MCA DENVER Essay Example | Topics and Well Written Essays - 500 words - 2

MCA DENVER - Essay Example 3). The MCA Denver museum organizes exhibitions and events to showcase the creative endeavors of artists and to radiate the message of creativity in artwork. Several exhibitions were hosted in the MCA Denver museum in the recent past, and this article summarizes the contents of three images that induced admiration among the audience. Image 1 - Saint Sebastian, Exquisite Pain â€Å"Saint Sebastian, Exquisite Pain† is the masterpiece creation of famous artist, Damien Hirst, who is known for preserving the formaldehyde dipped carcasses of animals in glass vitrines (â€Å"Damien Hirst,† par. 1). Can any artist ever think of applying artistic imagination to preserved carcasses? Artists portray subtle emotions on canvas, in photography, or in sculptures. Damien Hirst’s depiction of helplessness and intense pain of a bullock can be seen in â€Å"Saint Sebastian, Exquisite Pain.† The carcass of a bullock, targeted by pointed arrows and crossbow bolts, was preserve d in a glass vitrine measuring 126.75 inches x 61.25 inches x 61.25 inches (â€Å"Damien Hirst,† par. 4). The artist has tried to show the helplessness of the poor creature, chained and attacked with arrows. The half-covered and half-open eyes of the creature also signify that the people remain mere spectators during the life and death cycle. Mortal creatures have to surrender before death that is waiting to chain and target the creatures mercilessly.

Post Anaesthetic care course Essay Example | Topics and Well Written Essays - 4500 words

Post Anaesthetic care course - Essay Example On arrival at the ward I learnt that the ward was checked and stocked up by night staff and signed in the logbook. Soon after starting my shift our first patient was wheeled to a bay by theatre staff. I put on personal protective equipment and approached the patient. I connected the patient to the monitoring and their airway to the central oxygen. I learnt from the anaesthetist that the patient Mrs Brown (not her real name) hemiarthroplasty of her right hip operation under general, plus regional anaesthetic. She was in theatre for almost two hours and was stable throughout the operation. Mrs Brown is a 72 years old lady of 57kg, had a fall two days ago that fractured her neck of femur. Her medical history was dementia, untreated hypertension (high blood pressure) and high cholesterol. She had no-known allergies and was not taking any regular drugs except painkillers when needed. In theatre she induced with sevoflurane, was given a fascia-iliac nerve block 100 mcg Fentanyl intravenously on induction, 100 mg Propofol, 30 mg Rocuronium, 4 mg Ondansetron, 3.3 mg Dexamethasone, 50 mg Cyclizine , 75 mg Voltarol, 1 gr Paracetamol, 10 mg Morpheine and Glycopyrronium Bromide 0.5mg and Neostigmine Metilsulfate 2.5 mg at the end of surgery. The theatre nurse estimated blood loss of 500 millilitres. The patient had two Bellovac drains in situ that were unclamped and had started collecting in theatre, and the wound was dressed using a Mepilex dressing. A- Airway - the patient’s airway was patent. She had an oropharyngeal (Guedel) airway used as a bite block size 2 (green), and an endotracheal tube size 7 in situ connected to a water circuit and to 10L central oxygen. The bag was moving, and the endotracheal tube was misting. B- Breathing - Mrs Brown was breathing spontaneously. Her respiratory rate was 12 per minute and shallow in depth, bilateral air entry was present with equal chest

Freelancing: The Financial Issues

Freelancing: The Financial Issues A freelance musician is a professional musician who is self-employed. This might be as a musician, singer/songwriter, session engineer, producer, artist manager, music publisher, music promoter, event manager, or more than one of these. A study in the USA by the National Endowment for the Arts, found that nearly 45% of professional musicians are self-employed.[1] I intend to set myself up as a freelance music producer as I believe that working on a freelance basis will provide autonomy and flexibility over my working life and the freedom to explore and develop different aspects of work that interest me. I hope to work on a wide range of projects with companies across the industry, and make new contacts on each new project that will help to further my career. This paper reviews some of the financial issues that any self-employed person must deal with in the music industry. Freelancing allows you more control of your financial future. For instance, you will not have to hope for the infrequent pay rises that come as an employee. However, on the downside, freelancing also means that you are directly responsible for your income. If you do not work you do not earn any money and your income can be uncertain and unpredictable and may vary considerably from month to month. Freelancers have no set salary, no paid holiday or sick leave, no paid training, and no automatic enrolment in pension or health insurance schemes. Being self-employed also affects your eligibility for unemployment benefits.[2] Freelancers may have less social interaction with workplace colleagues and can risk becoming isolated. They also need to manage the financial issues that would normally be taken care of by an employer. These issues are not difficult to deal with, but they require time and effort, and meticulous record keeping. Budgeting For many musicians, the line between profit and debt is very fine. You need to prepare a budget to ensure that you spend less than you earn.