Collective Bargaining Research Paper Example | Topics and Well Written Essays - 3750 words

Collective Bargaining - Research Paper Example Negotiation is there in the corporate as well. When it comes to the corporate, negotiation is known as collective bargaining. Collective bargaining is a process where both managerial officials and the union can place their opinion and they can have a mutual agreement on their interest (Holley, W. H. & Et. Al., â€Å"The Labor Relations Process†). Each and every person has the power to fight for their own interest, but when it is collective bargaining both the parties will have a systematic negotiation, so that both the parties remain satisfied. Collective bargaining has become a famous and a common aspect in almost every organization. Collective bargaining is a politically powerful arrangement. The managerial board decides to negotiate with their employees or with the union, so that they can have a continuous and a peaceful work process in the future (Holley, W. H. & Et. Al., â€Å"The Labor Relations Process†). In the relation to the above discussion, one incident can be observed. United Steelworkers (USW) has successfully bargained various different provisions to improve several facilities and the safety of the workers working at ArcelorMittal at 14 plants in around eight states in the US. In fact, for the on-site employees’ health and safety they have appointed few representatives and a union safety committee. USW negotiated an increase in the minimum number of safety training hours per worker as well as an agreement by the company to provide flame-resistant clothing (American Federation of Labor, â€Å"Collective Bargaining†). This development would help the organization to have continued production, good intrapersonal relationship among the employees and the superiors. It will help to reduce the medication cost on the employee. A Recent Article on Collective Bargaining The Major League Baseball (MLB) is one of the most recognized organizations in the field of baseball. MLB has their steroid policy for their players, and the investigation department is under strict observation and rules and norms. Recently, MLB had a tough time in the organization and they had to bring certain changes in the policies. And, which was done by collective bargaining. This is a pertinent example of a successful collective bargaining. The article presented about the incident describes that two particular players of the organization were found guilty out of their steroid test. And, the company had appointed a person as consultant to look into the matter. When the result or the report was out, the players did not take it seriously and they showed their doubts regarding the findings. Therefore, the higher officials decided to take an action and they brought certain changes i

Journal Essay Example | Topics and Well Written Essays - 500 words - 22

Journal - Essay Example These skills not only prove to be useful in one’s career but also in one’s daily life. For example, one of the skills you develop is delegating work to your subordinates. If you are the kind of person who wants everything perfect then this maybe a bit difficult because other people in your view can never perform that job in the same way that you can. But what delegation does is that it saves you a lot of time and that time can be spent on other more important things rather than paying too much attention on petty details. But this is not as simple as it sounds. Delegation simply does not work itself many a times especially in the context of student societies when the students are working for free without any monetary incentive. What this situation requires is a mix of charisma and knowledge of as to how to motivate your subordinates. Your personality should have strong communication skills and if you are delegating a difficult task to your subordinate then you need to ex plain to him what intrinsic value he can derive from that work when there is no apparent monetary benefit. These are some of the skills that you can always integrate in your office life and in your daily life. For instance the experience that I gained at university in the student society can easily be utilized in arranging a grand family reunion or a wedding in the family. There are many parts of my story which serve as a source of wisdom and knowledge for me in an optimistic way. For instance being the president of a student society means that you have to deal with the responsibility of the society as well as the pressure of your studies and maintaining your social life. This sometimes creates a lot of stress and time management issues. But when you look back at that time after a few years, you realize that the skills gained back then are proving to be mighty useful. Some

Top Girls and Under the Blue Sky | Comparison

Top Girls and Under the Blue Sky | Comparison Discuss and compare how Caryl Churchills Top Girls and David Eldridges Under the Blue Sky deploy the conventions of Dialogue and Objectives/Obstacles, and asses the connection between these formal choices and the meaning and impact of the play. The conventions of dialogue and objectives and obstacles are intertwined through the playwrights portrayal of character and in the process of creating dramatic conflict. Dialogue is a revelatory device, where action is conveyed through speech to communicate character objectives; it is the chief means by which the premise is proved, the characters revealed, and the conflict carried out.[1] Dialogue reveals subtext as well as character and motive, and communicates the internal dimension of the plot[through] psychological, or inner action'[2] within each character, whose objectives become apparent through the translation of thought into speech and its function in drama. Character objectives are defined as goals or desires for individual characters, often in opposition to each other. For David Edgar [W]hat characters do is pursue objectives [but they] are not necessarily or even often pursued directly.[3] Objectives alter according to the nature of changing conversation and character revelations, thus transforming its intensity, pace, and meaning. The motivation behind a line of dialogue informs what the character wants to achieve by them saying a particular thing. Edgar refers to Stanislavskys theory of Actioning, where actors place an intention behind each individual line. This is a rehearsal technique utilised by the director Max Stafford Clark: Max Stafford Clarkand his actors action individual lines with transitive verbs: in pursuit of the objectives, say, of seduction, a character may befriend, please, intrigue and flatter in as many lines, to which the other character, in pursuit of the objective of remaining unseduced, may respond by warning, snubbing, and challenging before finally spurning.