Undertaking a Market Audit Essay Example | Topics and Well Written Essays - 2000 words

Undertaking a Market Audit - Essay Example The audit includes careful analysis of the company’s strategic business units as well as the internal procedures. MA is prognostic in nature and provides recommendations for improving the performance, process and increasing the organizational outcome of the company. It would provide formal mechanisms of the systematic examination of internal and external marketing activities of the organization. It requires the usage of various tools which includes control charts that indicate the existing marketing situation and the crisis. A MA is useful to measure the various marketing crisis and also discover the various issues which lead to the increase in the sales of the company (Kling, 2000).The objective of the study would be to understand the concept of marketing audit and its effect on business activities. The author of the study would try to understand the utility and the method of conducting marketing audit in of the UK fragrance market. According to Kotler (1977 cited in Kling, 2000), MA is a systematic examination of an organization’s marketing objectives, strategies and performance. The prime objective of the company is to understand the techniques that help in utilizing the resources of the company effectively and generate recommendations, which help in utilizing the existing process.... the company is to understand the techniques that help in utilizing the resources of the company effectively and generate recommendations, which help in utilizing the existing process. MA lays emphasis on how effectively the marketing department performs its functions especially in areas of promotion and distribution. It can be performed by individuals within and outside the organization. The internal auditor can be senior manager or top manager whereas the external auditor could be expert marketing consultants, who have the potential of performing audit on a regular basis (SPA Professional Academy, 2010).The various forms of MA would include self audit, audit from across, audit from above, company task force audit and outside audit. The MA process would involve three major activities: Pre Audit Process: This involves activities which determine who will conduct activities and the timings of the audit activities. It also establishes the scope, methodology and objectives. The Audit Proc ess Data Collection: This requires the assembling of information about the macro environment, industry, marketing mix and the company. It is expensive and a time consuming process of the marketing audit. Information Analysis: This involves evaluation of data collected in an attempt to provide an inclusive picture of the company’s marketing program. (1) UK Fragrance Market & Burberry Corporation Ltd The chosen market for the study is the UK fragrance market which is one of the most booming industries. It has been prospering in spite of the challenging economy and the net market sales increased by 4.5 percent and reached around ?1.38 billion. The net sales of the UK fragrance market were larger than the mass market, which generated more than 82 percent of the market value (EuroMonitor,

English Literature Essays Orient Opium Drug

English Literature Essays Orient Opium Drug Orient Opium Drug Why do you think any two or more of De Quincey, Coleridge and Doyle were so interested in the Orient in their drug writing? Throughout the nineteenth century, persisting through much of the twentieth and even so far as today, the use of intoxicating substances, namely opium, is inextricably linked with visions of the Orient. Although there has been no significant proof of a universal chemical change in its users, opium undeniably evokes an obsession with the ‘other’. If one cannot attribute this to biological factors, then it is crucial to ascertain the historical, cultural or psychological implications that relate to its conception. Much of the association between opium and the Orient in nineteenth-century Britain was a consequence of British imperialism and the colonisation of the East. In expanding the Empire, Britain dominated the Eastern world, coming with the promise of providing a benevolent civilisation. Instead, they exploited states for many of their most valuable commodities, including opium, and destroyed an already established pride of individuality and national-identity whilst asserting their own sense of a hegemonic British nationality upon inhabitants. The works of Samuel Taylor Coleridge make a substantial contribution in our understanding of the relationship between opium use and Orientalism. Coleridge followed the German Higher Criticism that viewed the Bible as an extension of Oriental mythology, supplying what he believed as evidence of single God in the Eastern world. Coleridge’s writing at the turn of the nineteenth-century encapsulates not only the anxieties of Oriental differentiation, but more poignantly, the conspicuous differences