[3] The first step in budgeting is to calculate the costs of meeting your basic needs, that is items such as rent, food, mobile phone, internet and professional expenses. The website of the Savvy musician provides a useful template for monthly budgeting.[4] It is the optional expenses like eating out, buying new clothes and consumer goods that often cause problems unless they are managed carefully. Credit card expenditure needs to be managed particularly carefully, otherwise the monthly bill can come as a shock. Ideally you should pay off the credit card expenses immediately to avoid late payment fees and interest. If you are thinking of making a major purchase, it is wise to ask yourself how long it will take you to earn that money.[5] Ideally, to cope with the risks and uncertainties of freelancing, you should have savings that will cover at least six months of basic expenses. Freelancers also need to consider their retirement. This might seem like an irrelevant distant eventuality, but the sooner you set up a retirement fund, the better. It is essential to take professional advice on your pension options. Income Income from self-employment is known as trading income.[6] Many freelancers are over-optimistic about their likely income, especially when starting out; it is better to err on the side of caution. There are many ways to earn money as a musician.[7] Few musicians rely on one source of employment; the majority juggle numerous different roles. A survey in 2012, by the Future of Music Coalition (which aims to ensure that artists are paid fairly for their work), found that more than half of the professional musicians surveyed earned their money from three or more roles. Only 18% of respondents made their income from a single role.[8] It is sensible to have a range of income sources to draw upon in case circumstances change in one area of your work. So, when planning your business, think creatively about all the ways you might earn money. Brainstorming the options, can lead to some surprising avenues such as teaching, tutoring, selling jingles and ringtones, or playing non-traditional instruments. The Future of Music Coalition has published a list of over 40 possible sources of revenue for musicians.[9] It is also important to remember that, despite recent funding cuts, some organis ations do still provide grants for musicians for specific projects. Some of the sources recommended by the Musicians Union are listed in Appendix 1. You can of course, work both on a freelance basis and as an employee, and many freelancers start in this way, perhaps employed by an orchestra, or a music studio, and gradually building up the freelance side of their work. However, this can involve a fine balancing act, since it is important that you are available for freelance commissions. If you are approached but are not available, then that contact may not ask for your help again. Obviously a key issue is to decide what hourly rate to charge for your services. When you are starting out as a freelancer, this can be hard to gauge. It is advisable to try to get a sense of what the going market rate is in the field in which you intend to work. You may have a rough idea of your worth, but do ask around to check that you are not under or over estimating what you can charge. You may also need to be flexible with your rates. When you are just starting out you may find that you need to take whatever work comes your way, even if this means that you do not always get to use the full range of your professional skills. You may need to accept more menial roles. For example, as a freelance producer, I accept that I may need to carry out some of the tasks that I might expect a session engineer to perform such as setting up the recording studio microphones, consoles, booths, amps, stands, or sound checking for live events. Or I may do the work usually undertaken by a session engineer such as recording, editing and mixing audio. Many freelancers undersell their skills simply to get work and it can be a fine balancing act to get work at a rate that reflects your skills. This does take both experience and confidence and it is something that you will learn after some time in the industry. Contacts and Networking While you may be working for yourself, your work prospects are highly dependent on your network of contacts and on developing good relationships with others in your field. The better your contacts are, the more likely it is that some will be able to push work in your direction. So, keeping your contacts list up to date, and actively seeking new contacts in the fields that you want to work in, is essential. This may involve attending record launches, socialising where those in your field hang out, even helping for free in studios in the hope that you will make useful contacts. Those who succeed independently are often ruthless in their pursuit of good contacts. You need to plant as many seeds as possible in the widest possible range of fields, with the aim of diversifying your sources of work and revenues so that, if for some reason you fail in one field there are other options to pursue in other fields.