[4] This technique highlights obstacles to these intentions. Obstacles are defined as factors working against a characters objective, often taking the form of another character in the scene, ensuring a more emotional undercurrent between characters to create conflict, particularly as [A]nother important function of the dialogue is the expression of emotion. Characters dont just state facts; they express their feelings toward conditions they feel strongly about. The most highly emotional dialogue is often a free release of feelings stemming from an open clash of wills.[5] In order to evaluate how playwrights have deployed these conventions within their writing, Top Girls by Caryl Churchill and Under the Blue Sky by David Eldridge will be used as examples to explore how these dramatic practices create meaning. Top Girls was directed by Max Stafford Clark and premiered at The Royal Court Theatre, returning early in 1983 following its transfer to New York. The play emerged as a socialist comment on Thatcherite regimes and the championing of the Individual. This has led to debate over whether it is first and foremost a feminist or a socialist play. It is not only the political content of the play which is so significant, but the structure of its content and Churchills use of unconventional dialogue: The play is informed by a pivotal moment in the early 1980s, when social and economic change had liberated women but also fostered ruthless individualism. The subject finds expressive form in the plays hybrid structure, reverse chronology and verbal technique Churchills precise notation for interrupted, overlapping and non-consecutive dialogue that specifies rhythm and discontinuity for the actors in performance.[6] The overlapping dialogue echoes the flow of real conversation or argument, thereby having an impact on the pace of a scene, making any silences more significant. The opening act is well known because it represents five historical or fictional characters, all talking over each other in an effort to become principal storyteller. However, I will focus on the argument between Marlene and her sister Joyce in the final act of the play, where the dialogue is heavy with personal history and both characters objectives reflect the issues of the play in a more pertinent and grim reflection of Churchills intention to demonstrate the prices of success. David Eldridges Under the Blue sky was first performed in 2000 at the Royal Court Jerwood Theatre Upstairs, an appropriately intimate space for three volatile acts of two-handers. Its revival in the summer of 2008 transported the play to the Duke of Yorks theatre, where Eldridge reflected on the differences between a small theatre space and a West End theatre production, and on what he terms a cult of virginity in contemporary British theatre: As one critic has noted, a revival is something that normally only happens to the dead. Theatre in this country is currently preoccupied with a cult of virginity, with new plays premiered and discarded in rapid succession; far more than it is nurturing a contemporary repertoire that will sustain modern playwriting long-term.[7] The motivations behind the play derive from Eldridges reaction to how teachers are portrayed in drama, but also his interest in the question of unrequited love. Eldridge says of his intention that I did very much want to meditate on the nature of unrequited love with three couples in different relationships and at different stages of their life.[8] These couples have an act each to deliberate on their individual relationships. Eldridge shows that such temperamental subject matter obstructs character desires to express themselves, resulting in the unnerving proof that the body of a teacher is at least as fallible as the mind of a child'[9], until the final act of the play which ends on a note of possibility.[10] I will focus on the opening act of the play, between Nick and Helen which explores the impact of direct conflict of desires in the exploration of unrequited love. In the translation from thought to speech, what do characters really mean and what do they really say in relation to their objectives. Even if characters are attempting to conceal information, it is revealed, either through subtext or through an emotional outburst, thus heightening or pacing the drama. The relationship between thinking and speaking becomes a complication for the characters, in the conflict between want and need, rational and emotional, or truth and security. Dialogue is used in exposition. Different devices reveal past events, including the conflicting objectives behind the dialogue which move the scene forward. In both scenes the past is very much in the present, an obstacle to it, affecting the characters now. As a result, the process of communication may be compromised, by a character trying to conceal or even change the past in an attempt to protect themselves. In both Top Girls and Under the Blue Sky the character driven dialogue is stichomythic, organised into alternate lines. The dialogue technique employed throughout Top Girls makes the characters overlap and interrupt each other. In the act between Joyce and Marlene the conversation is emotionally loaded with their history, so the dialogue must function to illuminate how important their clashing wills are to substantiate the overlapping, and convey their inner action. In contrast Under the Blue Sky delineates alternate lines to Nick and Helen, amid frequent pauses, and strained laughter. Each playwright employs the relationship between thinking and speaking differently. Joyce and Marlene speak as they think, as they react to the others words to avoid the obstacles put up by their contestations, whereas much of what Nick and Helen say is deliberated, to conceal or protect. Each playwright has defined opposing objectives within the scene, to create conflict and achieve a dramatic situati on. So dialogue grows from the character and the conflict, and, in its turn, reveals the character and carries the action.[11] Eldridge has structured his scene so that both characters wants are in opposition, so they must change as they clash with obstacles put up by the other. Helens primary goal is for Nick to reveal his desire to be the same as hers, but she discovers it is in direct contrast. So her objectives alter to overcome this and change his mind; first she attempts to make him stay, then to find ways to maintain her presence in his life. In the rest of the play we learn what happens to them through what other characters say because they are not seen again. From information gained through others, Eldridge provides suggestions of their continuing objectives following on from Act One and indicates whether they are achieved, as they become obstacles to the plays new characters in the continuation of the story. Although they are described with verbs, objectives are not actually done; they are something the characters aim at doing in the future.