, K. (2011) 26 incredibly daring ads that were made to shock you, 16 July, Web. Batra, R., Myers, J.G. and Aaker, D.A. (2006) Advertising management, Delhi: Dorling Kindersley (India) P vt. Ltd. BBC (2011) Ad breakdown: Yeo Valley boyband, Web. Bernardin, T., Kemp-Robertson, P., Stewart, D.W., Cheng, Y., Wan, H., Rossiter, J.R., Erevelles, S., Roundtree, R., Zinkhan, G.M. and Fukawa, N. (2009) Envisioning the future of advertising creativity research: Alternative perspectives, Journal of Advertising, vol. 37, no. 4, pp. 131-150. Busch, R., Seidenspinner, M. and Unger, F. (2007). Marketing communication policies. Berlin: Springer. Covert, T.K.A. (2011) Manipulating images: World War II mobilization of women through magazine advertising, Lanham: Lexington Books. Ganesan, S. (2003) Benetton Group: Evolution of communication strategy, Hyderabad: ICPEA. Mooij, M.D. and Hofstede, G. (2010) The Hofstede model: Applications to global branding and advertising strategy and research, International Journal of Advertising, vol. 29, no. 1, pp. 85-110. Moriarty, S., Mitchell, N.D., Wells, W.D., Crawford, R., Brennan, L. and Spence-Stone, R. (2015) Advertising principles and pract ices, Melbourne: Pearson Australia. Nan, X. and Faber, R.J. (2004) Advertisement theory: Reconceptualising the building blocks, Marketing Theory Articles, vol. 4, no. 1/2, pp. 7-30. OBarr, W. (2010) A brief history of advertising in America, Advertising Society Review, vol. 11, no. 1. OBarr, W.M. (2006) Representations of masculinity and femininity in advertisements, Washington: Advertising Educational Foundation. OBarr, W.M. (2007) Ethics and advertising, Advertising Society Review, vol. 8, no. 3. Percy, L. (2008). Strategic integrated marketing communications. Oxford: Butterworth-Heinemann. Pincas, S. and Loiseau, M. (2008) A history of advertising, Los Angeles: Taschen. Prakashan, N. (2007) Advertising and sales promotion, Mumbai: Pragati Boks Pvt. Ltd. Schultz, D. and Schultz, H. (2004). IMC, the next generation. New York: McGraw-Hill. Scott, D. and Scott, D. (2011). The new rules of marketing PR. Hoboken, N.J.: John Wiley Sons. Sutton, D.H. (2009) Globalizing ideal beauty: How female copywriters of the J. Water Thompson Advertising Agency redefined beauty of for the twentieth century, New York: Palgrave Macmillian. The Economist (2004) The future of advertising: The harder hard sell, The Economist, 24 June. Tiltman, D. (2011) Yeo Valley: How a little TV can go a long way, Web. Tungate, M. (2007) A global history of advertising, London: Kogan-Page. Wardle, J. (2002) Developing advertising with qualitative market research, New York: Sage Publications.

The case of Granite Construction Industry Plc Study

The of Granite Construction Industry Plc - Case Study Example This paper focuses on Granite Construction Company. The paper is aimed at carrying out financial analyses of Granite Construction Plc with particular focus on the liquidity, profitability and solvency ratio so as to gain a reasonable basis for providing recommendations to investors and suppliers on whether to invest or continue business for the company, and finally see the various methods through which the company access the capital market. Having said this, the sections that follow will be structured as follows. Section two provides an overview of the company. Part three provide a table of the various ratios, section four compares these ratios to the industry benchmark, while the next section examine the capital structure of the company and provides recommendations to various interest groups. Granite Construction Inc is a heavy civil construction contractor in the United States. The Company operates nationwide, serving both public and private sector clients. In the public sector, th e company primarily focuses on infrastructure projects, including the construction of roads, highways, bridges, dams, canals, mass transit facilities and airport infrastructure. (Annual report 2007). In the private sector, Granite Construction Inc performs site preparation and infrastructure services for residential development, commercial and industrial buildings, plants and other facilities (www.graniteconstruction.com). According to the (2007), the company owns and leases substantial aggregate reserves and own a number of construction materials processing plants. The Company also have a contractor-owned heavy construction equipment fleets in the United States (www.graniteconstruction.com). Bodie et al (2002), defines the macro economy as the environment in which all firms operate. According to Bodie et al (2002), based on a study on the S&P 500, stock price tends to rise with earnings per share. Although ones ability to forecast the macro economy environment can lead to speculative investment performance, it is not enough to forecast the m

Answer 5 questions Essay Example | Topics and Well Written Essays - 1250 words

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