[10] Be organised Whether you use an accountant, or look after your own books, you must be organised, particularly regarding expenses claims, and must set aside time every week to ensure your books are up to date. You must keep copies of all your receipts, contracts, invoices and correspondence in case the Tax Office (HMRC) require evidence for your accounts. You are also obliged to retain this information for up to 6 years after submission.[11] Ideally your documents should be filed in chronological order, and separated into different types of document. Receipts It is advisable to pay for as many things as possible by cheque or credit card as this gives you a useful double-check on expenses, and provides a receipt in case you lose the original. It is also recommended to have separate bank accounts for your business and personal affairs. If possible, you should also have a different credit card for work-related expenses, so that these are clearly separate from any personal expenditure. It is a good idea to staple any receipts for items paid by credit card onto your credit card statement. Spreadsheets The easiest way to keep track of your expenditure in a way that will help you or your accountant to submit the annual tax return, is to set up a simple Excel spreadsheet (although dedicated financial management programmes are also available). The columns in the spreadsheet might for example, be labelled as follows: Date (expenditure incurred) Item (description of expenditure) Cash} Cheque} How you paid Direct Spending} Debit card} Credit Card} Phone} Internet} Print/post} Subscriptions} Books/Music} Type of Expenditure Computer} Equipment} Wages} Consultancy} Entertaining} Travel/Subsistence} VAT} Accountants} Tax} You then organise your receipts in chronological order and enter the details into the spreadsheet. Invoices should be numbered sequentially and paper copies filed as they are submitted. A similar Excel spreadsheet can help you keep track of when invoices were sent, the amount of VAT and expenses they include and when they were paid. The columns might for example be labelled: Invoice No Date sent Date received Total amount Expenses VAT Total Net Running Annual Total Accountant As your business grows, you may decide to hire an accountant. If you are earning around  £20,000 a year, with  £2,000 annual expenses, you may find your own accountant pays for itself.[12] People who do their own taxes are often unaware of all the deductions that are legitimate, so the money spent on hiring an accountant can pay off.[13] Either way, do seek advice on what expenses are deductible. Contracts It is obviously essential to ensure that you are paid for your work, and are paid fairly. Rather than leaving this to chance, or trusting to the goodwill of your employer, you must have a robust contract for all the work that you undertake. There are many unscrupulous agents and managers in the industry who will exploit those who fail to handle this appropriately. Always get professional advice before signing contracts, as these can contain complex clauses which could reduce your income substantially. Invoicing You should submit your invoices promptly and professionally; otherwise your income could be delayed by your own inefficiency. If your contractor has cash flow problems, then that is their problem. You must not allow your generosity or inexperience to leave you out of pocket. The Musicians Union lists a number of elements that all invoices should include:[14] Business name, logo, (if you have one), address, phone number, email address; Contact name for queries; VAT number (if you are VAT registered); Company Number (if you are trading as a Limited Company); Date of invoice and invoice number (generally sequential by date issued); Engagers name and address; Description of the services date, times and venue etc.; VAT payable; Expenses; Total due; Payment information bank name and address, account name, account number and sort code, plus IAN number and Swift Code (for international payments); Terms For example: Strictly 30 days net. Late Payment of Debts The Musicians Union also provides guidance on the Late Payment of Commercial Debts (Interest) Act 1998. Under this Act, you may be able to claim statutory interest at 8%, and may also be eligible for compensation for late payment. The Unions legal services can help their members to pursue debts.[15] Expenses Keeping track of all your business-related expenses is absolutely crucial; many of these will be either tax-deductible or will need to be claimed back from your engager. This can be laborious, but is well-worth doing accurately as it can save a lot in unnecessary costs. HMRC has many detailed rules regarding items that can be claimed as legitimate business expenses, but essentially anything claimed must be used solely for your business. Legitimate expenses can include computers, data storage, music software, instruments, instrument cases, strings, drumsticks, resin, instrument insurance, repairs and spare parts, manuscripts and sheet music, publicity costs (flyers, badges, T-shirts, posters and photos), hire costs for rehearsal rooms, studios and instruments, audio equipment (such as CD or MP3 players), memberships, coaching, commission paid to agents and managers, solicitors fees, theatrical clothing, stationary, printing and photocopying, postage, business-related phone calls, internet costs, travel and expenses, entertainment and any other related expenses. If you use a distinct area of your home as an office, and use it just for business purposes, you can also claim for a proportion of the total running costs of your home the interest on your mortgage, or your rent, property and contents insurance, and utilities.