[12] Therefore, the process of actioning is key to the dialogue, despite it being an actor exercise. Max Stafford Clark used this technique during rehearsals for Top Girls and its television adaptation in 1991. In such a fast-paced, non-consecutive dialogue that stems from rapid and unrestrained thoughts this technique illuminates intention behind each line and explores which character is in control at a particular point. In this final scene, the status of both sisters is relatively equal in their objective, even if not in their social position, meaning that when one exerts more control over the other it is even more significant. Joyces control is demonstrated through her resistance to Marlenes attempts to appease: Marlene I didnt really mean all that Joyce I did. Marlene But were friends anyway. Joyce I dont think so, no.[13] Here, Joyce asserts the finality of her decision to be distanced from her sister. The dynamics of this argument in Top Girls reflects the nature of a conversation which has opened up old hostilities between two sisters who are almost strangers. So the dialogue has become the means of communicating their opposing wants and needs, resulting in a heated, almost uncommunicative emotional exchange demonstrating a clash of wills and their shared history: Dialogue can narrate and explain ideas. Characters under stress, however, rarely stop to describe and analyse their thoughts and feelings. Such dialogue is seldom a cool academic debate. Instead it must reveal the strong emotions the characters feel for the practical outcome of their ideas.[14] The dialogue is raw and emotional in its argument, conveying both character and he stress they are under to prove their objectives. It reveals truth, not just about Angie, and illustrates characters who are bound together but clash so irrevocably. Dominic Droomgoole described the final act of Top Girls as a big, old-fashioned, stichomythic fistfight, a ball of love and rage, a classic scrap where two political philosophies and two sisters rehearse how much they loath, and how much they need each other. The play is a journey from high style to high naturalistic emotion.[15] Churchills techniques when drafting dialogue has an explicit effect on the exchange of conversation between characters and each line is carefully structured into its position within the organization of the dialogue as a whole; her slash and asterisk notation for interruptions and overlaps speeds up the dialogue by compressing it: the slash indicates a point of interruption, the asterisk indicates a common starting point between two speeches.[16] These indications of interruption also highlight the immediacy of one characters reaction to what the other has said before, expressing how conversation is complicated, that people interrupt and do not listen to one another. So Churchills dialogue is very truthful in its delineation of interruptions and reactions and has a particular intensity to it which echoes the unpredictable, complicated nature of conversation filled with such vehemence. The argument is not based solely on Marlenes unwelcome visit, but is burdened with their relationship as sisters. Thus they can dig into the roots of an argument which has been constrained for six years, and more. This relationship, and the history stemming from their connection, is all but shattered, rendered secondary to the issues which mount between them and is perhaps the tragedy of the scene; ultimately this bond cannot be repaired by one or both of them because they have each chosen something more important in its place. Throughout the scene, Marlenes main objective to pacify her guilt is continually evaded by her sister. This, as an obstacle put up by Joyce, stems from her own desire for things to remain the same, even to protect against the possible threats of Marlenes visit. So Churchill promises dramatic conflict by making them enter the scene with opposing goals. Following the first heated exchange about gynaecology[17] and the revelation that Marlene is in fact Angies biological mother, Marlene breaks down: Marlene I was afraid of this. I only came because I thought you wanted I just came Marlene cries Joyce Dont grizzle Marlene, for Gods sake. Marly? Come on, pet. Love you really. Fucking stop it, will you? Marlene No, let me cry. I like it.[18] Churchill demonstrates that there is still some feeling between them, before we witness the further collapse of their relationship which follows this. In using this moment where the dialogue breaks down and the objective is to soothe, Churchill appeals to our sense of hope, but as the conversation builds once more, as Marlene and Joyce question each other to fill the gap of time and of affection whilst slipping in comments about Angie, I dont see why you couldnt take my money,[19] the distance between them is widened: [In the last scene], in an extraordinarily effective piece of dialogue, the characters seem to change places before our eyes; Marlene shouts, weeps, pleads for sympathy and it is Joyce who gains stature by rejecting her sisters wheedling attempts at eliciting a compromise.[20] Here, Churchills intention is to create possibility, then shatter it, so the play offers a glimpse of affectionate relations between the sisters, before their political differences drive a wedge between them once and for all.[21] This is also the moment where Marlenes vulnerability is shown, as she seemingly finds her femininity again in the private company of her sister, liking that she is finally able to express it. Despite comforting Marlene, Joyce continues to snub her attempts to compromise: Marlene Youve been wonderful looking after Angie. Joyce Dont get carried away. Marlene I cant write letters but I do think of you. Joyce Youre getting drunk. Im going to make some tea. Marlene Love you. Joyce gets up to make tea. Joyce I can see why youd want to leave. Its a dump here.[22] Immediately, Joyce starts distancing once more, making it clear that these words are not enough, subsequently proving her as an obstacle to Marlenes desire in that moment to be comforted. In Joyces reluctance to repair the relationship with her sister, the promise of resolution is threatened once more; and is exacerbated by the political stance of each character, as they finally establish a permanent gulf between them: During the final scene, Churchill repeatedly gestures toward reconciliation as a possibility that remains unrealized. In the final moments of the play, the sisters recognize that a chasm has opened up between them-though they come from the same family background, their present socioeconomic and political differences place them on opposite sides of the divide between us and them. Churchill keeps these positions in dialectical opposition, resisting synthesis or resolution, through Joyces repeated rejections of Marlenes attempts to gloss over their differencesThe expectation of reconciliation remains frustrated right through the sisters final exchange.