Models of Age and Disability

Models of Age and Disability Aging and disability Sonia STRENGTH BASED MODEL:- Strengths based practice is an approach to support that has a strong focus on the identification of people’s abilities, interests and capabilities and on their strengths and potential. Strengths based practice is largely founded on the work of Charles Rapp from the United States who founded the strengths model in relation to case management within the mental health sector. The main objective of this model is to analysis the health problems and issues of a client, support to a person in an appropriate way, find the needs of a client and the weaknesses of a client. More focus on the strengths of an individual. STRENGTHS:- Focus on the health and well-being of an individual It focuses on the client’s interests, skill and support systems. Identify the needs of an individual. Improve the quality of life. Builds the self-esteem and sense of competition WEEKNESSES:- Unrealistic goals. About only positive things. The weakness of the strength based model is that existing and potential abilities became the basis of classification and not the aspirations of individual. It is sometimes difficult to establish individual aspirations since it requires effective communication and not readily assessable. Many critics of the strength based approach points out the limitation to which abilities define the capability of the person to participate in the community. ASSESSMENT:- It focuses on people’s abilities and resiliencies and set their own goals, ambitions and solutions to difficult situations. Individual strengths and resources such as their passions, skills and interest in their relationships and environments. The goal of a comprehensive needs assessment is to determine an individual’s current abilities, resources, goals and needs. PLANNING:- Set their goals. Specific methods for setting up individual goals. Make a plan how to achieve their goals. Supports goals with resources from the individual and environment. CO-ORDINATION:- Improve availability, access and adaption of resources in the community. Professional/carer link up individual with available environment. The weakness of the strength based model is that existing and potential abilities became the basis of classification and not the aspirations of individual. It is sometimes difficult to establish individual aspirations since it requires effective communication and not readily assessable. Many critics of the strength based approach points out the limitation to which abilities define the capability of the person to participate in the community. Case Management Model In this model an imparted procedure of evaluation, arranging, assistance and promotion for choices and administrations are utilized to meet a customers all encompassing wishes through correspondence and existing assets to empower quality expense – successful results. This model has been utilized within an extensive variety of environment which incorporates however is not restricted to group administer to the matured, and individuals with inability and mental wellbeing issues. It requires an association to convey a far reaching scope of administrations based on the full appraisal that is utilized to create an administration plan. This model likewise concentrates on the decisions and inclination of the customers and the arrangement is produced upon it. Case administrators make arrangements and expert exercises that spill out of specific setting, project and customer populace. Normally center procedures to case administration are as per the following: screening, evaluation/hazard administration, forethought arranging, executing administrations course of action, observing, checking/assessment and promotion. Assessment There are a couple of similarities between the case administration model and the quality based model as it both respects the needs of the customers. On the off chance that organization show the essential focus is in the preoccupations of the customer as the case administrators urge the customers to go to relative activities and develop it so the inspiration driving the treatment is accomplished in the midst of gathering time. This model in like manner looks on the customers ability to do things in some degree and will endeavor to keep up their way of life however much as it can as they had it before the contamination and keep an element identity and bodies to the degree that could sensibly be required to help in the headway of the treatment. On the other hand there are various potential blocks in this model as the customers wellbeing may lessen due to wellbeing condition and poor environment conditions. Likewise the game plan will need to be changed in view of the conditions went up against by the customers and questionable circumstances. Planning The plan in this model is usually fixed unlike in strength based model because the client’s hobbies and preference are fixed and stable. Therefore the plan will be made for a long term goal to be achieved and it hardly be changed and the plan is not very detailed, it’s just as optional orientation. Coordinating In this model the coordination is between the case manager and the client as well as the relationship between other clients who participate in the same activity. Other consideration should be given to such as the client’s physical ability, elements like economy, climate, and etc. therefore the arraignments should be made in advance. Strengths and weaknesses of the case Management model This model is not difficult to be executed as it is focused around the necessity of the clients exercises as per their hobbies. It is great instrument to use to create both the psyche and the physical improvement of the client. The shortcoming of this model is that it could be effortlessly affected by the components like instability of the atmosphere and general physical state of the client and whatever possible individual issues on the clients part. Additionally this model cant be upgraded as it comes and it can influence the clients wellbeing and lessening the wellbeing state of the client. About whether as the clients wellbeing abatements a period will come when the client wont have the capacity to take an interest in the exercises as the arrangement is not being changed as per the advancement of the client. Perspective o the disability people It is one of the easiest models to use and it can be carried out easily in the client’s life because it is based on the client’s hobbies and preferences. This model will be continuingly developed during the practice in