from its impressions on the English opium user. His literary works aside, Coleridge presented perhaps his most vehement condemnation of British involvement in the Orient during a public lecture in 1795. He contrived that such ‘commercial intercourse’ was resulting in the death of millions of East Indians, saddling Britain with an inevitable sense of overwhelming guilt. Furthermore, he details the potentially catastrophic long term effects on Britons, that being, a dilution of national identity through the pollution of imports from the Eastern world. Through his damning of British colonisation, Coleridge provides a macrocosm of himself; his own opium intake was destabilising not only to his own body, but the world around him. He believed the mind state brought about through the ingestion of opium masked many of the distinctions to be made between not only English and Oriental, but between male and female, and even self and other. Much of the singularity of Coleridge’s work, in particular the visionary ‘Kubla Khan’, emanates from his ability to encompass polar opposite sensations towards opium in a single moment, often oscillating between both attraction and repulsion, or pleasure and pain. The phantasmagoric quality of ‘Kubla Khan’ was composed out of what Coleridge attributed to a ‘sleep of the eternal senses’. When describing his opium reveries, Coleridge explained: ‘Laudanum gave me repose, not sleep: but you, I believe, know how divine that repose is – what a spot of inchantment, a green spot of fountains, and flowers and trees, in the very heart of a waste sands’. It comes as no surprise then that Coleridge had the potential to produce such a work as ‘Kubla Khan’ whilst submerged in the alternative realm of consciousness that opium gave him. In the opening stanza of the poem there radiates an awe of harmony within paradise. The Oriental landscape, with ‘caverns measureless to man’ and ‘forests ancient as the hills’, suggest an unworldly, ineffable quality. Although the components of Xanadu may potentially appear threatening, they are harboured within the confines of ‘walls and towers†¦ girdled round’. Thus, Xanadu is rendered passive and benevolent, under the control of the poet. Throughout the next stanza, the Oriental landscape of Xanadu is feminised, with particular reference made to the ‘deep romantic chasm which slanted / Down a green hill athwart a cedarn cover’, a subtle indication of the presence of female genitalia. The ensuing description is one that is far removed from the serenity of an English landscape, detailing ‘A savage place†¦ a waning moon was haunted / By woman wailing for her demon-lover’. The wailing woman suggests a deep pain, perhaps even insanity. This ascends into a threatening, sexually explicit orgasmic crescendo: ‘From this chasm†¦ As if the earth in fast thick pants were breathing, / A mighty fountain momently was forced: / Amid whose swift, half-intermitted burst / Huge fragments†¦ beneath the thresher’s flail.’ The ‘swift, half-intermitted burst’ mentioned evokes notions of seminal emission. The nature of this portrayal belies the expected Romantic interpretations of lakes and seas which poets leisurely sip from for inspiration, instead presenting ‘a mighty fountain’, potentially a phallic symbol, which threatens to engulf all. The overriding image is one of the Oriental landscape breaking through the boundaries attempting to suppress it; occurring metaphorically through the phallic fountain, the fluids from the chasm, and the entrance into the caverns. However, what may initially seem as a jubilant liberation of sexual energy from the constraints of rigid gender roles eventually conspires to be anything but, paving way for a state of almost ‘Armageddon’ proportions; ‘And sank in tumult to a lifeless ocean†¦ Ancestral voices prophesying war!’ Thus, provided is an ironic sense of warning against those who dare try and tame these powerful forces. The overall effect is that where the danger of the second stanza undercuts the perceived harmony of the first, suggesting an ambiguity within Xanadu; indicating perhaps the presence of a dark side to the heavenly paradise foretold. One of Coleridge’s primary concerns with regards to Orientalism lay in its power to usurp the author’s authority of and consciousness of writing, a threat to his own artistic control. When referring back to Coleridge’s own comments on British ‘commercial intercourse’ in the East, a definite causal link can be inferred between the Orient infiltrating Britain, by means of opium intake, and introducing a ‘conscious-usurping Orient into the British body and mind to convert them from British to Oriental’. Despite this, through the ingestion of opium, he actively seeks the empowerment this ‘other’ provides him. Analysis of the conclusion of ‘Kubla Khan’ perhaps gives some indication of a shift towards a positive outlook on the conjuring of the Orient; hoping that through the ‘milk of Paradise’ the speaker may be able to transcend to