Organization change and innovation Essay Example | Topics and Well Written Essays - 5000 words

Association change and advancement - Essay Example Farther than humanism, authoritative development can make noteworthy contributions to a considerable amount of key fields of late research. The most perceptible one is concentrate on across the nation structures of advancement; be that as it may, it is similarly relevant to endogenous speculations of budgetary improvement all the more generally. The connection between the determination of type and the assumption of hierarchical change can be made since each idea or perspective depends on a nearly open investigation of the earth. As these connections are shaped, â€Å"implicitly various new territories of research on development are suggested† (Poole, 2000, p. 102). Auxiliary Contingency Theory A consistent interest caused the programmed association, yet a modifying request shaped the necessity for a natural association with its weight on advancement just as adaptability. Numerous analysts contend that increasingly more monetary just as political divisions ought to as of now fe ature either the natural portrayal or between authoritative systems. In any case, the possibilities that depict why one explicit sort of â€Å"inter-hierarchical system is better for which sort of advancement and in which institutional or cultural setting have not been developed† (Poole, 2000, p. 154). Political Theory Political hypothesis showed up â€Å"in resistance to basic possibility theory† (Poole, 2004, p. ... which the main collusion, once in charge, can remain regardless of whether the basic possibilities for the association change, accordingly, giving an explanation behind why various organizations don't manage condition change. In any case, without thinking about which happens first - modifications inside the primary possibility or adjustments inside the main collusion - moves in the finishing up one for the most part show alters in strategy in the course of advancement or away from it. Accordingly, the political portrayal can be basically joined with the choices on the noteworthiness of a high-hazard strategy, for the most part a one of a kind ‘prerogative’ of this driving collusion. Authoritative Environment Theory An excellent assessment of the exploration endeavors that have been completed on hierarchical change and advancement inside this perspective shows that most of the authoritative condition has featured the decision of hierarchical kind. Be that as it may, littl e focus has been given to either the natural development, the trouble of the conveyance of work, or modernization rates. Points of view on Organizational Change Organizational change is constrained by the standardization of expert notwithstanding the exercises of intrigue bunches in just as around associations. Since the most recent decade, both the position embedded inside legitimate hierarchical structures notwithstanding the techniques and the current authoritative understandings have been modifying significantly. The pressure of worldwide rivalry just as deregulation has made various associations and affiliations search for new sorts of association and different portrayals for overseeing people. Associations turn â€Å"flatter, less fatty, and less practically oriented† (O’Reilly

Political parties Personal Statement Example | Topics and Well Written Essays - 250 words

Ideological groups - Personal Statement Example The individual accomplishes this by concocting a conundrum which makes war between the ideological groups. Ideological groups in U.S are partitioned into two. First are the conventionalists or republicans who are satisfied with how things are. Besides are the progressives or the democrats who trust in pushing the general public ahead. The two gatherings have confidence in various belief systems. In this manner, the failure meets their political covetousness by clutching the gathering belief system, in this manner driving different individuals to cast a ballot against a specific movement in parliament. This gets hard for the legislature to meet its goal viably, living the residents unattended. As a state, Americans need to understand that conventionalists and the progressives have sees that will never supplement one another. In light of this, they ought not permit the failures belief systems to bring down what they decided in favor of all together for the legislature to convey its vows to