reality. It plays an important role in the recovery or dealing with the disabled people. The potential of the client will be found during the process of the treatment so there is a bright future of this model. Summary of the expected outcomes for the disabled In this model the clients life is intriguing notice satisfied than before as it focused around the distractions and the inclination of the client. It additionally creates the mental piece of the client. This model can additionally be utilized to make plans to the active recuperation. Then again this model will make the clients rely on upon the others for backing as it wont support clients in discovering an occupation to get by upon. Comparisons of the two models The quality built model primarily centers with respect to the customers qualities and capacities and makes an arrangement based upon that while case administration model concentrates on the leisure activities and inclination of the customers and sways them to go to relative exercises so the motivation behind the treatment is accomplished amid the group time. Then again case administration model is a bit like the quality based models as it both regards the needs of the clients. At the point when contrasting the arrangements in the models, the arrangement in the event that administration model is altered upon customers side interests and inclination though in quality based model the arrangement progressions as indicated by the advancement of the treatment. There are contrasts in the coordination part also. The quality based model will require a high coordination between the customer and case director while the case administration model obliges a decent coordination between the customer , case supervisor and alternate customers who are taking an interest in the movement. Customers with a mental objective can utilize quality based model and customers with physical needs can utilize case administration model.

Safety :: essays research papers

Health Safety Examination Summary of the Problems and Solutions of the New Product Line It is undoubtedly that the new product line is very important to my company. However, I found out that the new production line was not as safe as the way Engineer Oh described in his documentation. In this situation, Engineer Oh did not make provision for the safeguarding of life and health, and enforce safety regulations1. Actually, our new production line may cause serious injuries to our new production line workers. If I ignore these problems, I am also against  ¡Ã‚ §the Occupational Health and Safety Act ¡Ã‚ ¨ and  ¡Ã‚ §the Professional Engineers Act ¡Ã‚ ¨. In this summary, the three main problems of the new product line (with references to the acts) and the solutions are discussed. Problem 1  ¡V High-Voltage Equipment Not all the workers are familiar with our new high-voltage equipment. It may cause electric shock to the workers. Some of these workers even do not realize they are working in a high-voltage environment. My ethical responsibility is for the safety of the workers and also for the fairness to the workers2. The reason is that the workers can refuse to work with any equipment, which they think might endanger themselves3. It is their right to know what is their working condition. Solution First of all, I will suggest my company to put adequate warnings near the high-voltage equipment so that the workers know they are working in a high-voltage environment. If we have enough budgets, I will suggest my company to have equipment inspection and preventive maintenance on a regular basis and periodically test the equipment for electric shock hazards. Problem 2  ¡V Toxic Chemicals In producing our new product, we need to use a large variety of toxic chemicals (new to our company), that may cause skin irritation or corrosion to the workers. These chemicals are harmless when proper precautions, usually printed on the container, are followed. However, I found out that seldom of our workers read the instructions before using the chemicals and almost none of our workers wear protective clothing when using the chemicals. The Occupational Health and Safety Act states that any worker should use or wear the equipment, protective devices or clothing that the worker's employer requires to be used or worn4. In addition, we do not have a particular place to store the toxic chemicals, which is against the Occupational Health and Safety Act5.

Death Penalty-Correct choice? :: essays research papers

Although thought to be a problem in the past, the death penalty in today’s world has been proven to be an injustice and an immoral sentence for the people convicted. I believe that we do not have the right to kill anyone as a consequence for his or her past choices or actions. Just because a person murdered another, does not mean we have to also put another human being to death. It is God's decision what their fate should become, not ours. Perhaps we should try to make the person who did the crime be punished in another way for their crime. By placing the convicted murderer in prison for the rest of their life, we would be showing a humane punishment rather than inhumane. We could have the criminals be a part of a prison work program. Through work, the convicts can pay back the loss of a human life in some way and yet will be able to think about the harm and grief they have caused others because of their terrible deeds. The victim’s family will always remember their terrible loss of their loved one. By placing the killer in a high-security prison for the restof his/her life, the family will feel that justice is served. The convicted killer will be unable to physically hurt the family or come in contact with them for as long as the murderer is alive. Although some believe that the death penalty may make the family feel better to have the murderer killed, it does not bring their loved ones back. By using the death sentence, it not only affects the murderer and the victim’s family, it also affects the Jury. Not only does the Jury need to give up their time and money, but the decision to put another human to death could be a hurtful responsibility that will not be forgotten by those who had to make a decision like this. Sometimes people on Death Row are wrongfully killed. These people may have been mistaken for another and an innocent man or woman might be put to death. We may not be 100% sure it is the guilty person we are sending to their death. No one deserves death, no matter what they did. By putting them to death, we are just as guilty for putting another to death. We cannot make that choice.