a state in which he may ‘build that dome in the air’. However, his ascension to God-like status, he believes, may make others treat him as unholy, perhaps with ‘holy dread’: ‘And all should cry, Beware! Beware! / His flashing eyes, his floating hair! / Weave a circle round him thrice, / And close your eyes with holy dread’. The use of the oxymoronic phrase ‘holy dread’ reiterates Coleridge’s own pleasure against pain contradiction with opium ingestion and Orientalism. Furthermore, it perhaps subtly indicates the approach he believes the imperialistic order of Britain should adopt when attempting to contain those with ‘flashing eyes’. The ‘plot’ that unravels throughout ‘Kubla Khan’ is one where a powerful Eastern, feminine force penetrates and destroys the flimsy Western, male barriers that enclose it. The implication presented by Coleridge is that these same forces can not only impose themselves on a nation, but on an individual. D. A. Miller identifies the male terror at the prospect of being occupied by the female, arguing that it resembles and inverts a classic rape scenario. Thus, it strikes a common chord in Coleridge’s own Oriental possession, which is often feminised, invading his body but exerting its own control over it, by nature evoking paradoxical destruction and pleasure within him. Moreover, this ‘inverted rape scenario’ is itself a partial reversal of what Coleridge deemed Britain’s exploitation of the East, and an ironic act of retribution. It was Coleridge’s foremost concern that this invasion and alteration process went some way into eroding sense of national identity and British culture, a process that he deduced would ultimately blur any distinctions to be made between Britain and the Eastern world, until they eventually merged into one. Thomas De Quincey’s analyses of the relationship between opium and Orientalism yield conflicting opinions to those formulated by Coleridge. It was De Quincey’s underlying theory that opium acted as a means of excavating the Orient within the British self. He concludes, contrary to Coleridge, that divisions between the East and West never actually existed; the Oriental ‘other’ never facilitated a hostile invasion of body and nation, but was present at conception, and is indeed the origin of all things ‘British’. In a similar vein to Coleridge, De Quincey condemns the exposure of the ‘other’ within the self, but still paradoxically seeks it by means of opium intake. John Barrell comments that De Quincey identifies the internal manifestation of the Orient within as an infection, and adopts measures to protect him against this. One such method follows the process of inoculation, whereby in taking a piece of the Orient into himself, namely opium, De Quincey hopes to dismiss that which he does not attribute to himself, conceptualising an internal West against East division in terms of what is familiar and what is alien. However, as Barrell suggests, this measure is destined for failure because the subject reinforces the infection by the same means he hope will crush it. Integral to De Quincey’s musings on Orientalism is the visit of the Malay in ‘Confessions of an English Opium-Eater’. The Malay is depicted in a demonic fashion, with ‘fiery eyes’ that ‘took hold of my fancy and my eye in a way that none of the statuesque attitudes exhibited in the ballets at the Opera House’. The ‘otherness’ of the Malay is overtly referred to in its comparison to the domesticity of the young servant; mention is made of an ‘impassable gulf’ that exists between their methods of communication. In addition, the figure with a ‘turban and loose trowsers of dingy white’ is harshly juxtaposed with the ‘native spirit of mountain intrepidity’ displayed by the young servant: ‘And a more striking picture there could not be imagined, than the beautiful English face of the girl, and its exquisite fairness†¦ contrasted with the sallow and bilious skin of the Malay, enamelled or veneered with mahogany†¦ his small, fierce, restless eyes, thin lips, slavish gestures and adorations.’ The impression given is one of a man, or, as his title may imply, a collective, who are dehumanised, depicted in terms of a polished piece of furniture; his only relief is that his ‘trowsers of dingy white’ are excused by the ‘dark panelling’ of the kitchen. Furthermore, De Quincey emulates Coleridge’s sense of ‘holy dread’ within ‘Kubla Khan’ in the manner in which he expresses the young servant’s reaction to the appearance of the Malay: ‘he had placed himself nearer to the girl than she seemed to relish; though her native spirit of mountain intrepidity contended with the feeling of simple awe which her countenance expressed as she gazed upon the tiger-cat before her.’ Provided here is not only a comment on the approach taken by the familiar West to the alien East, one that, although threatening, still proves intriguing, but perhaps further indicates De Quincey’s own personal struggle with his opium intake. Moreover, significance lies in De Quincey’s attempts to converse with the Malay in Classical Greek, in that it exemplifies Edward Said’s concept of Orientalism; De Quincey’s construction of a material conjoined East, in which differences between India and China, for instance, are ignored is why he believes speaking to the Malay in any ‘Oriental’ tongue will suffice. De Quincey’s oriental dreams in the later stages of ‘Confessions†¦Ã¢â‚¬â„¢ provide a supplementary outlook on the Orientalism construct. He reveals that ‘the causes of my horror lie deep’, continuing: ‘As the cradle of the human race, it would alone have a dim and reverential feeling connected with it†¦ The mere antiquity of Asiatic things, of their institutions, histories, modes of faith, c. is so impressive, that to me the vast age of the race and name overpowers the sense of youth in the individual. A young Chinese seems to me an antediluvian man renewed.’ De Quincey is of the opinion that the sheer age and permanence of the Orient implies that it provides the origin for everything attributed to British culture and identity. This notion is enhanced by his further consolation that ‘the barrier of utter abhorrence, and want of sympathy placed between us by feelings deeper than I can analyse’; De Quincey ironically accepts that there is in fact, no barrier at all, and that what may indeed lie on the other side manifests itself within him during his opium reveries. Thus, De Quincey inverts his own previously conjured distinctions between West and East, self and other, through his opium ingestion. Paradoxically, that which reveals itself as most ‘other’ to him is still ironically the origin of his own self. De Quincey’s conceptualised Orient is thus rendered useless as he accepts that the West always was the East to begin with, and that any argument to the contrary is a futile one. Bibliography Allen, N. B., A Note on Coleridge’s â€Å"Kubla Khan†. Modern Language Notes, 57, 1942, pp. 108-113 Berridge, V., Opium and the People: Opiate Use and Drug Control Policy in Nineteenth and Early Twentieth-Century England, 2nd edition (London: Free Association, 1999). Cooke, M. G., De Quincey, Coleridge, and the Formal Uses of Intoxication. Yale French Studies, 50, 1974, pp. 26-40 Hayter, A., Opium and the Romantic Imagination (London: Faber, 1968). Jay, M., Emperors of Dreams: Drugs in the Nineteenth Century (Sawtry: Dedalus, 2000). Leask, N., British Romantic Writers and the East: Anxieties of Empire (Cambridge: University Press, 1992) Said, E. W., Orientalism (London: Penguin, 2003) Schneider, E., The â€Å"Dream† of Kubla Khan. PMLA, 60, 1945, pp. 784-801

Essay --

Patriarchy The literal translation of the word â€Å"Patriarchy† from is the rule of the man. A patriarchal system is one of â€Å"social relations among males which creates and maintains the domination of women†(Anderson, 1988, p.8 Meta.pdf). In a patriarchal society this ideology is found in most spheres, including religion, politics and economy (Moghadam, 1992 IPV2012.pdf). It’s continuity is further guaranteed by raising children according to gender role stereotypes (Dobash & Dobash, 1979 IPV2012). These stereotypes include toughness and assertiveness for men and modesty and concern with the quality of life for women[14] Men are also raised to cherish instrumental goals such as task accomplishment, domination and acquisition of power (Meta.pdf) women are socialized toward interdependence or nurtural goals, such as cooperation or caregiving According to Talcott Parsons’ (Parsons, 1955) model of total role segregation, women are supposed to be occupied with hous ework and raising children, while being away from the workplace and leaving career advancement to men [source]. Many developing countries also have low level of female participation in government and the work force [Ð ¿Ã ¾Ã'‚Ð ¾Ã ¼] Wife abuse Spouse abuse, otherwise known as domestic violence or intimate partner violence (IPV) has various forms such as, battering, rape, economic deprivation, using weapons etc. [Shipway, ]. Violence against women is serious issue in many countries. A recent survey by WHO found that more than 50 percent of women in Bangladesh, Ethiopia, Peru and Tanzania reported having been subjected to physical or sexual violence by intimate partners, with figures going up to 71 percent in rural Ethiopia. [WHO] Wife abuse is associated with urban residence, poverty a... ...other words, patriarchy is by far the most important factor that contributes to the justification of IPV. It is also worth noting that a similar survey which interviewed 450 women in the West Bank found that 59% of women believed wife abuse was justified in certain situations, particularly in cases when a wife abused the husband. Therefore, it can be concluded, that in Palestinian society both women are men are deeply affected by patriarchal ideology and both are prone to justify wife abuse. Palestine is a complex society with a multitude of problems. The apparent and pressing issue of wife abuse has various factors for it, such as Israeli occupation and political violence. However, the main reason for the justification and proliferation of wife abuse is patriarchal ideology, ingrained in both spouses and in society as well as the legal system as a whole. Religion

