Moment in the play Essay Example for Free

Moment in the play Essay What do you think makes this conversation between Biff and Linda so moving and sad at this moment in the play?  In the play â€Å"Death of a salesman†, Arthur Miller have made this conversation between Biff and Linda so moving and sad in the manner of which by displaying Linda’s unwavering devotion to her husband Willy, in stark contrast to the nature of the conflicting relationship between Biff and Willy. These points are skillfully heightened by Miller’s use of language and techniques such as characterization, dialogue and stage direction. Miller have made this conversation between Biff and Linda so moving through the context of Linda’s unwavering devotion to her husband, Willy. Whenever Biff goes against Willy, Linda seems to always be the person to stand up for her husband against her own son. This is shown through the quote â€Å"Biff, a man is not bird, to come and go with the springtime.† We can see that Linda in a sense, an infinite moral voice in the play- a woman with a good will at heart. However, here the readers can clearly see through her comparison of Biff to a bird, she is strongly against her son’s freedom not only within her own thoughts, but in the context of Willy’s false values. Linda conforms to the standard of her husband lifestyle and thoughts, and therefore preventing Biff from what he truly wants to become, to have a freedom in life. This therefore make Biff [evasively] says: â€Å"I’m not hateful, mom.† Biff is pressurized by the weight of hopes and expectations his father gave him since he was young, thus this even make the reader feels even more moving and sad due to Biff’s parents weighing him down while he himself desperately says â€Å"I’m trying Mom,† revealing the misery of the Loman family under the influence of the American Dream. Miller have also made this conversation between Biff and Linda so sad and moving through Biff’s caring attitude towards Linda through dialogue and stage direction. Here the reader can acknowledge how much Biff cares for Linda when he [touches her hair]. This action of tenderness have proven his love for his mother whose her life, have been taking care of Willy, who is a disillusioned husband.†Your hair got so grey† he said, and when Linda replied back with â€Å"Oh it’s been grey since you were in high school†. This fact gives a glimpse to the past that due to Linda’s faithful nature, she’s been suffering since the early days-and this signifies how moving all of Linda’s actions when taken into consideration, when Willy himself have been chasing the American Dream this whole time bringing Biff along with him when he â€Å"blows him full of hot air.† The audience can really inspect this from afar and sympathise the disconnection between Biff and Linda when there really shouldn’t be harmony. The audience would feel even more moving when all of this facts is caused by the ruthlessness of the capitalist system, led along by the American society. In conclusion, Arthur Miller is able to weave an intricate web of different intepretations and ideas and brings out the most sympethatic emotion could expressed for the audience during this conversation between Biff and Linda-while Linda pours all of her heart out for Willy and introduces the theme of denial where she follows along with what Willy does. Biff has become the victim of the environment, where to an extent, is forced to conform to the ideals that Willy, the American society, has created. I think what most driven the audience to feel so sad is that through this conversation, they can see how the American Dream represents false hopes and values and it’s in fact an unattainable dream that causes destruction for the Loman family- the only thing that can keep us alive.