Understanding Trichotillomania in Teens

Understanding Trichotillomania in Teens Theories Behavioral Psychology Print Understanding and Treating Trichotillomania in Teens By Barbara Poncelet Barbara Poncelet, CRNP, is a certified pediatric nurse practitioner specializing in teen health. Learn about our editorial policy Barbara Poncelet Updated on February 03, 2020 Barbara Maurer/The Image Bank/Getty Images More in Theories Behavioral Psychology Cognitive Psychology Developmental Psychology Personality Psychology Social Psychology Biological Psychology Psychosocial Psychology If your teen pulls her hair out, she may have trichotillomania. Although not very common, trichotillomania has been well studied and there is help available for this condition. Overview Trichotillomania is a condition in which the person pulls out, twists off or breaks off his or her own hair. This hair pulling is not for cosmetic reasons (like shaping eyebrows by tweezing) and often causes distress. Currently, it is thought that approximately 1.5% of men and 3.5% of women in the United States have trichotillomania. It can begin at a young age (under 5 years old), but the child often grows out of it when it starts this early. When the hair pulling starts later in life, in the preteen or teen years, it can be more persistent and last into adulthood. People with trichotillomania will pull out head hair, but they will also pull out eyelashes, eyebrows, and/or hair on other parts of the body, such as the underarm, pubic, chin, chest or leg areas. The hair pulling may be unconscious or intentional. According to the Trichotillomania Learning Center (TLC), this is a condition that can come and go; the hair pulling can stop for days or even months but then reoccur. There is even evidence that someone can pull hair out while sleeping. It is a complicated problem that can manifest itself differently depending on the person. Causes The short answer is that no one knows for sure what causes this kind of hair-pulling, although there seem to be biological forces as well as behavioral, learning and psychological components to its development. Sometimes trichotillomania occurs in kids who have anxiety, major depression, obsessive-compulsive disorder, or Tourettes disease. Currently, the disorder is classified as an impulse control disorder. Kids may have an uncontrollable need to pull out their hair, or they may pull it out unconsciously while doing other activities, such as watching TV. Why Trichotillomania Is a Problem The TLC discusses many reasons why trichotillomania becomes a problem for a teen. The hair pulling is often done in such a way that it leaves patches of hair missing. This is a cosmetic problem, and the teen can spend a lot of time and effort trying to cover up the missing hair. She may opt for elaborate hairstyles or hats to cover up patches of missing head hair. Sometimes mascara or even markers are used by teens to “color in” areas where hair has been pulled out. Teens are often embarrassed by the problem and sometimes will deny the hair pulling and resist getting help. In addition, they may face teasing from their peers, which can further their shame. Another rare  issue -- trichobezoars -- can arise if the hair that is pulled out is eaten. If too much hair is eaten, these hairballs must be removed with surgery. The hair pulling can also lead to infection of the skin that was traumatized by the pulling. In the end, the repeated pulling out or breaking off of hair can lead to permanent hair loss. The hair pulling isnt only a problem for the teen that is doing it. It can cause problems in some families, as frustrated parents have resorted to punishing the teen for the behavior or even bribing them with gifts to stop it. Because what a parent does to stop it makes little difference with this disorder, you may feel powerless to help your child if hes struggling with this problem. Getting Help Because there isnt a clear cause for this disorder, it can be confusing for parents. Should my teen see a dermatologist? Their pediatrician? A psychiatrist? If your teen has patches of hair missing, your pediatrician or family healthcare provider might be a great place to start. There are sometimes medical reasons for the missing hair, like ringworm of the scalp or traction alopecia because of tight hairstyles that pull the hair out. If it is determined that the problem is trichotillomania, there are treatments available. Cognitive behavioral therapy undertaken by a qualified therapist is often effective. During therapy, the teen will learn about the disorder, as well as ways to manage the urge to pull the hair or avoid hair-pulling that goes on unconsciously. Medications, particularly selective serotonin  reuptake inhibitors (SSRIs), have also been found to be effective for trichotillomania, although they have not been rigorously tested in children or teens for this disorder. Your pediatrician can refer you to the specialist who can help you and your teen manage this condition.