Criticism of the government Essay

In naming people, the girls were probably projecting their own guilt onto others. In this assignment, â€Å"The Crucible† by Arthur Miller I am going to explore the whole situation to discover from where I think the evil came from. In order to do this, I am going to need to analyse some of the characters and state how much I think they contributed to the real evil in Salem. Firstly there is Samuel Parris. He is a very memorable character. Throughout the play, his character comes across as nasty, cold and cunning but underneath that bold exterior we see that he is an insecure and cowardly man who is easily intimidated by those of higher power in order to achieve what he believes to be a high status. Because of this, and the fact that he is widowed and has never been able to care for children, anyone who has read the play will find Parris unfit to be a father to his only daughter Betty, let alone be a minister of Salem. Due to his insecurity, Parris is paranoid that whatever he does, or wherever he goes he is being judged, as Arthur Miller states in his introduction, â€Å"He believed he was being persecuted wherever he went, despite his best efforts to win people and God to his side. † As he thinks of himself as a man of importance to the ordinary people of Salem, because he is a minister of Salem, he is over-sensitive and easily offended, even if â€Å"someone rose to shut the door without first asking his permission. † Between the very start of the play and the very end, there is quite a change in Samuel Parris’ character so our feelings towards him change also. As a member of an audience first watching the play, I would have no idea of the characteristics of Parris, which are described above, so when Parris first appears I am not biased towards him, and, in fact pity him as he kneels helplessly at the bedside of his daughter, although this feeling does not last long. We can see through Parris’ actions throughout the play that he is actually quite a foolish man. Although it is obvious that there are many others who can be blamed for the start of the witch-hunts in Salem, Samuel Parris is to blame on many occasions. For instance, his inability to handle the situation, the dancing in the woods, where he found his daughter, niece and other young girls in the wood, doing what he thought to be conjuring spirits, and Betty’s state of unconsciousness. Parris could have handled the situation with humour, realising that such young girls were most probably unable to conjure spirits, and that Betty may have reacted like she did out of fear and hysteria. In this scene we find that Parris is very selfish as he cares more for his reputation than for the well being of his only daughter. He says that he does not wish to leap to withcraft for the cause of Betty’s state when he says, â€Å"Let him look to medicine and put out all thought of unnatural causes here. There be none. † We believe that he is worried about his daughter and does not wish to let himself believe that there might be some evil presence with a hold on Betty, but it soon becomes apparent that he is only worried about his reputation and how his enemies will try and use Betty’s condition against him, â€Å"Now look you child, your punishment will come in its time. But if you trafficked with spirits in the forest I must know it now, for surely my enemies will, and they will ruin me with it. † Parris can also be quite cruel. Instead of bringing up his niece Abigail as a cherished member of his family, he sends her out to work as a maid to the families of the village. Because of this, and all the previous discoveries made about Parris, it is easy for the audience to start to see his character differ from how it was at the very start of the play. We start to resent Parris, and start to see the cunning and selfish character of Parris, as described in Arthur Miller’s introduction to the play. One action that proves just how prone to act before thinking Parris is, is when he calls for Reverend Hale of Beverly, an expert in seeking out unnatural presences, although he has already stated that he does not want to look to unnatural causes to find the source of Betty’s condition. He then progresses to tell Mr Hale that he caught the girls in the woods conjuring spirits, â€Å"Why, sir-I discovered her and my niece and ten or twelve of the other girls, dancing in the forest last night. † There was absolutely no need for Parris to have told Hale that. If he had not told him then Hale would have eventually have had to come to some conclusion about what was wrong with Betty and even if he did say it was to do with the unnatural world, Samuel Parris, nor any of the girls could be held responsible. It is doubtful that any