[23] Throughout the scene, the sisters constantly challenge each others personal and political views. The threat of change is something that scares Joyce, which Marlene takes as jealousy because she was able to leave, but at great cost to her family, gender and future relationships. In this final act, Churchill shows that things do run deeper than blood, that a persons beliefs can be an obstacle to comfort they seek, and intensifies the plays meaning that Marlene has sacrificed more than a daughter for the sake of the Individual. The main objective informing the dialogue between Joyce and Marlene is to tell the other what their life has been like, to justify their choices. However, these claims are complicated by the obstacle of memory and its discrepancies, or deliberate blocking of certain facts. Furthermore, both sisters have something to say, in a heightened situation, where both claims are valid, but there is nothing to allow for polite, uninterrupted conversation. Churchill uses dialogue to open up old arguments, demonstrating how the past affects their choices, through exposition within the debate which reveals much about why and how they have reached their current beliefs and situation. For example, Marlene mentions visiting their mother earlier and comments on how she had a wasted life, and Joyce reacts, undermines Marlenes opinion when she feels that her own choices and way of life have come under attack: Joyce You say mother had a wasted life. Marlene Yes I do. Married to that bastard. Joyce What sort of life did he have? / Working in the fields like Marlene Violent life? Joyce an animal. / Why wouldnt he want a drink? Marlene Come off it. Joyce You want a drink. He couldnt afford whisky. Marlene I dont want to talk about him. Joyce You started, I was talking about her. She had a rotten life because she had nothing. She went hungry. Marlene She went hungry because he drank the money. / He used to hit her. Joyce Its not all down to him. / Their lives were rubbish. They Marlene She didnt hit him. Joyce were treated like rubbish. Hes dead and shell die soon and what sort of life / did they have? Marlene I saw him one night. I came downI had to get out, Joyce Jealous? Marlene I knew when I was thirteen, out of their house, out of them, never let that happen to me, / never let him, make my own way, out.[24] This highlights a number of important details. Firstly, Churchill has illustrated the family life Marlene and Joyce lived as children through their clashing memories of it, and the impact of their disagreement on the standard of life alters the possibility of them finding a common ground. Their opinions, particularly of their father, inform the later debate about their separate political beliefs; showing that the personal does influence these politics. Furthermore, this dialogue demonstrates how these two realities clash, even though these characters share the same past. Churchill also reveals here how Marlene knew she needed to escape this life and the impetus which led her to where she is now; and not even her illegitimate daughter would stop her. In contrast, Joyces ability to relate to her parents lives and her desire to keep things the same means that Marlene cannot properly understand why Joyce could not leave. Marlene has become a separate individual, outside this life, this f amily. Because Churchills dialogue moves at the speed of thought and there is so much to say, there is no reprieve. Instead the argument is a drunken one between two angry sisters, not a considered political assessment, and is exaggerated and oversimplified on both sides,[25] so the dialogue gives substance to these character as flawed people, in the heat of the moment, revealing exposition in their attempts to justify themselves and the origins of their clashing objectives, to ensure an emotional intensity. In contrast to the overlapping exchange in Top Girls, the scene between Nick and Helen in Under the Blue Sky relies on dialogue which is predominantly thought through. The thought processes of the characters inform the pace of the dialogue, which is symbolized in the methodical preparing and cooking of the chilli and acts as something to return to in the awkward silences, and as ingredients are added and it gets hotter, the conversation escalates. The mechanical actions of cooking contrasted with emotional dialogue creates intensity which is emphasized by the moment it is ignored: When [the water] boils neither of them takes any notice.[26] In her review of the 2008 revival, Deborah Orr concluded that the situation of this first act is that Helen loves Nick, and Nick loves being loved by her. There, if hes honest, his interest ends.[27] This is where the clash of objectives lies in the scene. Helen hopes that Nicks invitation to dinner will be a further invitation to advance their relationship. She enters the scene expecting this will happen. Nicks revelation that he is leaving to improve his career, also a cover for his desire to minimise any chance of furthering their relationship, becomes Helens main obstacle. Nicks primary objective is to delay revealing this information, until Helen asks the inevitable question: A long pause. Helen So whats this thing you wanted to talk to me about? Nick looks at Helen and thinks. Nick Lets wait until after dinner. Yeah? Ok, darling Nick smiles. Helen drinks.[28] Nicks reply to the question is very considered, he thinks and he delays. What is communicated in these given objectives is that these characters enter a scene where the process will be harmful and complicated. The impact of Nicks pauses and careful discourse is enhanced when the scene becomes, inevitably, more emotional, Helen takes the news badly, and Nick fails to cope well with her reaction. Once Nick admits he is leaving, he then has to overcome the obstacle of Helens desire to understand why, without admitting the real reason. So he projects his guilt onto Helen, thereby obstructing his ability to be honest with her. Nick It isnt my duty to be unhappy. I owe it to myself to be happy in my work and Im not. Why are you trying to put me on this huge guilt trip? Helen Im not making you feel guilty. You feel guilty. If youre feeling guilty dont blame your guilt on me. Nick Helen, youre being so hard on me. Helen Am I? Nick I thought I could talk to you about this.