The History of the City of Antigua, Guatemala

The city of Antigua, the capital of Sacatepà ©quez Province, Guatemala, is a charming old colonial city that for many years was the political, religious and economic heart of Central America. After being destroyed by a series of earthquakes in 1773, the city was abandoned in favor of what is now Guatemala City, although not everyone left. Today, it is one of Guatemala’s top visitor destinations. The Conquest of the Maya In 1523 a group of Spanish conquistadores led by Pedro de Alvarado swept into what is now northern Guatemala, where they came face to face with the descendants of the once-proud Maya Empire. After defeating the mighty K’iche kingdom, Alvarado was named Governor of the new lands. He set up his first capital in the ruined city of Iximchà ©, home of his Kaqchikel allies. When he betrayed and enslaved the Kaqchikel, they turned on him and he was forced to relocate to a safer area: he chose the lush Almolonga Valley nearby. Second Foundation The previous city had been founded on July 25, 1524, a day dedicated to St. James. Alvarado thus named it â€Å"Ciudad de los Caballeros de Santiago de Guatemala,† or â€Å"City of the Knights of St. James of Guatemala.† The name moved with the city and Alvarado and his men set up what essentially amounted to their own mini-kingdom. In July of 1541, Alvarado was killed in battle in Mexico: his wife, Beatriz de la Cueva, took over as Governor. On the unlucky date of September 11, 1541, however, a mudslide destroyed the city, killing many, including Beatriz. It was decided to move the city once again. Third Foundation The city was rebuilt and this time, it prospered. It became the official home of the Spanish colonial administration in the area, which covered most of Central America up to and including the southern Mexican State of Chiapas. Many impressive municipal and religious buildings were built. A series of Governors ruled the region in the name of the King of Spain. Provincial Capital The Kingdom of Guatemala never much in the way of mineral wealth: all of the best New World mines were in Mexico to the north or Peru to the south. Because of this, it was difficult to attract settlers to the area. In 1770, the population of Santiago was only about 25,000 people, of which only 6% or so were pure-blooded Spanish: the rest were mestizos, Indians and blacks. In spite of its lack of wealth, Santiago was well-located between New Spain (Mexico) and Peru and developed into an important commercial hub. Many of the local aristocracies, descended from the original conquistadors, became merchants and prospered. In 1773, a series of major earthquakes leveled the city, destroying most of the buildings, even the ones which had been well built. Thousands were killed, and the region was plunged into chaos for a while. Even today you can see fallen rubble at some of Antigua’s historical sites. The decision was made to move the capital to its present location in Guatemala City. Thousands of local Indians were conscripted to move what could be salvaged and to rebuild on the new site. Although all of the survivors were ordered to move, not everyone did: some remained behind in the rubble of the city they loved. As Guatemala City prospered, the people living in the ruins of Santiago slowly rebuilt their city. People stopped calling it Santiago: instead, they referred to it as â€Å"Antigua Guatemala† or â€Å"Old Guatemala City.† Eventually, the â€Å"Guatemala† was dropped and people began referring to it as simply â€Å"Antigua.† The city rebuilt slowly but was still large enough to be named the capital of Sacatepà ©quez Province when Guatemala became independent from Spain and (later) the Federation of Central America (1823–1839). Ironically, â€Å"new† Guatemala City would be hit by a major earthquake in 1917: Antigua largely escaped damage. Antigua Today Over the years, Antigua retained its colonial charm and perfect climate and is today one of Guatemala’s premier tourist destinations. Visitors enjoy shopping at the markets, where they can purchase brightly colored textiles, pottery and more. Many of the old convents and monasteries are still in ruins but have been made safe for tours. Antigua is surrounded by volcanoes: their names are Agua, Fuego, Acatenango and Pacaya, and visitors like to climb them when it is safe to do so. Antigua is particularly known for Semana Santa (Holy Week) festivities. The city has been named a UNESCO World Heritage Site.

Analysing the Female Characters in Henry James Fiction Essay

Analysing the Female Characters in Henry James Fiction ‘A woman it seems to me has no natural place anywhere; wherever she finds herself, she has to remain on the surface and more or less to control’ Discuss James’ representations of ‘places’ for women in his novels. There is an impressive range of female characters in Henry James’ fiction. Drawn to the world of wealth and leisure as a subject, a world which was at the same time, ironically the context for his own hermetic labours as a writer, James perhaps inevitably came to concentrate on the feminine. Correspondingly, most of his male characters seem to be†¦show more content†¦The theme so early recognised as particularly James’ own was the international one, and the expression of this theme pivoted around the figure of the American girl. The critic W.D. Howells (1958 P.63) credited James with being the inventor of the ‘International American girl’. The American girl, as she appears in James’ early stories and novels is independent, moral, free, innocent, and her attractiveness is either ‘delicate’ or of a pale and rather asexual kind. In her less refined or serious form, she may be ignorant, brash or simply naà ¯ve. She is, of course, as always unmarried. In using the American girl as central to his exploration of the interaction of American and European society, it was not at first in the girl herself that James placed the distinguished American moral consciousness, and when she was endowed Imran Hussain Henry James with moral seriousness the conscious response to its clash with social convention was again, in the early work, usually located in a male onlooker. Her self-consciousness according to Habegger (1960, P.67) developed out of a line of American girls who were absorbed by Europe, withdrew from it, or were destroyed by it, and this is the reasonShow MoreRelatedEssay on Protecting Miles and Flora in The Turn of the Screw2242 Words   |  9 Pagesher duty to protect Miles and Flora. What do they need protection from and how does Henry James illustrate this in his novel â€Å"The Turn of the Screw†? Henry James’s ‘Turn of the Screw’ can be interpreted in many different ways. He constructed his novel in order to make allusions to sexual topics, (without stating anything explicitly) madness, ghosts and the Victorian society. In this essay I will be analysing each of the above in order to make a conclusion as to what I think the children need Read MoreKhasak14018 Words   |  57 Pagesthe work considered. The second chapter, titled The Dark Vault, studies the aspects of psychoanalytic theory which can be used in the analysis of the novel. It deals mainly with Freudian theories which explore the dark vaults of the psyche of the characters in the novel. The third chapter, titled Ancient Moulds, studies Mythological or Archetypal criticism and analyses the novel for recurring mythical and archetypal patterns. The concluding chapter studies how psychoanalytic theory and mythologicalRead MoreStrategic Marketing Management337596 Words   |  1351 Pagesproductivity The use of ratios Analysing ratios and trends Ratios and interfirm comparison vi CONTENTS 3.13 3.14 A strategic approach Summary 112 116 117 119 119 120 128 136 139 149 153 159 165 167 169 169 170 174 182 188 192 202 214 215 221 223 223 230 236 241 246 248 250 251 255 261 4 Market and environmental analysis 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 Learning objectives Introduction: the changing business environment (or the new marketing reality) Analysing the environment The natureRead MoreOrganisational Theory230255 Words   |  922 Pagesperspectives that constitute Organization Theory provide profound challenges for organizations in the twenty-first century. The book develops understanding of the increasing pressures created by heightened competition and processes of globalization by analysing their impact upon organizations with specific reference to the ways in which organization theory can help develop understanding and appropriate action. Who should use this book? The target audience is anticipated to be postgraduate students and