of the girls would have confessed it themselves as the other girls threatened those who came close to telling. Later on in the play, Parris realises this early mistake he has made even though by now it is too late to save himself. After Hale eventually manages to get the girls to confess to have conjured spirits, we see a great change in Parris’ views towards witchcraft. He no longer wishes to stay away from the possibility of unnatural causes; in fact he does all he can to put all the blame on it when he finds that he can use it to his advantage. Parris seems to find it his responsibility to make matters worse for anyone accused of witchcraft, as with anyone who’s testament may stand in the way of him achieving what he wants. As the girls make wild accusations about the poor innocent members of the Salem community, Parris makes senseless claims that make it seem like the girls are telling the truth. He does the same with anyone who tries to defend someone he has accused. He does this solely for his own benefit. Take for example when, in Act three, Judge Danforth asks John Proctor, â€Å"Now, what deposition do you have for us, Mr Proctor? † to which Proctor replies â€Å"It’s a sort of testament. The people signing it declare their good opinion or Rebecca, and my wife, and Martha Corey. † Parris tries to enforce doubt into the minds of those present by questioning the validity of his argument, â€Å"Their good opinion! † though thankfully, he does this to no avail. Parris’ character stays pretty much the same throughout the duration of the play. He continues to ruin people’s lives. He is quite wise as he is able to manipulate people’s words to make it sound as if they are confessing to have trafficked with the devil. Nearing the end of the play, when John Proctor has been accused of witchcraft and is to be hanged, Parris’ character changes somewhat. Prior to the accusation against Proctor, Parris has slandered John Proctor and Giles to judge Danforth so that they will not be believed because he knows that if they are, it will look bad on his part. Soon after Proctor is accused, the people of Salem, who had always applauded the execution of ‘witches’, realised that the innocent were being killed. They chose to take out their anger on Parris and he received death wishes, one being a dagger in his door. This is what brings on the peculiar difference in his character. With his vain attempts, he tries to get Proctor to admit to witchcraft although he knows he’s not guilty of it. Parris’ reason for doing this is clear to the audience, and our beliefs that he is a selfish man are confirmed. There are also many others who can be blamed for the Salem witch-trials. One other is Abigail Williams. I think that Abigail is the main, and close to being the only cause of the witch hunts in Salem. In comparison to all the other characters that I will describe, she is relatively young, yet she seems to be the wisest in the art of corruption and deceit. As with every character in the play, as a member of the audience I know nothing about Abigail’s character other done what she shows through how she portrays herself on stage. Because of this, when we first meet Abigail’s character, we have no previously existing feelings towards her. We first see Abigail when she has just entered the bedroom of her cousin Betty, who lies inert on her bed after the shock of being caught dancing in the woods. Her character seems to be gentle and caring. We soon learn that she is not so innocent because of two things she does, or has done. The first is the news of the cruel deed that she is supposed to have committed against Elizabeth Proctor, as Parris says â€Å"Abigail, is there any other cause than you have told me, for your being discharged from Goody Proctor’s service†¦ she comes so rarely to church this year for she will not sit so close to something soiled. What signified that remark? † By the way that she responds to this, it is simple to see that she is very aware of how she feels about people, and cares nothing about the respect she should show them, through what she says, â€Å"She hates me, uncle, she must, for I would not be her slave. It’s a bitter woman, a lying, cold, snivelling, woman, and I will not work for such a woman! † The second is the change in attitude she has towards Betty. She claims that she will never do anything to harm Betty, â€Å"I would never hurt Betty. I love her dearly. † But as soon as Parris has left the room, we see that she is conniving and all that she said whilst Parris was in the room was an act. Immediately we grow to resent Abigail as we have seen her for just a short while, yet she has already been deceitful to someone that she should have great respect for. Abigail, in fact, has no real care for Betty. Her only care is that Betty does not land her in trouble. Once Parris has left the room, Abigail becomes more aggressive in her attempts to get Betty out of her unconscious state, â€Å"Betty? Now stop this! Betty! Sit up now! † Abigail