Mitch Albom’s, The Five People You Meet in Heaven Essay -- The Five Pe

In Mitch Albom’s, The Five People You Meet in Heaven, the author centers the story around Eddie’s life, beginning with his death. â€Å"It might seem strange to start a story with an ending. But all endings are also beginnings. We just don’t know it at the time† (1, paragraph 1). The most important thing in this story that we must all understand is that although we may not know it, somehow our lives all have a common intersection. â€Å"No story sits by itself. Sometimes stories meet at corners and sometimes they cover one another completely, like stones beneath a river (16, paragraph 8). Eddie’s life ends tragically at Ruby Pier, the amusement park, where he has felt trapped for so many, long years, with what he thinks of as â€Å"a meaningless life†. When Eddie opens his eyes, he thinks that he is in heaven. He sees the sky changing many, beautiful colors as he is floating through the air. Eddie eventually lands in the place that he has come to think of as his own hell, Ruby Pier. He questions why he has been sent back here. He wonders if he had really been so bad of a person on earth that God would send him here to live for eternity. Once Eddie meets the side show â€Å"freak†, The Blue Man, he begins to understand why he has come here again. The Blue Man explains that Eddie will meet five people in heaven that will explain the meaning of his life. The Blue Man tells Eddie the story of a young boy, and how that young boy darted out into the road in front of a man, causing him to have a heart attack and crash. He realizes that the man was The Blue Man and the boy had been himself. The Blue Man tells Eddie that he must understand â€Å"That there are no random acts. That we are all connected. That you can no more separate one life from another than... ... to all the children that entered Ruby Pier. They all knew that they would be safe because they had someone watching over them, like an angel. Eddie had been the children’s angel. Everyone Eddie met in heaven taught him something about his life. They were all connected to him in different ways, whether it was someone close to him once, or a complete stranger. Somehow, all of their lives had crossed Eddie’s and helped make him the person that he had become. When you think about this lesson, you truly understand. One decision causes an effect, maybe on your life or maybe on someone else’s life. That effect will cause something else. It’s what I think of as a ripple effect. Everything happens for a reason, and all of the events that lead up to our â€Å"now† makes us who we are. Works Cited Albom, Mitch. The Five People You Meet in Heaven. New York: Hyperion. 2003.

Idiophones Essay

Idiophones have a long-standing tradition in African music, and that tradition is an interesting one. Trumpets, flutes and other wind instruments provide an intriguing case study because of their existence in a host of sub-Saharan African cultures. They have always been a part of not only music in those areas, but also the culture of those areas. This history dates back hundreds of years, and the instruments have seen some changes over the centuries. As the book indicates, the different variations of idiophones are inherently African in nature, and the cultures that brought them about have given these wind instruments their characteristic sound that is now commonplace in many different societies. As African Musicology indicates, instruments like the trumpet and the flute are a part of a characteristic musical phenomenon arising in sub-Saharan nations dating back to the fifteenth century. Instead of having individual performers and instruments take entire parts of various works, the musical tradition during that time saw individual performers play their own notes, each of which was combined to create the musical production in whatever social setting might have taken place. The book reads, â€Å"Musical ensembles of this kind or of a similar structure, in which the players may produce two to three notes on their flutes or trumpets, can be found in many African cultures south of the Sahara. The interlocking playing technique of this ensembles is characteristically African: the single parts individually cannot stand alone; their composition, however, is ingenious. It is the group, not the individual, that counts† (Nketia, 183). In this way, it is easy to see that idiophones were considered for what they produced as a whole, rather than what they produced individually. This is important to note as one studies the development of such instruments, since it is likely that any new implementations were designed to work alongside some other new or established instrument. When taken out of that context, new implementations might have been viewed differently from their intention. When musical styles are being discussed, it is common to compare one culture with another for the purpose of finding any commonalities or discussing