The Progression of the American Musical Free Essays

The World Two great writers of American musical theatre, Richard Rodgers and Oscar Hammerstein II, had one common idea. They wanted to present to the American public a new, revolutionary musical that would stand out among the rest. They wanted to make an impact on the societies of the era. We will write a custom essay sample on The Progression of the American Musical or any similar topic only for you Order Now They wanted to be creative and do something that was considered rebellious. When they finally combined their ideas together they created an American masterpiece: Oklahoma!. This was the first Rodgers and Hammerstein collaboration, starting the most successful creative artnership in the history of American musical theatre. In the years before Oklahoma! was created, Broadway was dying. New and refreshing musicals were a rare occasion and when an artist tried to create something that he hoped his audience would like, he was sadly disappointed. Broadway was suffering from a lack of what it was revered for: astounding plays and musicals. Its time of glamour and glitz was almost forgotten, and was in need of being saved. That is why Oklahoma! is considered a rebirth of the American musical theatre at the time. It brought Broadway back to life, filling theatre seats with nthusiastic audiences who embraced the changes of this new theatre musical with open arms and made it a legend. Oklahoma! set new standards for classic American theatre by introducing new techniques of presenting the musical to the audience, introducing a new genre of music into the theatre, and strayed away from the usual classic form and structure of a musical that audiences had grown used to. It was a time of change, a time of excitement, and a time of setting standards for the future. Almost from the first performance at the St. James Theatre on March 31, 1943, Oklahoma! has been recognized as a new kind of musical play that denied its Broadway audiences many of their most treasured traditions, says David Ewen in American Musical Theatre: â€Å"There was no opening chorus line, no chorus until midway through the first act, in fact. There was rather a serious ballet and other serious overtones, including a killing in act two. The story, which was so simple, seemed to engage the audience in more than mere evening diversion† (248). These changes, far from disappointing to viewers, were upheld by a success that had never been seen in the history of musical theatre. He continued to say that with their first collaboration, Rodgers and Hammerstein shered in a new era for the musical theatre This beautiful folk play realized fully that which the earlier Rodgers and Hart musicals had been striving to obtain: a synchronization of all the elements of the musical theatre into a single entity. At best Oklahoma! could lay legitimate claim to have carefully woven a new element, dance, into the artful fabric of the modern musical. No longer would singers sing and then Dance was not a new element in the theatre realm. It had been used for years as a way of interpretation of feelings of a character that the writer or director wanted the audience to feel visually. Through movement, expression of those feelings was portrayed and helped the audience to somewhat experience that single emotion of fear, hate, love, or guilt right along with the character on stage. But what was usual was that it was never brought together with the music and singing. The song was usually followed by the decorative dance. A song followed by a dance would usually lost the audience’s attention, or even if the dance was too long or did not correspond to the song or story line what so ever. Rodgers and Hammerstein set a standard that incorporated the two elements (music/song and dance) so that the audience would ind more logic in the dance. It would have a meaning and a purpose in the play and heighten the excitement in the musical. And in many instances, it would further the plot or at best help the audience to fully understand the individual character’s feelings at that point in the musical. David Ewen uses the example of Agnes de Mille’s (choreographer of Oklahoma! ) ballet, which brought to life the heroine’s dream and provided her motive for refusing the hero’s invitation to a box special. It was part of the story. (248) According to Gerald Bordman, the author of American Musical Comedy, the idea hat integration, something new and desperately needed, took hold of Broadway’s thinking. In fact, it became so fashionable to integrate dance into the musical, that it was sometimes injected when it served no dramatic purpose, and sometimes even when it hindered the unfolding of the story. (160) After awhile dance became overused, which seemed to ruin what Rodgers and Hammerstein had set out to do (the incorporation of dance to heighten the meaning of the musical). Other writers or choreographers who inserted dance were not adding it when it would help the musical. Directors came to believe that dance was a necessity in a musical, for it was ne of the key reasons why Oklahoma! as so successful. So the additions were made, but were not really thought about their purpose when they were added. What was forgotten was the obvious need for the dance at all. Dance was thought to be a want of the