Don Giovanni by Wolfgang Amadeus Mozart | Analysis

Don Giovanni by Wolfgang Amadeus Mozart | Analysis Were transported to seventeenth century Spain for what has been called the greatest opera ever composed Don Giovanni! From the initial thundering chords of the breathtaking overture, this opera is filled with sexual heat, thrilling music and dramatic action. Indeed more action takes place in scene one of Don Giovanni, than that of most operas. Within the first fifteen minutes alone; a disgruntled servant, an attempted rape, a dual, a murder, a grieving daughter, and an oath of vengeance ensnare the audience! Our story properly begins in the early seventeenth century, when the character Don Juan made his stage debut in a three act play titled El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) the play was first performed in Madrid around 1624, but published in 1630. It appears under the name of a playwright named Tirso de Molina; however this was actually the pseudonym of a Roman Catholic monk named Gabriel Tà ©llez. It was most likely written to present the issue of morality in relation to Don Juans amorous excesses. In seventeenth century Italy, it was a favorite story of the commedia dellarte. Molià ¨re wrote a play on the subject in Paris in 1655. And rather go on decade be decade, well hop forward to 1787. A key year, not for Mozarts Don Giovanni, but for the first performance in the city of Venice of an opera called Don Giovanni Tenorio, o sia Il convitato di pietra (Don Giovanni and the Stone Guest) the composer of this 1787 version was Gi useppe Gazzaniga and the Libretto was by Giovanni Bertati. The next person Id like to introduce to this picture is Lorenzo da Ponte; the great court poet in Vienna. Mozart had known of Da Ponte for a while. Four years earlier in 1783, when Mozart was relatively new in Vienna, he writes home to his father from Vienna that hes after Da Ponte to write a libretto for him, but he is so busy writing original opera libretti for some composers and adapting pre-existing libretti for other composers, it would be actually more than two years before Mozart could pin down Da Ponte to work with him. When he did, Da Ponte provided him with the libretto for their first collaboration the Marriage of Figaro. It was composed between October of 1785 and April 1786 and was premiered in Vienna. It received success for a limited time, before other productions came to take its place. But as interest in Figaro waned in Vienna, there was another city that was crazy about the Marriage of Figaro and that city is Prague. (Which at that time, it was the second most impor tant musical centre in Europe) Mozart went to Prague in January of 1787; it marked the beginning of a passionate relationship between him and Prague. Among other things Mozart conducted a performance of Figaro at the Opera house during his stay. On the seventeenth of January he writes to his friend and student Baron Gottfried von Jacquin he says; I saw with the greatest pleasure all the people in the ballroom dancing with such delight to the music of my Figaro. For here in Prague nothing is talked of but Figaro, nothing is played sung or whistled but Figaro No opera is drawing like Figaro. Nothing, nothing but Figaro. Certainly a great honor for me! On foot of the success of Figaro, comes a commission of an opera for the following season (nine months time). That opera would be Don Giovanni, which was written to be premiered in Prague as part of the celebrations for the marriage of the Archduchess Maria Theresa (niece of the Emperor Joseph II) to Prince Anton Clemens of Saxony. Mozart was delighted to accept this new commission and, naturally asked Da Ponte to join him on the project. As it happened, Da Ponte was already heavily committed, working on two librettos Tarare (for Salieri) and Larbore di Diana (for Martin y Soler). But he too was greatly attracted by the occasion and he was strongly drawn to the subject matter (his friendship with Casanova, was now about to pay dividends) this is what Da Ponte himself says about his choice of subject for Mozart For Mozart I chose Don Giovanni a theme which appealed to me enormously. In working on Don Giovanni, I shall think of Dantes hell This is a wonderful image, the great Lorenzo da Ponte, court poet of Vienna, the great operatic librettist. You picture him sitting, inspired by, reflecting on, and plunging into the depths and the mysteries of Dante. The very simple fact is, he was probably thinking a lot more about the libretto that Bertati had written for Gazzaniga in Venice. Da Ponte knows about that libretto and its very clear that he draws very freely from it, hes not about to write something from scratch if he doesnt have to. But in fairness to Da Ponte everything he touches gets better, which in artistic circles is what you like to see happening he borrows and repays the debt with interest. So back to the chronicle of Don Giovanni and its main character; this is a particularly concise sketch of the quintessential Don Juan character; he is the epitome of the modern age, an expansive type who is determined to enjoy the world, Immeasurably self aware, defiant of all forms of authority and opposed to all higher order he is in effect a corporate C.E.O.! Beethoven although he greatly admired the music of this opera, he very famously stated the he could not bring himself to write an opera on a subject so immoral as either Figaro or Don Giovanni .However. this is not to say that Mozart shared Don Giovannis moral values. In a letter Mozart writes to his father shortly after he arrives in Vienna he says the voice of nature speaks as loud in me as it does in others, louder perhaps, but I simply cannot live as most men do these days, in the first place; I have too much religion, in the second place; too great a love of my neighbor and too high a feeling of honor to seduce an innocent girl and then in the third place; I have too much horror and disgust, too much dread and fear of diseases Mozart; an eighteenth century practitioner of safe sex.who knew? Now, taking a look at the opera, theres been a lot of critical discussion over the years. Musicologists and critics of all types have written extensively about Don Giovanni and one central issue that always seems to appear is the question Is it a tragic opera? (opera Seria) or is it a comic opera?