differences. The book goes to great lengths to discuss the distinctiveness of African music, and points out the fact that much of traditional African music was designed to stand alone and retain its strong cultural ties. Particularly of interest is the â€Å"hocket† technique, which is discussed at length in chapter six. In the International Folk Music Journal, J. H. Kwabena Nketia discusses this technique and how it relates to music in places such as Ghana. She writes, â€Å"Closely allied to these procedures it the hockey-technique – the technique whereby constituent notes of a tune, a rhythm, or a tone pattern, or the constituent notes of a supporting ground-accompaniment, are played at the exactly appropriate point in time by those particular instruments that include them within their compass, or by those particular instruments that provide the required contrasts. This technique, discussed subsequently with particular reference to examples recorded in Ghana, shows itself in its clearest form in the music of flute ensembles, and trumpet (or ‘horn’) ensembles† (Nkeita, 1962). The book takes this to another level, noting how the music played in some African cultures is distinctive in its own right, and though it shares some similarities in name to the European style of â€Å"hoquetus†, the two styles were not born of each other. The book reads, â€Å"It becomes clear that the so-called ‘hocket’ technique in African music is not equivalent to the ‘hoquetus’ in European medieval music. Further, within these composition techniques, there is no complete uniformity to be found in South, Central, West, and East Africa† (184). From this, one can see that the wind instruments across Africa were used structurally in very different ways, with each particular culture coming up with its own rhythms based upon preference, equipment, and cultural needs. One of the issues facing musical research of wind instrument styles in Africa is that not enough solid research has been published to document the different styles. A lot of the analysis consists of speculation, since the large number of cultures across Africa made it difficult to compile information on techniques, pitch, instrument variations, and style. To this effect, the book reads, â€Å"Ethnomusicological research in this area has to be characterized as merely marginal, and little research on this topic has been published to date† (188). For that reason, it is difficult to know exactly how the Berta, Ingessana, and Gumuz people interacted from a musical standpoint. One work on the history of African music even suggests that such a study would be impractical. According to a book by Samuel A. Floyd, the fact that African nations have such diverse and vibrant religious traditions and cultural preferences, studying African music as a whole lends very little information that can be used. Instead, it must be studied individually, to be understand how these cultures developed their own uses for certain instruments, including idiophones. In The Power of Black Music, he writes, â€Å"Since African cultures are many and diverse, there is no single concept in African religion, and thus a study of them all would not be productive† (Floyd, 14). One of the things that has long characterized idiophones in African music has been the creativity of certain cultures. Many cultures have not been afraid to look beyond the traditional construct of music to find great instrument ideas and also ideas on how to most effectively play those instruments. From that, the world has been given some of its favorite types of music. An example of this type of resourcefulness can be seen in a study done by Dumisani Maraire. He writes, â€Å"Stamped sticks and stamped tubes also form another category of idiophones (in this case concussion idiophones). These sticks and tubes are held in the player’s hand and performed by being held at an angle and striking the ground or a slab of stone at an angle. On occasion three tubes are played at the same time each of which is playing a different rhythm† (Maraire). This is an important part of the African tradition that cannot be ignored if one seeks to truly understand the role of various instruments. The chapter itself did a nice job of explaining some of the important historical details about the pitch, tone, and rhythm of some of the most traditional of the African instruments. It did an especially good job of explaining the development of these musical traditions in African culture. Since so many cultures existed, musical traditions often developed individually, with each culture becoming very resourceful in the development and implementation of different styles. The isolated nature of African also comes into play, and that was explained well in the chapter. Much of the music and the musical techniques that were born in Africa over time as completely their own, since many of these areas had little contact with outsiders. This helped to increase diversity in music for all.