audience, not taking into consideration if the musical even required the dance at all. So, this problem developed into a frenzy, adding dance Just for the mere spectacle of it. But in O klahoma! , everything fit into its place. For the first time, not only were the songs and story inseparable, but also the dances heightened the drama by revealing he fears and desires of the leading characters. According to Bordman, Richard Rodgers once said, â€Å"when a show works perfectly, it’s because all the individual parts complement each other and fit together†¦ in a great musical, the orchestrations sound the way the costumes look. That’s what made Oklahoma! work†¦ it was a work created by many that gave the impression of having been created by one† (160). collaboration. Joseph Swain adds that much was made at the time of the hero’s killing the villain on stage in Oklahoma!. This too was not new. But while the claim to originality was once again exaggerated, Oklahoma! virtue of its huge popularity, a popularity in no way reduced by an unpleasant scene, did open doors. (74) Oklahoma! was in the genre of Musical Comedy, and many critics felt that villains and murder were not elements that should appear in a comedy. It was thought that such items would turn audiences away from Oklahoma! , having the idea of going to see a comedy and leaving feeli ng like they had seen a murder mystery, and not laughing at all was not the main objective of comedy theatre. But once again, these elements were a key part of the musical. David Ewen pointed out in The Story of America’s Musical Theatre that the original play had both villains and a murder, and Rodgers and Hammerstein had no intention of removing them from their musical. Ewen quotes Hammerstein saying, â€Å"We realized that such a course was experimental, amounting almost to the breach of an implied contract with the musical-comedy audience. I cannot say truthfully that we were worried by the risk. Once we had made the decision everything seemed to work right and we had the inner confidence people feel when they have adopted the right and honest approach to a problem† (180). But once the doors opened and tickets began to sell and shows eventually became old out, Rodgers and Hammerstein really did not have anything to fear. Their show soon showed itself to be a success, even with a villain and a murder. The audiences were at first disturbed to see these elements in a comedy, but soon came into agreement with these new additions and liked its originality and creativeness. Also if these two elements had been removed, it would have disturbed the synchronization and union of all the other elements of song, dance and plot in the musical, which was what the writers were trying to avoid at all costs. Along with dance and villains, Rodgers and Hammerstein also took on a new pproach to forming the music that they included in the musical. In Gerald Bordman’s second book American Musical Theatre: A Chronicle, he stated that long before they wrote their first lyric to â€Å"Oh What A Beautiful Mornin'†, Rodgers and Hammerstein had arrived at an all-important decision. The â€Å"flotsam and Jetsam† of musical comedy would have to be abandoned in translating a sensitive, poetic folk play for the musical theatre. Musical comedies traditionally opened with a big, crowded stage scene. Oklahoma! ould begin simply: a single character would be seen on the stage (a woman churning butter), and from off-stage would come the trains of the first song. Musical comedies usually started with a dazzling line of chorus girls from the stage aprons early in the production, but Rodgers and Hammerstein decided to delay its appearance until halfway through the first act (535). bring a c ertain magical and triumphant beginning to a musical, starting with excitement and volume. This was also criticized; many feeling an audience would not stand for their most treasured attributes of a play being taken away. But Rodgers and Hammerstein once again took another risk, and it proved to be a risk that was not too bad to take. Audiences were at first disappointed with the deletion of the opening chorus, but eventually excused it, for they fell in love with the style of musical that Rodgers and Hammerstein were presenting to them. The play grew from a simple opening to a grand finale, which built the excitement of the audience and kept them stimulated and interested in the unfolding of the musical until the final chorus line and curtain call. It built suspense and a burning for more. Rodgers and Hammerstein obviously knew what they were doing, even if the critics thought they did not. Bordman also noted that the show’s musical director, Jay Blackton, appreciating he work’s nature, discarded the common musical comedy practice of having the entire chorus sing only songs’ melodies. Instead, he reverted to the tradition of operetta and comic opera by dividing his singers and assigning them various parts, not always the principal melodic line (535). Once again, Oklahoma! was making breakthrough innovations in the musical theatre world. A denial of basic characteristics of the original musical comedy could have upset the audience, and push Oklahoma! into an area of outcast musicals that all writers fear. But Rodgers and Hammerstein’s ideas were undeniably refreshing to the American