(opera Buffa) and the simple fact is that what it really comes down to is that it is both! And the strength is that it can be both of them, the juxtaposition of the tragic and the comic heightens the effect of both. This said, its not simply the alternation between tragic and comic but the fact that Mozart is often able to have both facets displayed simultaneously. In this regard he has the ideal collaborator in the form of Lorenzo Da Ponte, because Da Ponte is often praised by his admirers for his ability to interweave the tragic and the comic elements. Its interesting to note that Mozart himself labeled this opera as a drama giocoso (Playful drama) which reflects what he understands the op era to be. To give an example of the juxtaposition between the tragic and the comic I first have to give you a sense of Mozarts gifts of characterization, because that is what a great opera composer has to have at his or her disposal. The ability not only to delineate a character in music, sometimes in the instrumental music even before they open their mouths to sing, but also the ability to somehow express different emotional states of that character in the course of the opera. So to give an example of a contrast of emotional states; the duet that follows the death of the Commendatore, his daughter Donna Anna is quite understandably upset and agitated. Her betroved Don Ottavio is much more in control and in their music you hear their emotional states she is agitated and he is calmer. Heres what they sound like in their duet: Track 1 You dont have to understand what theyre singing in Italian to realize that shes agitated and hes calmer because you hear it reflected in what they sing. If you talk about the expression of powerful emotions in music, which is something that also matters here. To begin with one thing you should know about Mozart, is that he was very much a man of the classic period; in which elegance, balance, restraint and proportion were the stock and trade of the composer. This also extended to his representation of strong emotions. Theres a famous letter that he writes to his father, when he is composing his first Viennese stage work The abduction from the soraleo in which there is a surly gate keeper at the poshes palace whose name is Ozmide, he has an aria of rage directed at a man whos trying to rescue his girlfriend form the heron and Mozart writing to his father says yes the emotions that are expressed here are extreme, but the music must never lose itself Thats one thing you have to recognise, there will be later operatic composers who will go over the top with their music, when the emotions go over the top, but the musical range within whic h Mozart operates, suggests that even at the most extreme, emotions never lose the propriety of the music that is expressing them. The musical range is different from what you might encounter in Wagner or in Twentieth century but Mozart knows exactly what hes doing and the shading of these levels is what its all about. Now in act two of Don Giovanni its Don Ottavio who swears vengeance for the death of the Commendatore he sings the aria il mio tesoro the text begins go and console my treasure and try to dry the tears from her lovely eyes. I mention this aria because I want you to hear a little of what many consider to be the finest recording of it ever made, which is interesting because it was recorded in 1916 by the great Irish tenor John McCormack: Track 2 Weve really set the stage now for what I mentioned earlier about the juxtaposition of the tragic and the comic elements. After the duet you heard earlier, Don Giovanni and Leperello (Dons Servant) return to the stage and we return to the Opera Buffa style. Donna Elvira then sings a very serious and dramatic aria, its important to note that in every aria except this one by Donna Elvira, the singer is addressing someone else on the stage. This makes her aria the operatic equivalent of a dramatic soliloquy. It is intense, and yet the intensity is undercut by the fact that the fact that Don Giovanni and Leperello are off to the side of the stage eavesdropping and making comments about what she has to say: Track 3 What makes this convention even more elegant is that the places where Don Giovanni and Leperello are making their side comments are exactly the places where you would normally have an orchestral refrain punctuating what shes saying. So hes using the conventional form, but hes twisting it slightly which again undercuts the dramatic intensity. Now back to the original play by Tirso de Molina, if you take a look at that you find that at the end Don Juan with his dying breath says that Elvira is virgo intacta (a virgin) which makes her the only woman in the original play who gets through untouched. In Da Pontes libretto though, things are very different. As a matter of fact another recurring theme in the critical analyses of this opera is; overwhelming lack of success on behalf of the title character. Legendary loverà ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦.wheres it happening? Heres a compilation of comments on this subject made through the years: 1924 The action portrays anything but a successful sexual adventurer 1867 The cheerful tone that runs through the whole opera depends chiefly on the repulses with which the hero is continually made on the field of the heroic deeds 1954 Of all the Don Juans of literature and of drama, that of Da Ponte is professionally the most futile Irvin Singer You can understand Don Giovanni as a professional Athlete with a very high batting average. That he encounters frustrations within the opera, simple shows how difficult the sport is 1967 Every time Don Giovanni is absent from the stage you should consider a conquest is taking place. We are accustomed to crime detection in prose; this is sin detection with all the major clues in the music and plenty of others in the Italian It would seem like the last authors interpretation is at odds with the intentions of our librettist Mr. Da Ponte, I say that because in that libretto that Giovanni Bertati wrote for Gazzaniga the conquests are explicit and overt. Lorenzo da Ponte decides that he will tone down the obviousness of the amorous conquests in his version of the story. We believe in his seductive powers by virtue of what he says and how he sings it, which of course is what opera is all about. The duet la ci darem la mano is an example of Don Giovannis seductive capabilities: Track 4 A man named Edward Dent (Who wrote a famous book on Mozart Operas) he says After Don Giovanni himself, by far the most interesting character would be Donna Elvira One of her finest moments is very interesting musically because it