Romeo and Juliet Movie Comparison

In Franco Zeffirelli’s 1968 version of  Romeo and Juliet, is a traditional adaptation of Shakespeare’s original Romeo and Juliet, with some variations. Baz Luhrmann directed the 1996 version, also known as the MTV  Romeo †  Juliet. This version is very modernized, but keeps the language intact with few changes. There are many differences between Zeffirelli’s  Romeo and Juliet  and the Signet version of  Romeo and Juliet. Romeo’s entire speech that begins â€Å"Alas that love, whose view is muffled still, Should without eyes see pathways to his will! † (at act 1 scene 1 line 174) is deleted.With the deletion of these lines, the audience, is not privy to his longing for Rosaline. Even though Friar Lawrence mentions Rosaline later in the movie, we are not shown Romeo as a boy whose heart is easily captured, but rather, ready to be caught. In Luhrmann’s version of  Romeo †  Juliet,  this scene, even though cut in some ways , is shown with Romeo writing in his diary. He talks of his love, but he does not seem like he’s in love, but rather a repressed adolescent or a typical teen. Romeo doesn’t confide later to Benvolio as in the Signet version.In the MTV version of  Romeo †  Juliet,  the Nurse’s role is cut considerably. Her speech about â€Å"weaning† Juliet, and Juliet falling with her first steps, and the reference to the earthquake are deleted. This is a major change because it completely changes the dynamics of the relationship between the Nurse and Juliet. We do not get the same sense of closeness between the two as we do in the Zeffirelli film. We also do not see the scene where the Nurse tells about Romeo’s banishment and Tybalt’s death. The reason for this is because of the speed of the film.Luhrmann keeps the pace of this film at very high speeds, and when you look back at the text, the Nurse’s role slows the pace considerably. Sheâ₠¬â„¢s older, she’s slower, and she’s trying to extend her importance to Juliet and Romeo, but in the MTV Version, her role is cut drastically, which only contributes to Juliet’s isolation. In both movies, the presence of Paris at Juliet’s grave is discluded. This is probably for the better. While reading the play, it seemed like overkill, like just one more obstacle to prevent Romeo from getting to Juliet. Even though the audience know the outcome, they are still anxious to see Romeo get to her.Plus it helped keep the movies within two hours, give or take some. We also do not get the lamentation speeches from Juliet’s family after her fake death. Both films go straight to the funeral. The film allows directors to keep the audience from investing too much grief for the family by swiftly showing the funeral. The lamentation speeches of Shakespeare’s plays were needed, because they did not have the same visual choice that the filmmakers of toda y have. Romeo, being one of the protagonists of  Romeo and Juliet, is played very differently between Leonardo De Caprio and Leonard Whiting.While Leonard Whiting plays the typical adolescent to a tee, Leonardo De Caprio has much more depth and expresses his anguish in much more dramatic ways. For example, when Romeo being played by De Caprio is challenged by Tybalt he knows the consequence of his fighting and tries with all his might to prevent fighting with Tybalt, even though Tybalt is kicking his butt. We get the impression that he is truly trying to befriend him and make him understand that fighting should be left aside and that there will be great regrets. In Zeffirelli's version, Leonard Whiting plays a younger spirited Romeo.When Whiting is challenged by Tybalt, he is playful and does try to prevent a fight, but it is more with playful words and not because he knows the consequence of the fight or duel. We also get the feeling that De Caprio is much more mature than Whitin g. While Whiting plays a lovesick kid from an upper class family, he still appears to be naive and does not grow to the depths that De Caprio does. From the very beginning, De Caprio is seen as a street smart, savvy, mature young man. His writing in his diary shows us depths that does not show on Whiting, where he is only twirling a twig of flowers.The balcony scene is another scene that shows the differences between the two actors. In the '68 version, Whiting is very childish and playful. He plays around in the trees while he's waiting for Juliet. This reminded me of the young Kevin Costner in  Silverado  when he was swinging from the jail cell bars, showing his youth. He is also like a puppy, very young and immature; he seems unconcerned about his safety; he only has eyes for Juliet. We can see that is his only thought or concern. When he leaves we see him jumping and skipping, and once again we are aware of his youth. Leonardo De Caprio shows much more passion and desire.We d o not get the sense of immaturity with De Caprio, but rather a sense of manhood. His eyes show deep desire, like he knows what she looks like naked. He also is very sure and thrilled, he is aware of the danger by his presence and takes caution to be careful. Whiting seemed oblivious to his danger. His only concern is his love and desire for Juliet. De Caprio is more aware of the consequences of their love; Whiting is only aware of his love. One of the most important relationships in  Romeo and Juliet  is the relationship between the Nurse and Juliet. In Act 1, Scene 3 we are introduced to the most vivid character of the play, the Nurse.With her speech that begins â€Å"Even or odd, of all days in the year, Come Lammas Eve at night shall she be fourteen. † (1. 