audiences. Rodgers’s music also marked a new direction for the writer in Oklahoma!. He reinvented his style of music from what he knew was popular to the audience to a rugged flatness. Davis Ewen also states in his book The Story of America’s Musical Theatre, that most musical comedies expected the music to be written before the lyrics, since the lyrics were something functional tacked on to the melody. But the writers were so determined to make each word an essential part of the text that they agreed at once for Hammerstein to write the lyrics first, and Rodgers would write the music from the lyrics (180). Bordman reiterates that it is sometimes hard to realize that â€Å"Oh, What A Beautiful Mornin’ † is a waltz. The melody of â€Å"The Surry With The Fringe On Top† captures the clippety-clop of a horse pulling the vehicle. Rodgers’ long-sustained opening note of his title song coupled with the driving melody that follows was of the freshest inventions of the sort and the impeccable blending of words and music in â€Å"People Will Say We’re In Love† Justifiably made it the most popular of the year. Much proclaiming ensued over how well the songs and plot were integrated (535). This coordination of musical rhythm and words was amazing. They were able to catch simple sounds of the actions on stage and incorporate them into the song, as if the lives of the characters could only survive with the music. This combination of audience must be made to believe that the character’s life is a song. It is essential that the character make the audience feel like the music is not Just a silly addition to the developing plot, but an existing item that has and will always exist at that point in time. The audience must be pulled into the world of the musical, not Just simply entertained. And once again, Rodgers and Hammerstein had achieved that goal. They ere well on their way to creating a musical that was so seamless that extracting one minor detail of it would throw the whole work of art off. It was a work of complete union and an accomplishment that was in no way easy to create in the first place. One factor in the success of Oklahoma! that cannot be overlooked was the attitude of the American people at the time it was presented. In The World of Musical Comedy, Stanley Green adds that World War II was more than a year old when the musical opened, and those who remained at home were becoming increasingly aware of the heritage they enjoyed as a free people. Seeing the happier, sunnier days that were so much a part of this heritage gave audiences both an escape from daily headlines and a feeling of optimism for the future (212). In American Musical Comedy, Bordman believed that Oklahoma! ‘s importance lay elsewhere. The show made the American musical theatre look at America’s own heritage for inspiration (160). Playwrights were beginning to recognize the vast amount of inspiration the American country could provide for the new revolution of musicals. During the time of and after World War II, pride in America was gaining strength and so was the nterest of writing plays and musicals that showed that pride of how great America was. Oklahoma! n turn brought more than Just new innovations of song, music, and dance to the stage, but a love for musicals that showed how beautiful older American culture was. Oklahoma! was a musical of America’s expansion into the western front and the western culture. In more ways that one, Oklahoma! was a way for city dwellers in New York City who sat in the audience to find their way to the west without ever leaving the city. Rodgers and Hammerstein had experie nced achievement when they could tell a story through song and dance and transport the udience into the setting of the musical. Playgoers would leave the theatre feeling like they had Just returned from an adventure out west, which is a playwright’s exclusive objective when creating a play. The audience must be made to believe that they are experiencing the plot right along with the actors on stage. Thus is the main objective of theatre in general: to capture the audience and bring them to a different place and time where the plot of the play is the only struggle in the world at the time. Bordman writes in American Musical Theatre: A Chronicle that what started in 927 was perfected in 1943 when Oklahoma! premiered. It is considered by many to be the first musical comedy to have a plot, musical score and dances that were necessary ingredients to advance the story line (536). It is only fair to agree with him. Rodgers and Hammerstein added the exact â€Å"ingredients† to create a magical and over the world to this day. Although Oklahoma! premiered 70 years ago, and its style of music and dance have grown old with the passing of time, it still demands respect for its combination and imaginative ideas that revolutionized the musical industry at the time. Rodgers and Hammerstein were the dominant force in musical comedy in the 1940’s and 50’s. Even their flops had notable songs. Several of their shows became successful films. Oklahoma! ‘s importance in opening a new era in the American Musical Theatre will never be challenged. It has become an American classic that society will forever treasure for its beautiful integration of song and dance. How to cite The Progression of the American Musical, Papers