is Mozart specifically stepping out of the style of his time and stepping back to the style of Handel. Often you would find a composer in any period to be somewhat conservative in their musical style if theyre writing sacred music; the idea of reaching back and evoking a certain timelessness and archaic quality that serves the text. Well here were in the course of an opera, but its clear that he probably wants to make this come across like a sermon because what shes singing is flea the traitor, dont listen to what he says, his lips are lying ones, his eyes deceiving and he crafts it in the style of a Handel aria: Track 5 And then just another indication of the music variety you find here a very simple tune Batti Batti (Beat me, beat me) is rendered less trivial by an obligato solo cello: Track 6 The effectiveness of that cello leads us into the whole question of orchestral colour. When we think of the drama and the power of Mozarts music the first thing of course that comes to mind of course is melody, the most inescapable part of an operas score. But then theres the harmony which we sometimes dont think about as much as the melody but also exerts a powerful influence, but also orchestration; the use of varying colours in varying situations, which even if were not thinking about consciously exerts a very powerful subliminal effect on us. Heres a very nice example; orchestral colour used to literally paint an island of repose in the trio proteggia if giusto cielo (may just heaven protect my determined heart) the strings drop out and the singers are accompanied only by the winds. You can really get the sense that you are somewhere else: Track 7 But the most important instrumental point of interest has to do with trombones. In Mozarts time, trombones generally belonged to church music and not to the theatre. As far as their use in symphonic music it is not until Beethovens fifth symphony (twenty one years later) that the trombone made its first appearance in a symphony. So to put yourself in the shoes of the Prague audience I know trombones but I think of them as belonging to the church so how does he use them here? Mozart associates them with the statue of the commendatore, the statue that is going to come to life, and when it comes to life in the graveyard scene thats when the trombones appear. You can be sure the audience in those days were terrified: Track 8 And when the statue comes to Don Giovannis banquet he brings his trombones: Track 9 When the statue that has come to life shows up with his trombones, the music is not new to us because weve already heard it in the overture, and what is very, very significant about this; it is the only time in Mozarts entire operatic career that he writes an overture that begins with a slow introduction. The obvious reason why he does it in this case is because he wants to give us a taste of that terrifying music at the very beginning: Track 10 Its interesting to note that the night before the premiere of Don Giovanni; Mozart had to stay up all night to write the overture which according to a member of his orchestra had not even been sketched! Another wonderful point of interest, a very famous passage in Don Giovanni, which is a reflection of Mozarts experience writing dance music for the ballrooms of imperial Vienna that is where he simultaneously gives us three different dances representing three different levels of society. Mozart who we all know could work things out in his head and spew it out on the paper without effort actually made sketches for this, it was something he actually had to think about. Its the same effect that Charles Ives is going to create somewhat later. The idea of standing in a certain place with different ensembles playing, you hear them simultaneously and the soundscape is the composite of three different elements. This is what it sounds like in Don Giovanni: Track 11 Now thats simultaneous combination, Id like to also tell you about a kind of consecutive juxtaposition of things which is very interesting, it represents a little of the in humour of whats going on here; we are almost at the end of the opera, and were in the banquet hall of Don Giovanni whose own personal orchestra is playing. The first tune they play is the act one finale of Martin y Solers (one of Mozart contemporaries, and another composer asking Da Ponte for a liberetto) opera Una cosa rara so youll hear the acknowledgement of cosa rara: Track 12 Then they play an excerpt from an opera of another one of his contemporaries named i due littiganti by Sarti. Leperello cheers the selection, Don Giovanni simply tells him to pour more wine: Track 13 There is a basic rule of humour or comedy writing that is; set up, set up and punch line, Mozart knows how to do that! We have something by Martin, something by Sarti, the third thing that Don Giovannis orchestra plays is non piu andrai from the Marriage of Figaro. Now of course every single person in that audience in Prague would have immediately recognised it from the first few notes because as we know these were the tunes to which they were singing, whistling, humming, dancing etc. these were the tunes that took over Prague before Don Giovanni! How does Leperello respond he says I know that tune troppo (too well): Track 14 Since Ive already given away the ending of the opera, I will play some of the music that accompanies Don Giovannis descent into hell.through a trap door in the stage, which is a lesson to all of us to beware of trap doors in stages, because you know where they lead! Again with orchestral effects and an offstage chorus, it absolutely terrified the audiences of Mozarts time: Track 15 Theres a famous story told of a somewhat out of shape Don who got stuck in the trap door on the way down, and no matter what he did, he couldnt push himself either way, at which point someone in the audience yelled out Hurray boys, hells full! Id like to close by posing and answering a question, obvious in the light of the history that Ive provided you with, and that is; after it was performed in Prague, how did Don Giovanni fair in Vienna? Well seven months after the triumphant performances in Prague, it premiered in Vienna, but unfortunately the reception was somewhat cool. The Emperor said to Da Ponte The opera is divine, I would even venture that it is more beautiful that Figaro but such music is not meat to the teeth of my Viennese and the story goes that Da Ponte relayed this message back to Mozart and his reply was well let them chew on it. So Happy Chewing!