[29] Both characters want to know what the other is thinking before they speak, but neither is willing to go first. Both postpone their admissions in fear of the reactions they will receive as a result. At this point, Helens desire moves from convincing Nick to stay, assuring him that the situation in their school will change, before appealing on a more personal level. Helen acts as Nicks obstacle, This is like talking to a brick wall'[30]. Both of them are thrown, because control is slipping away as their objectives are challenged, and Eldridge shows efficiently how rarely conversation goes according to plan, particularly prevalent in this scene because these characters are trying to conceal what they came to say. Eventually though, they are forced to articulate these thoughts, braving embarrassment, disappointment, or as Helen says, I feel like Im shrinking in front of you'[31]. The use of alcohol in the scene also allows the dialogue to escalate, and enables them to discuss the past between them, which is dramatically affecting the present and revealing important details about their relationship. The past is an obstacle because it confuses things presently, and memory is subjective or unremembered. Helen is taken back to this time through a negative association and subsequently becomes emotionally exposed. Once Nick suddenly reveals that they slept together and that he thinks it was a mistake, his attempt at explaining himself backfires, shocking Helen into reacting to this truth. Helen No, you were drunk and you wanted itThe things you said to me. Nick When Helen That time. Then. Nick I was drunk. A slight pause I didnt know what I was saying. Helen You were heavy and pissed and you moved me around the bed like I was a prone body. But your words? The things you said. Your promisesYour memory of it is that we were both drunk but I was sober. I remember every clumsy movement and every word you said like its shot through my memory. A slight pause I thought tonight would be my turn. You know that? To fall on you. Half cut.[32] The use of the word promises is repeated throughout the scene and has a connotative impact on the dialogue; implying hope and expectation. Consequently, the idea of broken or unremembered promises heightens the emotional content of the scene. Eldridge uses this repetition to warn his characters, essentially, about the danger of making promises to escape a difficult situation. Throughout this scene, the conversation goes round in circles as the issue is avoided but forever at the centre. The characters fail to communicate in a way in that they can achieve their primary objectives, so they must alter as the conversation continues. However, Eldridge uses a dramatic gesture to communicate a strong objective. When Helen first picks up the knife to show her experience of being attacked, there is no danger, but it does foreshadow what comes later in the scene. As much as she is appalled by this event, Helen uses the knife to react in a way that she has been reacted against to make her point. Choosing to place a knife in the scene may appear melodramatic, but in fact Eldridge gives Helen a very significant way of communicating her objective, which heightens the tension and reveals more about this character, an essential technique as she never appears physically after this scene. At this point, Helen is communicating, where words are not enough. With this device i n her hand, she is able to say certain things: Youre not goingIm not going to let you leave'[33] and we understand that Helen has been driven to distraction'[34] by this situation. In his exploration of unrequited love, Eldridge has shown the brutality of his theme and how it has affected both characters when their situation is based on clashing personal objectives, portraying the pain that they both feel when confronted with a love that one of them will not admit and the other can no longer keep within bounds'[35] The characters are unable to communicate successfully, failing to achieve these goals. Of course, this creates the tension and the drama in the scene. The play is a fine exploration of the cruel inequality of love, and of the violence passion can stir in even the gentlest souls. [Lisa Dillons (Helen)] vulnerable, breathless intensity powerfully captures the pain of unrequited love.[36] The ebb and flow of the conversation, keeps the pace and lures both characters and audience into false security when the dialogue returns to the cooking chilli before reverting back to the central issue, implying that this is a safe place for both characters to return to, just for a brief reprieve in the heavy dialogue. In many ways, this device is quite aggravating because the characters need to address what is between them, but still are unable to communicate with each other. Nick keeps telling Helen to talk to him, but neither will admit before the other, which is why the conversation continually rises and falls. Nick Why cant you say what you feel? Helen Say what? A pause Nick Im confused. Youre clearly not. But you only ever meet me halfway emotionally. And I dont know if thats good. I dont know how I feel about it. Us. I feel really confused. Helen So am I. Nick I dont think you are. I amOf course I wanted you to talk about your personal feelings. Helen Personal feelings. She cant believe it. A slight pause So I can put my heart and guts on the floor in front of you? Sob and wail like a widow and hope it might change your mind? And in the process confirm your gut feeling it might be good for us to see less of each other. Good for you to see less of me. While you create a new life for yourself in Essex. Is that what you want? Well, you can get stuffed. Helen tries to leave. Nick stands in her way.[37] This, along with frequent pauses, paces the argument and ensures the portrayal of the awkward cruelty of Eldridges theme of unrequited love. Contrary to Top Girls where there is so much to be said and it is being said, for Nick and Helen, what needs to be said is punctuated by silences and tension which intensifies the weight that hangs in the air between them. Are either of these scenes about successful communication, and are any of the characters able to overcome the obstacles to achieve their objectives? In Under the Blue Sky, Nick communicates his real reason for leaving through what is left out of the dialogue, until finally confessing. Helens objective becomes centred on her protection from exposure, which she is unable in the end to suppress. In Top Girls, the sisters are talking, but they are also competing to be heard. The competition they are playing out involves proving who has sacrificed the most. Churchill used this argument to show how their personal experiences informed the progression into a political debate. At the end of both Acts, the issues between the characters are not resolved and the dialogue has traced the thoughts they have been trying to conceal or not. Issues are left hanging in the air. For Marlene and Joyce, this encompasses the idea of solidarity, of sisterhood which has been usurped by their political ideals. Nicks suggestion to put the last half-hour behind us'[38] ensures that it will be hanging over them even if they agree not to voice it, just it has always been; it even prevails throughout the other two acts of the play. Despite the process of dialogue in the scene