[16] However, if you also use your home office for another purpose such as a guest room, then the amount that you can claim may be restricted. Some bills, such as phone use, must be apportioned into personal and business use before making a claim. You can also claim for any wages that you pay (e.g. for secretarial help or roadies). However, if you regularly use assistants you may need to sign up to a PAYE scheme which will involve deducting tax and National Insurance Contributions.[17] Many musicians travel extensively and all travel costs can be claimed. If your car is used for both business and pleasure, it is essential to use a mileage logbook to record details of the mileage. If you want to claim part of your car expenses against your tax, it will then be relatively straightforward to work out the proportion of business to private mileage.[18] Motoring expenses cover road tax, insurance, petrol, servicing, maintenance, spare parts, subscriptions to motoring organisations, interest on loans for buying a vehicle, vehicle rental, and garage leasing. Instead of recording all your motoring expenses separately, it can be simpler just to claim Authorised Mileage Rates (AMRs). Currently the HMRC allowance for use of your own car or van, is 45p per mile for the first 10,000 miles. Any mileage over this in one year can only be claimed at 25p a mile. Motorbike rates are 24p per mile, and the rate for travel by bicycle is 20p a mile. To use this scheme, business mileage must be logged separately, but you cannot claim any other motoring expenses apart from parking fees, road tolls and the congestion charge.[19] The AMRs scheme is only applicable if your turnover is below the VAT registration threshold[20],  £83,000 a year (from 1 April 2016).[21] You must stick with one or the other scheme. Airfares and taxi, bus and train fares are all claimable, as are accommodation and subsistence costs (food and drinks). However, it is advisable to be modest in what you claim as any expenses can be scrutinised by HMRC. Collecting Royalties The world of music licensing and royalties is highly complicated, and the literature is full of stories about expensive legal disputes between artists, writers, recording companies, publishers, and internet companies. So, you may need to take legal advice if your income is dependent on collecting royalties. The system is also changing in response to demands from the industry, so you need to keep a careful watch on new legislation, particularly in the digital field. There are several types of royalties: Public Performance royalties are paid to songwriters and publishers by anyone who publicly performs their music on radio and television, live performances, retail outlets or over a service like Spotify or Pandora. Mechanical royalties are paid to songwriters and artists for CD or DVD sales, and when music is streamed on-demand (e.g. Spotify).[22] Print royalties are generated from sheet music for writers or publishers only. These royalties are typically bundled with performance rights royalties. Songwriters and recording artists usually assign their rights to a third party to manage, instead of trying to track a songs use and seeking payment independently. Song copyrights are often assigned to a music publisher, while master recording copyrights are assigned to a record label. Musicians and artists receive royalties in various ways according to their field. Many royalties are paid through membership of a collection society. In the UK, these are: PRS for Music, represents songwriters, composers and music publishers. It licenses the use of members compositions and lyrics and if a members music has been performed or broadcast, it collects and pays out the licence fees. In 2012 it collected music royalties of  £641.8m.[23] MCPS (Mechanical Copyright Protection Society), collects licence fees on behalf of writers and publishers when their music is sold. PPL cover royalties from recorded music when it is broadcast or played in public. While PRS for Music charge a  £50 joining fee, there is no charge for PPL at present. Royalties from PRS are paid quarterly while those from PPL are paid on an annual basis. In relation to radio and TV broadcasts and live performances, the royalties are calculated exactly. However, for background music (as in say, shopping precincts), payments are based on survey data. It is advisable to join a collecting society if your music has been recorded, broadcast, performed live or played in public.[24] The licensing and royalties system is highly complicated and contains many middle-men all of whom take their share of the profits from music. It also has several specific problems that artists should be aware of. These include bad contracts for example those that contain clauses that reduce royalties due to breakage fees, which may have been reasonable when most music was distributed on vinyl, but are still included in contracts in the age of CDs. Grant of rights clauses mean that a contract can affect your revenue even beyond the end of a contract period. Similarly, a Controlled Composition Clause limits the amount of mechanical royalties the company is required to pay for records it releases, and holds the artist responsible for the excess. Its main purpose of is to NOT pay artists the statutory rate and to NOT increase royalties as costs of living increases; basically, to thwart copyright law.