Voltaires Attitude toward Religion

Introduction Voltaire hates all forms of cultural religions. Instead, he prefers a common god of nature. Voltaire’s problem with the religion is the moral inferences among various religious organizations. Specifically, the subject of religious intolerance was imperative for Voltaire. As a result, he covers this subject in Candide by portraying characters who represent religions negatively.Advertising We will write a custom essay sample on Voltaire’s Attitude toward Religion specifically for you for only $16.05 $11/page Learn More In Candide, Voltaire depicts all religions as ‘evil superstitions’, which can be dangerous to society and people. For instance, Voltaire argues that people live in the â€Å"best of all possible worlds† (Voltaire 16) by criticizing Leibniz’s ideas. He supports such views by asserting that, â€Å"since everything was made for a purpose, everything is necessarily for the best purpose† (Voltaire 16). The imperfect world Candide suffered and experienced most atrocities, including slavery, the rape of his lover, shipwreck, exile, and lost wealth. He started to question the rationale of his teacher’s ideas. In fact, Candide asked Pangloss to confirm if he still believed that his ideas were correct after the supposed death. The philosophical Pangloss maintained that, â€Å"I still hold my original opinions, because it would be improper to recant† (Voltaire 106). From this view, one can observe that Voltaire’s main argument is that this world is not perfect or the best among all possibilities. Voltaire uses different catastrophes, such as diseases, wars, and natural disasters among others to question the benevolent god, who fails to create the best world. Hence, Voltaire notes that it is ignorance to die and support wars for the sake of a benevolent god because wars are only dangerous to society and individuals. The use of religious characters Ch aracters in Candide show Voltaire’s criticism of religion. He uses the Grand Inquisitor, who is a prominent leader at the Catholic Church, to expose hypocrisy of the religion. For instance, the Grand Inquisitor forces a Jew to share his Cunegonde or the sex slave and threatens him with dire religious consequences, persecution. This involves ‘burning alive’ of people, ‘autodafe’ (Voltaire 32). Still, the friar acquired wealth through an old woman while the former baron, who became a Jesuit priest engaged in homosexual, â€Å"While in Turkey, I found myself with a very handsome young officer of the sultan’s palace.†¦so I bathed with him, not knowing it was crime for a Christian† (Voltaire 105).Advertising Looking for essay on philosophy? Let's see if we can help you! Get your first paper with 15% OFF Learn More Further, Voltaire depicts the monk, Brother Giroflà ©e as a person engaged with a prostitute and with a miser able stance toward life. According to Voltaire, all these are religious figures who are hypocrites. While Voltaire depicts religions negatively, one must recognize that Anabaptist, Jacques and the old woman present different views about religion. Voltaire shows that Anabaptist died of a worthless cause as he tried to save an unthankful, dangerous sailor. The old woman experienced all forms of atrocities in the ship, â€Å"I won’t tell you how painful it is for a young princess to be on board a pirate ship† (Voltaire 41) and endured all suffering to save Candide and Cunegonde. This shows that his good characters endured unnecessary evil because of religion. Conclusion Voltaire depicts that religion is nothing other than a fallacy. He shows the difference between Jesuits and Cannibals, who never left any ‘good meat’ to rot. All religions have danger lurking because they all prove to be dangerous in Candide. According to Voltaire, one should not concentrate o n world religions, but rather focus on leaving his or her life in the best possible way, â€Å"Well said, but we must cultivate our garden† (Voltaire 113) and not wait for religious groups to determine their destinies. Works Cited Voltaire. Candide. New York: Bantam Dell, 2003. Print. This essay on Voltaire’s Attitude toward Religion was written and submitted by user Nicholas Browning to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.