and the clashes of wants and needs, things have changed but nothing has been resolved. In both plays we know what happens afterwards; Under the Blue Sky communicates these events through the dialogue of others; and in Top Girls it has already happened in the play. The meanings that stem from these decisions ensure that we never reach any resolution in either situation. Although we are told that Nick and Hel en continue to be friends, we know that the issue from Act One has not been addressed again, which becomes the downfall of both of them: Helen dies and Nick is left to feel guilty about why. The placing of the final scene in Top Girls changes the essence of the story and its meaning in relation to Marlenes success, which defies the ideals of individualism and the positives of Marlenes success in a seemingly male-dominated world. It also means that in hindsight the impact of this scene on the rest of the play takes on a new emotional force. Because both playwrights have written these scenes between two characters, the action is scaled down and therefore emerges through the dialogue. It becomes the most direct way of communicating character wants, conflicts and obstacles, particularly effective as the other characters prove to be the obstacle. These characters use dialogue to persuade, appease, appeal to, insult, instruct, upset, challenge, dissuade, anger, judge, apologise, be honest , lie, conceal, explain and reveal, to convey character inner action in an exploration of the dramatic conflict of wills, utilising varying levels of tension and presenting back-story through speech which is now living in each present situation. By the end of both plays, the relationships have been ended in some significant

Clozapine and the Treatment of Schizophrenia Essay -- Biological Psych

Clozapine and the Treatment of Schizophrenia Clozapine, marketed by the trade name of "Clozaril," is a member of the dibenzodiazepine class of antipsychotic medication, and is one of many types of neuroleptic drugs. Clozapine is an atypical medication because it differs from the older conventional drugs such as Halodol or Lithium. The difference between atypical and the older drugs is because there less neuroleptic activity as a result of more specific receptors utilized. The atypical drugs work effectively to treat psychotic illnesses and tend to have fewer side effects than their predecessors. Clozapine has been found to be the most effective antipsychotic drug for treatment resistant schizophrenia. Clozapine is used on a limited basis because of the risk of agranullocytosis, where white blood cells are destroyed faster than they are produced, causing the individual to be prone to other illnesses. Two other drugs, either one typical and one atypical, or two atypical medications are used and deemed ineffective before clozapine is used due to the this serious side effect, agranullocytosis. Even thought this risk happens to be small, 1% to 2%, the drug is normally viewed in the psychiatric field as a method of last resort.(Kentridge, 1995) The most common explanation for what occurs in the brain of a schizophrenic is the dopamine hypothesis, where certain areas of the brain have excessive activity at certain dopamine receptors.(Kalat, 2004) This theory will be a reoccurring theme when explaining how clozapine interacts with the body. There are also explanations dealing with clozapine's interaction with the serotonin 5HT2 receptors and the glutamate receptors. ... ...hin a week levels will increase with treatment of colazopine.(Naheed & Green, 2000) Andreasen, N.C. (1994). Schizophrenia: From Mind to Molecule. Washington, DC: American Psychiatric Press. Kalat, J. (2004). Biological Psychology. 8Th edition, Chapter 15.3. Kentridge, B. (1995). S2 Psychopathology Lecture 3: Schizophrenia. Retrieved March 4, 2005. From Http://www.dur.ac.uk/robert.kentridge/ppath3.html Mann, R. (1996). The Role of Dopamine Receptors in Schizophrenia. Retrieved March 3, 2005, From Stanford University, Chemistry department web site, http://www.chem.csustan.edu/chem44x0/SJBR/Mann.htm Naheed, M., & Green, B. (2000). Focus on Clozapine. Retrieved February 7, 2005. From http://www.priory.com/focus14.htm Waddinton, J.L., & Buckley, P.F. (1996). The neurodevelopmental Basis of Schizophrenia. Austin, TX: Landes Co. Clozapine and the Treatment of Schizophrenia Essay -- Biological Psych Clozapine and the Treatment of Schizophrenia Clozapine, marketed by the trade name of "Clozaril," is a member of the dibenzodiazepine class of antipsychotic medication, and is one of many types of neuroleptic drugs. Clozapine is an atypical medication because it differs from the older conventional drugs such as Halodol or Lithium. The difference between atypical and the older drugs is because there less neuroleptic activity as a result of more specific receptors utilized. The atypical drugs work effectively to treat psychotic illnesses and tend to have fewer side effects than their predecessors. Clozapine has been found to be the most effective antipsychotic drug for treatment resistant schizophrenia. Clozapine is used on a limited basis because of the risk of agranullocytosis, where white blood cells are destroyed faster than they are produced, causing the individual to be prone to other illnesses. Two other drugs, either one typical and one atypical, or two atypical medications are used and deemed ineffective before clozapine is used due to the this serious side effect, agranullocytosis. Even thought this risk happens to be small, 1% to 2%, the drug is normally viewed in the psychiatric field as a method of last resort.(Kentridge, 1995) The most common explanation for what occurs in the brain of a schizophrenic is the dopamine hypothesis, where certain areas of the brain have excessive activity at certain dopamine receptors.(Kalat, 2004) This theory will be a reoccurring theme when explaining how clozapine interacts with the body. There are also explanations dealing with clozapine's interaction with the serotonin 5HT2 receptors and the glutamate receptors. ... ...hin a week levels will increase with treatment of colazopine.(Naheed & Green, 2000) Andreasen, N.C. (1994). Schizophrenia: From Mind to Molecule. Washington, DC: American Psychiatric Press. Kalat, J. (2004). Biological Psychology. 8Th edition, Chapter 15.3. Kentridge, B. (1995). S2 Psychopathology Lecture 3: Schizophrenia. Retrieved March 4, 2005. From Http://www.dur.ac.uk/robert.kentridge/ppath3.html Mann, R. (1996). The Role of Dopamine Receptors in Schizophrenia. Retrieved March 3, 2005, From Stanford University, Chemistry department web site, http://www.chem.csustan.edu/chem44x0/SJBR/Mann.htm Naheed, M., & Green, B. (2000). Focus on Clozapine. Retrieved February 7, 2005. From http://www.priory.com/focus14.htm Waddinton, J.L., & Buckley, P.F. (1996). The neurodevelopmental Basis of Schizophrenia. Austin, TX: Landes Co.