[25] This shows the importance of taking good legal advice on contracts. Sole Trader or Limited Company Working as a sole trader is the more straighforward way to commence your business, and allows you to focus on getting the business going without having to worry about the extra administration that comes with operating as a limited company. The process of setting up a limited company is more complex, and brings additional financial and administrative responsibilities such as appointing directors, registering with Companies House, completing company accounts and an annual return, and dealing with Corporation Tax. However, a limited company brings several benefits over sole trading. This is the main reason why after trading for a couple of years, and perhaps earning at least  £30,000 per year, many freelancers set up as a limited company.[26] The cost of setting up a company is minimal, and it is possible to handle much of the paperwork yourself to minimise accountants fees. You may not bother with an accountant if you are a sole trader with a small turnover, but most limited companies use accountants. Their charges for preparing the annual accounts for a company are normally a little higher than for sole traders.[27] Tax and National Insurance Contributions (NICs) Most freelancers set up a limited company to reduce the amount of tax that they pay. The profits of a limited company are subject to Small Profits Corporation Tax rate, which is currently 20%, on a turnover of  £300,000 or less per year. Income tax rates are currently: 0% on earnings up to  £11,000, 20% between  £11,001 and  £43,000, 40% between  £43,001 and  £150,000 and 45% over  £150,000.[28] Therefore the direct tax advantages of trading as a limited company only come into play when your earnings are over  £43,000. However, since salaries and not dividends are subject to NICs, many company directors opt to draw a small salary and to take most their income as a dividend. In this way NI contributions are minimised, which is the main reason why the limited company is more tax efficient than the sole trader route. Company directors must complete an annual self-assessment tax return, just like freelancers. The company also pays tax, but separately from its directors. This tax must be paid before any profits are allocated to shareholders, and within 9 months after the end of the period for which the corporation tax returns have been produced.[29] National Insurance (NI) Self-employed individuals pay Class 2 and Class 4 NICs. Class 2 NICs are  £2.80 per week, (except for those with low earnings). Class 4 NICs apply to annual profits, and are payable at 9% on profits between  £8,060 and  £43,000 per year, and 2% on any profits above this threshold.[30] Limited companies and their employees pay Class 1 NICs on salaries above  £155 per week. Thereafter, the company pays NICs at 13.8% of salaries, and employees pay NICs at 12% on salaries up to  £827 per week (2% above this threshold).[31] Limited Liability Under law, limited companies are deemed to be separate entities from their owners. This means that the company bank account, any assets and any tenders or contracts are just the business of the company and are totally separate from the interests of the companys shareholders. If you run a limited company therefore, your personal assets, such as your house, are protected against company debts. Sole traders do not have this protection from financial claims, and may therefore decide to take out professional liability insurance (if appropriate to the risks they face). Funding As a limited company is a distinct entity from its owner, banks can look more favourably on applications for loans than they would for sole traders.[32] Professional Many larger firms, prefer to deal with limited companies rather than sole traders. So, trading as a company can open access to a range of clients that might be reluctant to engage sole traders. Having a limited company can also bestow a more professional image; being able to introduce yourself as a Director, can mean that your clients accord you more respect.[33] Company Name When your company is registered with Companies House, its name is legally protected, and cannot be used by anyone else. Sole traders have no such protection. Shareholders Because a limited company can issue shares, you are able to sell a stake in your company, or transfer the ownership of shares. This can be an advantage if you wish to raise capital or retire. Pension Employees pensions are tax-deductible in limited companies; another tax benefit that sole traders do not enjoy.[34] Taxes A major burden as a freelancer is being responsible for your own taxes. It is your responsibility to declare your income and pay tax on it. As a self-employed musician, instead of paying tax through a PAYE scheme (as an employee would), you must complete a Self-Assessment form every year, to inform HMRC about your income, and calculate how much tax you owe.[35] If you are newly self-employed, you will need to register using use form CWF1. Most HMRC registrations can now be done online on their website.