is a person who easily intimidates her peers. I personally think that the other girls allow her to be so dominant over them as they think that she has no fear of anyone because of what happened to her parents, â€Å"†¦ I saw Indians smash my dear parents’ heads on the pillow next to mine, and I have seen some reddish work done at night, and I can make you wish you had never seen the sun go down! † There is much that can be said about Abigail, and her contribution to the evil in Salem. As Mary Warren tells her early on in the play, all Abigail has to do, to save her own, and many others lives, is admit to having had danced in the woods. If she had been straight with Parris and told him everything that went on in the woods – instead of blaming it on Tituba – then she, along with the other girls who participated, would have only been whipped for their dancing. When Abigail and Proctor are first seen together in Betty’s room, we see once more the lack of Abigail’s innocence as we find out about the pairs brief encounter, â€Å"Give me a soft word, John. A soft word. † The manner in which Abigail talks to Proctor is not of that of a child, so any beliefs that we assumed about the innocence of her character are dashed. When Reverend Hale first arrives and begins to question Abigail, she is frightened of the thought of being caught, and then when Hale simply asks if she was forced into it by Tituba, she finds a useful way of shifting the blame away from her, and onto someone that she herself knows is entirely innocent. Because of this our feelings towards Abigail change dramatically. Not only has her character lost its innocence, but it has also gained a streak of deceit, cruelty, and cowardice. Out of pure fear for her life, Tituba confesses to having had conjured spirits, but when Abigail joins her in confessing, it is done purely to alleviate her from the guilt of letting Tituba take all the blame. The fact that the other girls soon join in after Abigail either symbolises the same thing it did with Abigail or just shows how much power Abigail expresses other them. Because of the fact that Tituba is supposed to be a cherished friend of all the girls, how easily the girls can blame her comes as a shock, and just shows how far from kind the girls are. Unknowingly the adults actually fuel the start of the witch-hunts as they feed the girls with names of people that can be held liable of committing the ‘crime’. However, Abigail is fully aware of what the adults are doing and uses it to her advantage. The other girls follow Abigail, but only out of the hysteria. This event helps to inspire Abigail. Throughout the rest of the play, Abigail uses this technique to claim that she saw people with the devil. She is believed by the court officials because, as judge Danforth says, â€Å"†¦ witchcraft is ipso facto, on its face and by its nature, an invisible crime, is it not? Therefore, who may possibly be witness to it? The witch and the victim. † As I have already stated, Abigail is clever and it does not take her long to realise that she can blame people that she wishes to take revenge on, whatever the reason may be. For example, Abigail accuses Elizabeth Proctor because she wants her out of the way so that John Proctor will return to her. Abigail seems heartless as she jeers when she sees people that she knows are innocent being hanged. For this reason, and many others that I have described, including her infatuation with John Proctor, I blame Abigail for the Salem witch-trials. She contributed more than most of the others. Although it is not his fault, John Hale can be blamed for the conviction of people accused of witchcraft. However, John Hale did not contribute much to the evil. Through all of his actions, John Hale acts honestly and is genuinely convinced that the people are possessed. Hale is a minister who specialises in ascertaining witchcraft. He is convinced that he can tell if a person is possessed, and does not mean to cause any harm when he uses his ‘gift’ to convince people to confess to trafficking. The accused know that confession is the only way of staying alive, but, at this moment, Hale is oblivious to it. Fortunately, Hale realises what is going on, after he is confronted by Proctor when he speaks of how many have confessed to witchcraft, â€Å"†¦ why not, if they must die for denyin’ it? There are them that will swear to anything before they’ll hang: have you never thought of that? † Hale is truly remorseful and from that point on, does everything in his power to resolve the situation. But, with Hales case, although he does nothing to promote it, it shows how much image overpowers common sense. Hale brings with him weird books and he is thought of as a great healer, whereas Giles Corey’s wife is hanged for reading books that could have been just like Hales. Compared to most of the other characters, the Putnams played a relatively small part in their contribution. In these times, it was thought that if a child died young it was the