Fddi and Cddi

C H A P T E R 8 Chapter Goals †¢ †¢ †¢ †¢ Provide background information about FDDI technology. Explain how FDDI works. Describe the differences between FDDI and Copper Distributed Data Interface (CDDI). Describe how CDDI works. Fiber Distributed Data Interface Introduction The Fiber Distributed Data Interface (FDDI) specifies a 100-Mbps token-passing, dual-ring LAN using fiber-optic cable. FDDI is frequently used as high-speed backbone technology because of its support for high bandwidth and greater distances than copper. It should be noted that relatively recently, a related copper specification, called Copper Distributed Data Interface (CDDI), has emerged to provide 100-Mbps service over copper. CDDI is the implementation of FDDI protocols over twisted-pair copper wire. This chapter focuses mainly on FDDI specifications and operations, but it also provides a high-level overview of CDDI. FDDI uses dual-ring architecture with traffic on each ring flowing in opposite directions (called counter-rotating). The dual rings consist of a primary and a secondary ring. During normal operation, the primary ring is used for data transmission, and the secondary ring remains idle. As will be discussed in detail later in this chapter, the primary purpose of the dual rings is to provide superior reliability and robustness. Figure 8-1 shows the counter-rotating primary and secondary FDDI rings. Internetworking Technologies Handbook 1-58705-001-3 8-1 Chapter 8 FDDI Transmission Media Fiber Distributed Data Interface Figure 8-1 FDDI Uses Counter-Rotating Primary and Secondary Rings Primary Secondary FDDI Concentrator WAN Standards FDDI was developed by the American National Standards Institute (ANSI) X3T9. 5 standards committee in the mid-1980s. At the time, high-speed engineering workstations were beginning to tax the bandwidth of existing local-area networks (LANs) based on Ethernet and Token Ring. A new LAN media was needed that could easily support these workstations and their new distributed applications. At the same time, network reliability had become an increasingly important issue as system managers migrated mission-critical applications from large computers to networks. FDDI was developed to fill these needs. After completing the FDDI specification, ANSI submitted FDDI to the International Organization for Standardization (ISO), which created an international version of FDDI that is completely compatible with the ANSI standard version. FDDI Transmission Media FDDI uses optical fiber as the primary transmission medium, but it also can run over copper cabling. As mentioned earlier, FDDI over copper is referred to as Copper-Distributed Data Interface (CDDI). Optical fiber has several advantages over copper media. In particular, security, reliability, and performance all are enhanced with optical fiber media because fiber does not emit electrical signals. A physical medium that does emit electrical signals (copper) can be tapped and therefore would permit unauthorized access to the data that is transiting the medium. In addition, fiber is immune to electrical interference from radio frequency interference (RFI) and electromagnetic interference (EMI). Fiber historically has supported much higher bandwidth (throughput potential) than copper, although recent technological advances have made copper capable of transmitting at 100 Mbps. Finally, FDDI allows 2 km between stations using multimode fiber, and even longer distances using a single mode. FDDI defines two types of optical fiber: single-mode and multimode. A mode is a ray of light that enters the fiber at a particular angle. Multimode fiber uses LED as the light-generating device, while single-mode fiber generally uses lasers. Internetworking Technologies Handbook 8-2 ct840801 1-58705-001-3 Chapter 8 Fiber Distributed Data Interface FDDI Specifications Multimode fiber allows multiple modes of light to propagate through the fiber. Because these modes of light enter the fiber at different angles, they will arrive at the end of the fiber at different times. This characteristic is known as modal dispersion. Modal dispersion limits the bandwidth and distances that can be accomplished using multimode fibers. For this reason, multimode fiber is generally used for connectivity within a building or a relatively geographically contained environment. Single-mode fiber allows only one mode of light to propagate through the fiber. Because only a single mode of light is used, modal dispersion is not present with single-mode fiber. Therefore, single-mode fiber is capable of delivering considerably higher performance connectivity over much larger distances, which is why it generally is used for connectivity between buildings and within environments that are more geographically dispersed. Figure 8-2 depicts single-mode fiber using a laser light source and multimode fiber using a light emitting diode (LED) light source. Figure 8-2 Light Sources Differ for Single-Mode and Multimode Fibers Laser light source Single mode Multimode LED light source ct840802 FDDI Specifications FDDI specifies the physical and media-access portions of the OSI reference model. FDDI is not actually a single specification, but it is a collection of four separate specifications, each with a specific function. Combined, these specifications have the capability to provide high-speed connectivity between upper-layer protocols such as TCP/IP and IPX, and media such as fiber-optic cabling. FDDI’s four specifications are the Media Access Control (MAC), Physical Layer Protocol (PHY), Physical-Medium Dependent (PMD), and Station Management (SMT) specifications. The MAC specification defines how the medium is accessed, including frame format, token handling, addressing, algorithms for calculating cyclic redundancy check (CRC) value, and error-recovery mechanisms. The PHY specification defines data encoding/decoding procedures, clocking requirements, and framing, among other functions. The PMD specification defines the characteristics of the transmission medium, including fiber-optic links, power levels, bit-error rates, optical components, and connectors. The SMT specification defines FDDI station configuration, ring configuration, and ring control features, including station insertion and removal, initialization, fault isolation and recovery, scheduling, and statistics collection. FDDI is similar to IEEE 802. 3 Ethernet and IEEE 802. 