The Hobbit - The Motivation Of Lust :: essays research papers

Anyone who had something of great value stolen from him would try to get it back. Even if that person had to go to high risks to reclaim what was theirs. In the book The Hobbit, a hobbit named Bilbo Baggins, a wizard named Gandalf, and thirteen dwarves have to get back their lost treasure that a character named Smaug stole. To reclaim their treasure they have to travel a long distance to the Lonely Mountain where Smaug is hiding . Throughout their journey they encounter many life-hindering experiences. Dangers and obstacles pop up everywhere. The reason why this group goes to such great lengths to get their treasure is because of one reason, which is their motivation of lust. Lust created the conflict in this story. The conflict is the most important literary element because it directly affects everyone in the story. There are many conflicts, but the main one is between the dwarves and their lust for their lost treasure that Smaug has stolen. This conflict creates the basis for the story. Plus, there were conflicts added on because of this main conflict. Their journey to the Lonley Mountain consisted of one conflict after another. Even though the conflicts on their journey are not as important as the main conflict, they are what make this book interesting. Tolkien's choice of the main conflict is not the most creative. It is based upon the traditional story of "going out and taking back what is yours." If I had to choose something I didn't like about the book, it would be this simple plot. It is a good thing he added such adventurous conflicts to this story, otherwise it would not be a good piece of literature. Through the conflicts in this story, the author has a lesson for the reader. The lesson is if one wants something bad enough, he must be ready to suffer the consequences. To claim the treasure the group has to go through a lot. Some examples of this are being abducted by an army of goblins, being captured by giant spiders, and being captured by woodland elves. If a person has a goal for himself, he too will have to go through hard times. The only way the group succeeded is by having lust and pride drive them on. A person with a goal must also have something to drive him towards his goal. Lust is what carrys them to their goal.