3. 16-48), we learn that she nursed Juliet, she lost a child the same age as Juliet, and also lost her husband. The Nurse’s role is very important to Juliet. The Nurse is the one that is there for Juliet, she is her confidant, she is her friend. This is especially important near the end of the play when Juliet realizes she is alone after the Nurse tells her to go ahead and commit bigamy and marry Paris. In Zeffirelli's  Romeo and Juliet  the Nurse plays the role of the Nurse as it's written in the play.She is affectionate; she is giggly, and loving. We see Juliet and the Nurse being openly affectionate with each other and can tell from this film that Juliet depends on the Nurse. This is especially so when Lady Capulet tells Juliet about the marriage to Paris. After Juliet gives her â€Å"I'll look to like, if looking liking move† (1. 3. 97) speech, she looks to the Nurse for approval. After the Nurse smiles back at Juliet, we see relief and trust in Juliet's eyes. In Luhrmann's version of  Romeo †  Juliet,  we get a very different version of the Nurse, and a very different version of Juliet because of the changes.The Nurses speech about how she weaned Juliet and the r eference to the earthquake are omitted. The affection that is so apparent in the Zeffirelli version is non-existent in the MTV version. This changes the character of Juliet considerably. She is perceived as more isolated and alone from the very beginning. We see her as a teen that does not have someone to confide in other than God. When the Nurse tells her to commit bigamy, we do not get the same sense of betrayal as we do with the Zeffirelli version. There Juliet was extremely pained and had to take a stand for herself, by herself, for the first time in her life.As the Nurse is Juliet's confidant, the Friar is Romeo's trusting friend. In the MTV version of  Romeo †  Juliet, Pete Postiethwaite plays a very different Friar compared to the 1968 version and the text. Pete Postiethwaite plays a tattoo bearing, Jerry Garcia-like horticulturist who is Romeo's only confidant. Milo O'Shea's version of the Friar is very sympathetic and caring. He only has the best of intentions in min d. Friar Lawrence is very important to Romeo. The Friar is the one who guides him and also picks him up when he is down.Even though both Friars are different in appearance and personality, I believe they both portray a very sympathetic, caring friend to both Romeo and Juliet. The Friar may ultimately be the one to blame, but he only led Romeo and Juliet because he believed their union would bring the feuding families together. I believe both played a regretful Friar when it all ended. The '96 version shows Friar Lawrence frantically tracking the express letter. He is sweating and projects urgency into his voice, albeit his role in the church is omitted.In the '68 version, when the Friar sees the Page outside the tomb, he frantically rushes to Juliet's side. He is careful with Juliet but in the end must abandon her to escape blame. Once again Juliet is abandoned. The most dynamic conflict is between Tybalt and Romeo. Tybalt is not nearly as literate or well spoken as Romeo, plus he h arbors much hate for Romeo. In both films we get the sense that Tybalt might be aware of Romeo's and Juliet's love during Capulets party, even though it is not played out any farther, but may be the fuel for Tybalt's challenge.In Zeffirelli's film, Romeo, Leonard Whiting, is oblivious to Tybalt's challenge and when he is called a â€Å"Villain† he does not seem fazed, while Tybalt, played by Michael York, is extremely perplexed. He does not understand why he is not getting a reaction from Romeo. He came ready to fight, and when Romeo does not face his challenger, Tybalt tries to provoke Romeo by slapping his hand away and smelling his own, as if Romeo has a stench. But Romeo is still not provoked, and his friend Mercutio steps up to the plate for him. The fight between Mercutio and Tybalt is light hearted and playful.The crowd is laughing and cheering them on. The only one who sees the seriousness is Romeo, who is trying to stop them. Once Mercutio is killed, Romeo is fueled and goes after Tybalt. The conflict for Romeo is revenge for his friend's death. The fight between Romeo and Tybalt takes on a much more serious tone; the crowd is no longer cheering and laughing. The anger and hatred show in both characters. They are fighting till the end. In Luhrmann's version, Tybalt, played by John Leguizamo, is very much like a gang member