[36] HMRC will then confirm your registration and give you a Unique Taxpayers Reference (UTR). The UTR should be quoted on all correspondence and on all payments made. The tax return should disclose your taxable income for the relevant tax year. Tax Returns should usually be filed with HMRC by 31 October (for returns filed by paper) or 31 January (for electronic submission) following the end of the year of assessment. For example, for the tax year ended 5 April 2016, a paper return must reach the HMRC by 31 October 2016, while the deadline for online filing is 31 January 2017. Fixed penalties are automatically enforced for failure to submit by these dates. [37] A tax year starts on 6 April and ends on the following 5 April. For the first tax year of self-employment, taxes do not have to be paid until 31 January following the end of that year. Subsequent payments will normally be made in two instalments, in January and July each year. Payments can be made by Direct Debit, Bank Giro, online banking etc.[38] You must also keep records on any other sources of income such as: bank interest, dividends, P45s/ P60s from pension providers or employers, any benefits like the State Pension or Job Seekers Allowance, any assets you have sold, and income from any land or property in the UK or overseas. [39] As noted above, the advantage of being self-employed is that you can deduct your business-related expenses. Be sure to keep good records on everything that you spend. Organize this into a spreadsheet and keep the back-up receipts that document your expenses. [40] VAT It is not compulsory to register for VAT until your turnover, exceeds  £83,000 a year (from 1 April 2016).[41] However, you can register voluntarily no matter what your turnover is, and if you do so, you can then claim back the VAT you were charged on telephones, instruments, etc. However, this does mean that you will also have to charge VAT on all your fees (every gig, music lesson, arrangement, etc.) and handle the additional paperwork. You should seek the advice of an accountant on the benefits and pitfalls of VAT registration before deciding. Failing to register for VAT at the appropriate time, can lead to a late registration fine. Although, if your income varies and only exceeds the threshold for a short time, you can notify HMRC and obtain their prior agreement not to have to register for VAT.[42] Once you have registered for VAT, it will become chargeable at 20% on all your invoices. VAT can also be recovered on most business expenditure, subject to various rules. To recover VAT on purchases and expenses, the items must be used directly for your business and you must keep a VAT receipt as evidence, (a credit card slip is not sufficient). Items that could be used for both business and personal purposes, e.g. home telephone calls, must be apportioned and only a proportion of the VAT recovered. [43] National Insurance Contributions(NICs) As noted earlier, freelancers are responsible for their own Class 2 and Class 4 NICs. Even those who are employed, and paying Class 1 contributions must pay Class 2 and Class 4 contributions on their freelance earnings. The rates are dependent on profit levels. You must inform the Social Security office that you are in business by registering as self-employed. If you fail to do this within three months of becoming self-employed you will incur a penalty, the amount of which is based on the contributions missed and the reasons for registering late. The easiest way to pay Class 2 National Insurance Contributions every month is by direct debit to the National Insurance Contributions Office. The Class 2 rate is  £2.80 per week. Self-employed people who earn less than the threshold of  £5,965 can be exempt under the Small Profits Threshold, although they may wish to preserve their state benefit entitlements by continuing to pay the contributions. [44] The rate for Class 4 contributions is currently 9% of self-employed profits between  £8,060 and  £43,000 per annum, with a further 2% payable on all profits above this threshold.[45] Conclusion Most musicians, whether they are working as a singer/songwriter, session engineer, producer, artist manager, music publisher, music promoter, or event manager have little choice but to operate as freelancers today. There are simply not enough opportunities for full time salaried work in the industry to meet the potential demand. Employers have come to rely on the flexibility and low overheads that a pool of self-employed musicians can offer them. This is not necessarily a bad thing. It does mean that work is uncertain and unpredictable, but it brings musicians the freed

William Goldings Lord of the Flies Essay -- Essays Papers

Lord of the Flies I chose to do one of my book reports on William Golding’s Lord of the Flies. The reason I chose this book is because it deals with many issues that are important to leading a solid Christian based life. It also deals with some issues that were talked about in class, for example discrimination, prayer and civilized behavior. The book starts out with Ralph and Piggy walking through the woods on what appears to be a deserted island. We are told that a plane transporting many young boys between the ages of 5 and 12 crashed on this island and these are the first two characters that we meet. Ralph and Piggy find their way out of the woods and onto a beach where they discover a conch shell that can be played as a horn. Ralph sounds this horn and shortly after a number of young boys emerged from the woods. It is now revealed that no adults are on the island and it is just the boys. They then decide to form a make shift government and piggy