physics lab :: essays research papers

Archimedes’s Principle 1. Weight = mass x 9.80 g/cm^3 W= 45g x 9.80 N W= 44,100 dynes 2. Buoyant force (calculated) = weight in air – weight in water BF = 44,100 dynes – 38710 dynes BF = 5390 dynes 3. Volume of Water = radius^2 x length V= (.63cm) (4.65cm) V= 5.80 cm 4. Buoyant force (measured) = mass in air/ density BF= (44,100 g) / (7.76 g/cm^3) BF= 5684 cm^3 5. % difference = BF calculated – BF measured/ BF measured % difference = 5390 – 5684 / 5684 % difference = 5.4 % 6. Density = Mass / Volume Density = 45 g / 5.80 cm^3 Density = 7.76 g/cm^3 7. Volume of wood = length x width x height V = (7.62cm) (7.63cm) (3.86 cm) V = 224. 42 cm^3 Questions 2.) Because an overweight person displaces more fluid when stepping into a pool. By displacing more fluid, the person creates a greater buoyant force making it easier for him to swim. 5.c) By placing a battery into the water with a floating rod into its deep cylindrical cavity it is quite easy to determine the condition of the battery. The diluted battery will have a much higher density than that of a highly charged battery. From the observation of how the battery floats you can tell its condition. 8.) We were able to find the volume of displace water in Part II quite easily. First we placed a large tupperware container on the table and in it a smaller container filled to the top with water. When the block of wood was placed in the container, water fell out of the smaller container into the larger container. By placing the water which fell out of the smaller container into a cylinder, you are able to measure the volume of displaced water. 9.) No I did not use Archimedes’s principal to find the densities. I used the density formula of dividing the mass by the volume. We find the densities and compare them to the densities of water to help understand the mechanics of buoyant force. Discussion   Ã‚  Ã‚  Ã‚  Ã‚  In part two of the lab dealing with Archimedes’s principle, we were comparing the buoyant force of a block of wood to its weight in dynes. The first step of the operation dealt with measuring the quantity of displaced water. We did this using two containers, one small and one large, and filled the small container to the brim with water. By placing the block of wood in the small container and using a graduated cylinder, we were able to find the amount of water displaced by the block.

Prostitution in the Victorian Era Essay -- Exploratory Essays Research

Prostitution in the Victorian Era There were many prostitutes during the Victorian era. Most were lower-class women, with the exception of the mistresses kept by upper-class men. According to Victorian standards, respectable women did not consider sexual intercourse pleasurable. It was their duty to be intimate with their husbands. Having affairs was disgraceful (Waters). Prostitutes, on the other hand, were sexually intimate with men because they enjoyed sex. Men enjoyed prostitutes because they could not enjoy their wives. Victorian femininity was not defined by sexual pleasure, while Victorian masculinity was defined by sexual pleasure and conquest.    Prostitutes did not necessarily â€Å"enjoy† their sexual encounters with men, as Victorians tended to believe. Prostitution was their survival. Lower-class women did not become prostitutes because they wanted to. They became prostitutes because they had no alternate choice for survival. There were few options that allowed women to live off her own income instead of her family’s income, and once she e...

Did the New Deal Prolong the Great Depression?

Did the New Deal Prolong the Great Depression? Yes: Burton W. Folsom, Jr. * The Cabinet head had personal connections with the President. Made him bias towards FDR’s ideas * Unemployment was higher in 1939 than in 1931 after hoover left office * Govt went from running a surplus to a deficit * Seven Years of trade deficits cursed American GDP over the span of the New Deal * Welfare and Social Security kept lazy people lazy and made hard working people take pay cuts * The economy is self regulating and self healing; it would have fixed itself in time(not 12 years though) * IT was â€Å"Constraints School† The US economy was in a nose-dive for the first 6 years of FDR’s presidency, but he kept the Ether up and promised progress * Roosevelt Raised taxes across the board†¦ Sounds familiar to what is going on now†¦ damn Obama * If the war did not come about, FDR would not have lasted the 4 terms. NO: Roger Biles * FDR believed Taking a method and trying it un til it worked or didn’t. It it did, then keep doing it; if it didn’t admit that defeat and try something else. He used the Federal Gov’t to â€Å"help† regulate the economy(kind of like genetically engineering which also doesn’t work 100% of the time) * Unemployment decreased over the first 5 years of FDR’s presidency * The FDIC insured everyone’s money that is in the bank which is something that the US needed in 1929 * FDR created hope for everyone with Social Security, Welfare and Section 8 housing * He created the US postal service, rural electrification act, and rural mail act * Roosevelt changed the form of Gov’t in a short 12 years * He created â€Å"Wealth Tax† (sounds familiar AGAIN! which â€Å"affected Very few taxpayers† * He then Repealed the â€Å"Wealth Tax† because it didn’t work FDR’s new deal was a great idea in theory(so is Marxism), but wasn’t the best idea for the ti me. What he did is kind of what we are going through today: Promising change but not saying when, Increasing taxes and hoping it will help your deficit, and tried to intervene with the self regulating economy. The New Deal DID work, but only because WWII brought the need for production back to America; without that, the New Deal would have taked much much longer to work.