whose mind is set on destroying Romeo. He appears much more dangerous and dark and looming.When Romeo, De Caprio, appears, he is instantly aware of Tybalt's hatred and is concerned for both their safeties. Tybalt is determined to go after Romeo, whether or not Romeo wants to fight. When Romeo tries to shake his hand, Tybalt slaps it away and attacks Romeo from behind when Romeo starts to walk away. Romeo keeps yelling to stop, he does not want to fight, but Tybalt is relentless. It isn't until Mercutio steps in that the scene changes to their fight and Mercutio's death. Mercutio's death is what fuels Romeo to fight and go aft er Tybalt. Romeo shows courage and hate, and he’s screaming at Tybalt.It is highly emotional and charged. Romeo is aware of his consequences if he goes farther, but Tybalt pushed him to the limit. Then he kills Tybalt. De Caprio instantly regrets his actions. The setting for Zeffirelli's film is in classical Verona. The set has many domineering walls and tons of concrete. It gives the feeling of coldness. The only warmth is the balcony scene, with the trees and soft lighting. The setting keeps the audience's attention on the actors and helps them to see the actors as Shakespeare may have directed them. In Luhrmann's version, the town is called Verona, but resembles downtown Los Angeles more than Italy.The set is current and up to date. It did not try to recreate Shakespeare, but rather, to show how Shakespeare evolves. The physical location of this film helps to understand the story better. It uses our own experiences and our own visual setting, and even though the language i s still hard to understand, the setting brings it all together. Luhrmann handles the death scene very differently from the text and Zeffirelli's  Romeo and Juliet. Luhrmann's version is much more intense and more tragic. It begins with Romeo, De Caprio, fleeing from the cops. There is a lot of action, with noise and intense music, to keep the audience in suspense.We even see the apothecary scene which is deleted from the '68 version. When Romeo gets to the church he takes a man hostage before he enters the church. This also adds to the suspense. Once inside the church, and not a tomb, Romeo shows many of his emotions through his facial expressions. We can see the fear and foreboding in his eyes. The church is tacky with neon crosses and lights shaped as candles. When Romeo finally reaches Juliet, Claire Danes, he shows concern and anguish in his eyes over her death. He is crying, and the audience can see his pain. He lies next to her,   pets her and cries uncontrollably.We can t ell he understands that death is final. Juliet begins to awaken from her self-induced sleep right as Romeo takes his deadly poison. We want Romeo to see Juliet is still awake, but he is too late. The look in his eyes as he becomes aware of Juliet is heart wrenching. It's that realization that he has made a mistake. While Romeo is still alive, Juliet whispers her line â€Å"O Churl! Drunk all and left no friendly drop to help me after? I will kiss thy lips† This final kiss is so sweet and so desperate. If only Romeo saw Juliet's hand move. Juliet's choice of weapon in this movie is a revolver, rather than a dagger.She blows her brains out. In Zeffirelli's  Romeo and Juliet, the scene is not changed much from the text, except we do not see Romeo, Leonard Whiting, go to the apothecary. As mentioned previously, the only omission is Paris as it is in the Luhrmann film; otherwise, it is true to Shakespeare. Romeo breaks the door of the tomb down with a rock. We do not get the sam e sense of urgency as we do in the MTV version. The tomb is dark and dingy and full of dead people. When he sees Juliet, Olivia Hussey, he is still very childlike and actually smiles. This gives the audience a sense that he does not realize the finality of death.He tries to awaken Juliet with soft, cooing words. He does not seem serious until he sees Tybalt, who is not present in the Luhrmann film. At this point, he makes his final speech and says good-bye to life. This is where we get the feeling that Romeo is finally getting it: death is the end, and there is no turning back. When he takes his last kiss from Juliet, he cries for the first time and does show anguish. In the Zeffirelli version, the Friar comes into the tomb right as Romeo dies. This scene is omitted from the '96 version. The Friar sees the outcome of his actions.He takes responsibility for the fate of these children. When Juliet wakens he tries to protect her from the news of Romeo's death. He pulls her gently away from where Romeo is lying. But he fails to protect her, and she finds Romeo all the same, at which point the Friar leaves. Juliet looks at Romeo with concern and confusion. She kisses him, and then cries like a child at the fact that he is gone and she is there. She kisses him all over his face; she does not want to give up, but then she hears a noise and finds the dagger. The final scene with them dead seems to embody them; they will be eternally beautiful.