appoints Ralph to be the leader since he initiated the meeting. One boy named Jack, a member of a boy’s choir, protests the fact that Ralph was named the leader. So to please Jack, Ralph tells him that he will be in charge of hunting and gathering food, this along with teasing Piggy about his weight pleases Jack. The boys them split up and start to scope out the island and Jack organizes the first hunt, which is unsuccessful. As time goes on Ralph notices that many of the boys aren’t really doing any work and would rather be playing or sleeping instead, this worries him a little. He then goes out to explore the island with a choirboy named Simon, when they came back they called a meeting by signaling the conch. At this meeting Ralph sets up some basic rules. The main ones being that you can only talk at a meeting if you are holding the conch and that a fire must be keep going all the time on top of the mountain in case a ship passed by so that they could be rescued. The other boys like the ideas and rush up the mountain to start a fire. After they gather a bunch of firewood they realize that nobody can start a fire without matches. Piggy then suggests that they use the lenses of his glasses to spark a flame. The fire starts and gets a bit out of hand and Piggy thinks that one of the younger boys has been burned to death. All of the other boys laugh at Piggy and deny the incident. This is the first ... ...ll right. So we see how important parents are and how much they can influence their children. These boys were too young to be stranded alone and they couldn’t distinguish between right and wrong. I’m sure that as adults they would look back and see how hostile and evil they had become. Someone who has a similar view of this book is Kristian Moe who is a teacher in New York. I found this statement at www.malvik.no/engelsk/lordoftheflies.htm, he writes, â€Å"I feel that the book is very sad. In some ways it is even a little grotesque. It portrays human nature in its worst and darkest. It is very scary, and it makes me think about the world wars, and about Hitler’s racism and hatred. I can not believe that we have so many dark sides within us, but maybe we do.† In conclusion, I have to say that I enjoy this book because it is exciting and scary at the same time. I’m sure that everyone at one point in their life has dreamed of being on a deserted island, but I’m also sure that nobody would want their experience to be like the one we see in this book. Unless of course that have no sense of Christian values and are willing to subject themselves to that type of devilish behaviour.

How Does Steinbeck Present Disadvantaged Characters to Us Essay

Steinbeck presents disadvantaged characters to us using a number of techniques. The author does this to encourage us to sympathise and begin to understand the characters, in order to show the problems with prejudice and the various types of it which were endemic in American society in this time. Lennie is firstly presented to us through the author’s use of animal imagery in the description, and the readers first impression of Lennie is how animal like he is when phrases like ‘snorting†¦like a horse’ are used. The author does this to show that Lennie is gentle, like an animal and can be tamed like domestic animals are. It also shows Lennie will only attack on instinct and become violent when he feels threatened or under attack. This is shown when he says ‘I didn’t want no trouble’ showing that he didn’t mean to do any harm and just doesn’t realise his own strength. The author also presents Lennie in this way because animals are innocent and do not have the capacity to act morally or know good from bad. This shows Lennie’s behaviour, when he acts violently, is a result of society as society taunts him until he behaves in this way. Lennie is also presented to the readers as a vulnerable character, through the author’s description of Lennie’s actions, especially after his attack from Curley when he ‘bleated with terror’ and ‘crouched cowering’. This action emphasises his dependence on George as he couldn’t defend himself without George telling him to. His dependence on George is also made totally clear when he says ‘me an’ him goes ever’ place together’ When Lennie panics he starts to loose control and the author presents this to the readers through the structure of the text and Lennie’s dialogue. Lennie’s sentences become short and staccato like when he says phrases such as ‘please don’t’ and ‘now don’t you do that’ showing his evident panic. The readers can also tell that Lennie looses control because the author uses language such as ‘(lennie’s) face was contorted’. The author does this to show Lennie doesn’t mean to kill or hurt and does it out of panic and instinct. This is shown by Lennie himself when he says ‘I done a real bad thing†¦ George’ll be mad’ which shows Lennie realises he can’t control himself and that he has no moral judgement. It also shows Lennie thinks things are ‘good’ or ‘bad’ to him depending on what George will think of him. The author presents Lennie to us, as a disadvantaged character, in the way he has a child’s mind in a mans body. This not only enables us to see the way in which society treats people such as Lennie but it gives us an insight into the feelings of black people as lennie, being socially unaware and childlike, does not realise the social boundries of white people and goes to talk to crooks.