Building an Ethical organization in a mental health association Essay

Our organization is a Mental Health Association of Kentucky which is a private organization having countrywide membership and board of directors who in essence represents the diverse cultures of Kentucky. It is an association that falls under the category of health care industry. It is believed to be the oldest mental health support group in the whole commonwealth. Its mission is to support and provide education, information and undertaking out research directed at the prevention and curing mental related diseases. The main aim of MHAKY is to offer informational services all over Kentucky that will assist in the improvement and understanding of individual’s desires and they mostly focus on helping the mentally sick people in ensuring that they live healthy and active lives thus those individuals can achieve their goals like each and every person in the world. Our Vision The organization is to attain a kind and healthy community whereby the public is given value, self-respect, and the chance to accomplish their complete potential without stigmatization and discrimination. The challenge of this organization has always been the desire to be international in scope, currently we only serve the people of Kentucky. This have been a challenge to the entire management of MHAKY as we have the desire to be wide in scope, we would like to provide our services to all people around the globe not only to the people of Kentucky. This organization is big in size and can be said to be providing quality services to all in Kentucky and its environs. (Dale, 2001) Values statement Since it’s a big association we have many employees including subordinates staff and also a number of supervisors in the various departments in the organization. The stage in the life cycle of the organization in the health industry can be said to be at its peak because at the moment the organization is offering quality services and at the same time it has good reputation among the people living in Kentucky and especially from those who have been treated in the organization. It’s widely known organization and most of the people from all over the country always seek consultation and treatment for their relatives or friends in the organization whenever we have problems associated with mental illnesses. (Dale, 2001) Through a well organized and coordinated series of managerial activities that comprises of planning, leading, organizing, directing, and controlling of all the resources in our organization including employees in order to achieve desirable results. We achieve our success through the recruiting competent, motivated and qualified employees in order to achieve good results, good communication system in the organization, unambiguous policies, decisions and regulations, a conducive environment for working, good management, ability to adapt to any changes, an efficient board of directors and building a viable and strong culture and mission among others. Our association is a consciously co-coordinated social unit composed of two or more people that functions on a relatively continuous basis to achieve a common goal or set of goals. Therefore this effectiveness is always achieved through the management functions; planning, which encompasses defining our goals by establishing an overall strategy for achieving those goals and developing a comprehensive hierarchy of plans to integrate and coordinate activities, organizing, which is the determination of what tasks have to be done, who does them how the tasks are to be grouped? Who reports to whom and where decisions are to be made. Controlling, this involves monitoring the organizations performance, leading, which involves managers motivating subordinates, directing the activities to be done, selecting the most appropriate channels of communication and resolving any conflicts among our employees. (Dale, 2001) The management of MHAKY should improve on managerial activities by building people skills through friendly management and also motivation of employees. The management has also put in place enough machinations to cope with the ever changing environment and these can be evidenced because of the continuous improvements of operations and continued update of knowledge and skills by the workers through training. Also the organization has emphasized the importance of work groups in achieving results. It has been a challenge to the entire management to be effective in the activities and much need to be done including training of managers in order to cope with change in the health industry. Dale, 2001) Our structure should be clearly outlined such that the employees know what they are expected from them in the course of their duties. This will lead to reduction of conflicts between management and the workers because there will be no vague policies. The structures should be in such a way that it fits the modern world and should be adaptable by the employees.