mother’s failure as a woman. Ann has had seven of her eight children die at a young age and is ashamed of what the townspeople must think of her. Because of this we pity her. When Goody Osburn is blamed, Ann is relieved and is quick to find that she can now use Goody Osburn as the reason her children died, as she states, just after Goody Osburn is charged, â€Å"I knew it! Goody Osburn were midwife to me three times. I begged you, Thomas, did I not? I begged him not call Osburn because I feared her. My babies always shrivelled in her hands! † Unlike Ann, Thomas Putnam does not act out of grief, but out of greed. For this reason, we don’t pity Thomas, and, in fact, feel resentment towards him, as he is heartless. He feels absolutely no guilt or remorse in falsely testifying in court about someone that he wants something from. For instance, Thomas Putnam convinces his daughter Ruth to cry witchery on George Jacobs so that he will be arrested, as it is obvious that such a man will not admit to working with unnatural spirits. This was because the law on witchcraft was, if someone was executed after being accused of witchery, but does not admit to it, then their land becomes state property, which means that anyone can buy it. Giles Corey realises that Putnam is acting out of greed and heads straight to court, in an attempt to overthrow the court, as Danforth questions Putnam â€Å"I have here an accusation by Mr Corey against you. He states that you coldly prompted your daughter to cry witchery upon George Jacobs that is now in jail. † John Proctor can also be blamed because from the start, he could have brought the situation to a halt if he had not been such a coward. From the start, Elizabeth tries to tell John Proctor of the dangers of Abigail but he does not seem to grasp just how dangerous the situation might become, until it is too late.

GCSE Geography Coursework Castleton

Castleton is a small village located in the Derbyshire Peak District. Castleton is famous for its beautiful scenery in which many people come to hike, Cycle, and Climb. Castleton has a wide variety of Attractions which all the family can involve including Peveril Castle; Castleton's many Caverns which range from Limestone gouges to Underground Rivers. Castleton also has exquisite surroundings including the 517 foot mountain Mam Tor. We visited Castleton to prove whether three hypotheses are right or wrong. These Hypotheses were: 1. Is Castleton a ‘Honeypot site'? 2. Does Castleton Suffer problems caused by Tourism? 3. How can the problems caused by tourists in Castleton be solved or reduced? I aim to answer these three hypotheses in this piece of coursework. A national park is a reserve of land, usually declared and owned by a national government, protected from most human development and pollution. There are almost 7000 national parks in the world. The largest being Northeast Greenland National park with an area of 375,000 square miles. A honey pot Site is a popular Visitor attraction which attracts tourists in large numbers. It is called a Honey pot site due the simile of bees buzzing round a hive, in connection to tourists being attracted to an site or attraction.. Honey pot sites include The great pyramid of Giza and the Grand Canyon in the United States. Honey pot sites can be amazing to look at, this is why they attract so many people although there could be setbacks for the area; setbacks include overcrowding, litter, a strain on facilities and public transport. Also there are problems such as footpath erosion. Castleton is situated in the Heart of England, being only 18 miles from Sheffield and 25 miles from Manchester. It is easily accessible from all over the UK as it is only 40 minutes from the M1 and M6. This leads to high levels of People visiting the area; this could also be the reason that people give it the title of a â€Å"honeypot Site.† Attractions Peveril Castle Peveril Castle was found soon after 1066 by William Peveril who was one of William the conquerors most trusted Knights. The Castle played an important Part in Protecting Peak Forest. The castle used to be called Peak Castle. Displays in Castleton Visitor Centre tell the story of Peveril as the focal point of Peak Forest, which in his time was a royal hunting preserve. Speedwell Cavern Set High above the village of castleton, Speedwell Cavern takes you on a incredible underground journey which sometimes lasts up to an hour. The entrance is an almost Hidden cave which leads down to an underground canal which you then start your boat trip through the 200 year old mine. A wide selection of Gifts and mementos are available to buy to remember the amazing boat trip, including Jewellery made from the Blue John stone. Peak Cavern Set in the middle of Castleton, A Unique ‘World' Which consists of Rock Formations and eerie Sounds. Tours Last up to an Hour with a riverside walk, A limestone gorge, 280ft vertical cliffs and a traditional rope making demonstrations that can be enjoyed by people of all ages.