Discuss how Arthur Miller suggests dramatic conflict at the beginning of the play ‘Death of a Salesman’

The beginning of any play is vital to the storyline, as it gives an audience or reader initial opinions on the characters' personalities; it also gives information on the setting and atmosphere surrounding the play. ‘Death of a Salesman' begins with very precisely detailed stage directions. Dramatic conflict is immediately suggested by the melody ‘played upon a flute' which suggests softness, dreaminess creates an almost romantic atmosphere, and this dreaminess created in sound is in contrast with the ‘towering, angular shapes' representing suburban New York City. There is also a very noticeable contrast between countryside and cityscape involved in the music, as the music is ‘telling of grass and trees' while there is an ‘angry glow of orange' on the stage. This contrast in the visual aspects of the play emphasizes any conflict between characters during the play. The house is presented as ‘small and fragile-seeming', dwarfed by a wall of apartment blocks which contribute to the trapped and somewhat claustrophobic atmosphere created before there is any dialogue in the play. The initial word of the play, spoken by Linda, the wife of Willy, is said with trepidation, therefore Linda is expecting there to be a problem, and this is the first sign on conflict within speech. Willy reassures her, however Linda still appears to be anxious and is expecting there to be something wrong – ‘did something happen?'. Linda seems to be very hesitant with her speech and she tends to speak ‘carefully' and ‘delicately' as if she is afraid of what her husband, Willy, is going to say to her. Willy makes a reference to a time before the area in which he lives has changed, and when there were ‘two beautiful elm trees' – this suggests that Willy has not fully adapted to the way his area has changed, this also emphasizes the contrast between the natural countryside and the cityscape. At this point; Miller establishes Willy as a troubled and fairly misguided man, it appears that Willy is a dreamer at heart, and wants to be successfully, however it appears that Willy is mainly unsuccessful, and it could be argued that Willy may have lost his enthusiasm and had some of his dreams tainted by the fact that he is now in his sixties. Linda, in contrast, displays much less intensity than Willy; she is quite dependable and extremely kind, attempting to smooth out conflicts that Willy might have encountered. Linda has a similar dream for an idealized past, but has learned to forget about her longings. The fact that these two central characters have an entirely different outlook on life is an indication of future conflict between the two of them. Another large conflict is between Willy and one of his sons, Biff. Conflict between these two characters before Biff appears on stage. Willy seems to think that Biff is a ‘lazy bum' – this could be due to Willy seeing himself as hard-working and has criticized Biff – Willy asked ‘if he was making any money' which was seen as criticism in Linda's eyes. The mention of this criticism seems to have brought tension in speech between Linda and Willy – Willy becomes ‘angered' due to Biff's inability to live up to his father's expectations. There is a major conflict between dreams and reality, which are juxtaposed against each other throughout the play, and are introduced at the beginning – Willy is at the bottom of the hierarchy in a capitalistic world. He owns nothing, and he makes nothing, so he has no sense of achievement. Robbed of this, he develops the theory that if a person is fairly popular and has a fair deal of personal attractiveness, then all doors will automatically be opened for them. Willy built his life around these dreams. These illusions replace reality in Willy's mind. He tells lies to his family about how well liked he is in all of his towns, and how ‘vital' he is to New England – ‘I'm the New England man'. In my opinion, the reason behind the conflict between Willy and his family is his outlook on life as a whole, particularly his inability to confront life with genuine integrity and faith in himself, all faith and self confidence he may appear to have is false, and his lies could arguably haunt him, this is because he has the wrong perspective on the way he should be living his life and has a certain longing for things to very different, he has grown to be very unhappy within himself, and about what his lifestyle (his home, his area) has become. The beginning of ‘Death of a Salesman', therefore, is a play in which we see a number of central and significant themes being developed immediately with the help of Arthur Miller's use of techniques such as setting and symbolism. These themes include inadequacy and lacking awareness of reality. The exploration of the theme of failure within a successful society is something which has relevance for those who believed in ‘The American Dream'.