International Baccalaureate Internal Assessment Essay

The European Commission has imposed provisional anti-dumping duties on imports of ceramic tiles from China. The move comes following an investigation initiated after a complaint lodged by the European Ceramic Tile Manufacturers’ Federation (CET) on behalf of 69 tile producers in the EU, the Commission said. The duties range between 26.2% and 73% depending on the company and last for six months. They could be prolonged for five years and are intended to punish tile manufacturers from China who sell tiles below cost-price in the EU. Alfonso Panzani, the president of the CET, said that the duties were not intended to exclude Chinese products from the EU market but â€Å"to bring Chinese prices to a fair level, making it possible for ceramic tile production to continue in Europe, and creating the conditions for healthy competition to develop†. He added: â€Å"There is no reason why we should be less competitive in Europe than when we export outside of the EU.† The provisional duties apply to glazed and unglazed ceramic flags and paving, hearth or wall tiles and unglazed ceramic mosaic cubes. (c) 2011 European Voice. All rights reserved. According to the provided article, the European Commission (an executive branch of the European Union) has recently resorted to the implementation of a protective tariff of up to 73% on Chinese ceramic products in order to protect the European market from Chinese dumping techniques (Protective tariff – â€Å"a tariff designed to shield domestic producers of a good or service from the competition of foreign producers.†1; Dumping – â€Å"the sale of products below cost in a foreign country,†1 often done to gain a monopoly over that product in a particular country). Facing pressure from the European Ceramic Tile Manufacturers’ Federation (CET), an organization representing numerous European tile firms who suffer from cheap competition with Chinese firms, the Commission imposed these duties to drive up the cost of imports and stimulate profit for domestic producers (Competition – â€Å"the presence in a market of independent buyers and sellers competing with one another.†1; Imports – â€Å"spending be individuals, firms, and governments for goods and services produced in foreign nations.†1; Profit – the amount of money a business earns after paying all expenses.) The conflicting economic values of free trade and protectionism are disputed in this situation as to which forces are allowed to control a nation’s economy – the government and domestic producers or the global market and consumer welfare (Free trade – â€Å"the absence of artificial barriers to trade among individuals and firms in different nations.†1; Consumer welfare – individual consumer satisfaction depending on prices and income.) Since domestic ceramic suppliers are threatened with economic ruin from such cheap products, the Commission turned to protectionism to force a more equal domestic competition and punish dumping companies through a tariff despite the consequences of higher prices (Protectionism – † policies that aim at restricting the flow of imports into a country.†2). The anatomy and economic effects of a tariff can be demonstrated in Figure 13 where the perfectly elastic world supply (Sworld) has increased in price (to P2) due to the tariff (Sworld + tariff) and, thus, have reduced the quantity of Chinese imports from the difference between Q1 and Q2 to that of Q3 and Q4. The benefits of a tariff not only include a reduction in imported ceramic, but also gains in producer surplus and tax revenues earned by the government (Producer surplus – the difference between the minimum price a producer is willing to accept for their good and the price they actually receive). Due to this tariff, the original quantity supplied domestically at Q2 has now increased to Q4 and domestic suppliers can now sell their ceramic at higher prices (P2), allotting for an increase in producer surplus (Area 1). Since the government collects the fees paid by the tariff, they now have more funding of which they would presumably return to the public. While tariffs may be advantageous for domestic producers and the government, they reap these benefits at a primary loss to the consumer from the higher prices needed to buy ceramics, and Chinese suppliers whose product is less demanded in the European Union. The major disadvantage of a tariff comes from the reduction in consumer surplus where it had originally occupied Areas 1,2,3,4, & 5 and was reduced to only Area 5 because consumers must now buy ceramics at a higher price (P2). Although Areas 1 through 4 represent the total consumer surplus reduction, since Areas 1 and 3 are beneficial to a society, so Areas 2 and 4 represent the net loss to society through higher prices. Therefore, in order to protect the European ceramic producers from being completely swept from the market due to the dumping efforts of Chinese ceramic exporters, the Commission is justified in the imposition of an anti-dumping tariff because the societal loss of an entire industry is greater than that of forcing higher domestic prices to the consumer. 1 – Defined by: Economics: Principles, Problems, and Policies, 15th edition textbook by Campbell R. McConnell and Stanley L. Brue, publisher: McGraw-Hill Irwin. 2 – Definition derived from: 2 – Definition from: Ziogas, Constantine. Economics for the IB Diploma: Standard and Higher Level, 2008. 3 – Graph adapted from original at: â€Å"Effects of Tariffs.† Linux User’s Group at WSU. Chart. 04 May 2007. Web. .