5 Token Ring in its relationship with the OSI model. Its primary purpose is to provide connectivity between upper OSI layers of common protocols and the media used to connect network devices. Figure 8-3 illustrates the four FDDI specifications and their relationship to each other and to the IEEE-defined Logical Link Control (LLC) sublayer. The LLC sublayer is a component of Layer 2, the MAC layer, of the OSI reference model. Internetworking Technologies Handbook 1-58705-001-3 8-3 Chapter 8 FDDI Station-Attachment Types Fiber Distributed Data Interface Figure 8-3 FDDI Specifications Map to the OSI Hierarchical Model Logical link control Media access control FDDI standards Physical layer protocol Station management Physical layer medium ct840803 FDDI Station-Attachment Types One of the unique characteristics of FDDI is that multiple ways actually exist by which to connect FDDI devices. FDDI defines four types of devices: single-attachment station (SAS), dual-attachment station (DAS), single-attached concentrator (SAC), and dual-attached concentrator (DAC). An SAS attaches to only one ring (the primary) through a concentrator. One of the primary advantages of connecting devices with SAS attachments is that the devices will not have any effect on the FDDI ring if they are disconnected or powered off. Concentrators will be covered in more detail in the following discussion. Each FDDI DAS has two ports, designated A and B. These ports connect the DAS to the dual FDDI ring. Therefore, each port provides a connection for both the primary and the secondary rings. As you will see in the next section, devices using DAS connections will affect the rings if they are disconnected or powered off. Figure 8-4 shows FDDI DAS A and B ports with attachments to the primary and secondary rings. Internetworking Technologies Handbook 8-4 1-58705-001-3 Chapter 8 Fiber Distributed Data Interface FDDI Fault Tolerance Figure 8-4 FDDI DAS Ports Attach to the Primary and Secondary Rings Primary Primary Port A Port B Secondary Secondary FDDI DAS An FDDI concentrator (also called a dual-attachment concentrator [DAC]) is the building block of an FDDI network. It attaches directly to both the primary and secondary rings and ensures that the failure or power-down of any SAS does not bring down the ring. This is particularly useful when PCs, or similar devices that are frequently powered on and off, connect to the ring. Figure 8-5 shows the ring attachments of an FDDI SAS, DAS, and concentrator. Figure 8-5 A Concentrator Attaches to Both the Primary and Secondary Rings FDDI Concentrator DAS SAS SAS FDDI Fault Tolerance FDDI provides a number of fault-tolerant features. In particular, FDDI’s dual-ring environment, the implementation of the optical bypass switch, and dual-homing support make FDDI a resilient media technology. ct840805 Internetworking Technologies Handbook 1-58705-001-3 ct840804 8-5 Chapter 8 FDDI Fault Tolerance Fiber Distributed Data Interface Dual Ring FDDI’s primary fault-tolerant feature is the dual ring. If a station on the dual ring fails or is powered down, or if the cable is damaged, the dual ring is automatically wrapped (doubled back onto itself) into a single ring. When the ring is wrapped, the dual-ring topology becomes a single-ring topology. Data continues to be transmitted on the FDDI ring without performance impact during the wrap condition. Figure 8-6 and Figure 8-7 illustrate the effect of a ring wrapping in FDDI. Figure 8-6 A Ring Recovers from a Station Failure by Wrapping Station 1 MAC B A Station 4 Ring wrap Ring wrap Station 2 A MAC B B MAC A A B Failed station Station 3 Internetworking Technologies Handbook 8-6 1-58705-001-3 Chapter 8 Fiber Distributed Data Interface FDDI Fault Tolerance Figure 8-7 A Ring also Wraps to Withstand a Cable Failure Station 1 MAC B A Station 4 Ring wrap Station 2 A MAC B B MAC A Failed wiring Ring wrap A B Station 3 When a single station fails, as shown in Figure 8-6, devices on either side of the failed (or powered-down) station wrap, forming a single ring. Network operation continues for the remaining stations on the ring. When a cable failure occurs, as shown in Figure 8-7, devices on either side of the cable fault wrap. Network operation continues for all stations. It should be noted that FDDI truly provides fault tolerance against a single failure only. When two or more failures occur, the FDDI ring segments into two or more independent rings that are incapable of communicating with each other. Optical Bypass Switch An optical bypass switch provides continuous dual-ring operation if a device on the dual ring fails. This is used both to prevent ring segmentation and to eliminate failed stations from the ring. The optical bypass switch performs this function using optical mirrors that pass light from the ring directly to the DAS device during normal operation. If a failure of the DAS device occurs, such as a power-off, the optical bypass switch will pass the light through itself by using internal mirrors and thereby will maintain the ring’s integrity. The benefit of this capability is that the ring will not enter a wrapped condition in case of a device failure. Figure 8-8 shows the functionality of an optical bypass switch in an FDDI network. When using the OB, you will notice a tremendous digression of your network as the packets are sent through the OB unit. Internetworking Technologies Handbook 1-58705-001-3 ct840807 MAC 8-7 Chapter 8 FDDI Fault Tolerance Fiber Distributed Data Interface Figure 8-8 The Optical Bypass Switch Uses Internal Mirrors to Maintain a Network Station 1 Station 1 B A B A Failed station Optical bypass switch â€Å"normal configuration† Station 4 A B Optical bypass switch â€Å"bypassed configuration† Ring does not wrap Station 2 A B Station 2 A B Station 4 A B A B A B Station 3 Station 3 Dual Homing Critical devices, such as routers or mainframe hosts, can use a fault-tolerant technique called dual homing to provide additional redundancy and to help guarantee operation. In dual-homing situations, the critical device is attached to two concentrators. Figure 8-9 shows a dual-homed configuration for devices such as file servers and routers. Internetworking Technologies Handbook 8-8 1-58705-001-3 Chapter 8 Fiber Distributed Data Interface FDDI Frame Format Figure 8-9 A Dual-Homed Configuration Guarantees Operation Concentrator Concentrator File servers Routers One pair of concentrator links is declared the active link; the other pair is declared passive. The passive link stays in backup mode until the primary link (or the concentrator to which it is attached) is determined to have failed. When this occurs, the passive link automatically activates. FDDI Frame Format The FDDI frame format is similar to the format of a Token Ring frame. This is one of the areas in which FDDI borrows heavily from earlier LAN technologies, such as Token Ring. FDDI frames can be as large as 4,500 bytes. Figure 8-10 shows the frame format of an FDDI data frame and token. Figure 8-10 The FDDI Frame Is Similar to That of a Token Ring Frame Data frame Preamble Start delimiter Frame control Destination address Source address ct840809 Data FCS End delimiter Frame status Token Preamble Start delimiter Frame control End delimiter FDDI Frame Fields The following descriptions summarize the FDDI data frame and token fields illustrated in Figure 8-10. Internetworking Technologies Handbook 1-58705-001-3 8-9 Chapter 8 Copper Distributed Data Interface Fiber Distributed Data Interface †¢ †¢ †¢ †¢ †¢ †¢ †¢ Preamble—Gives a unique sequence that prepares each station for an upcoming frame. Start delimiter—Indicates the beginning of a frame by employing a signaling pattern that differentiates it from the rest of the frame. Frame control—Indicates the size of the address fields and whether the frame contains asynchronous or synchronous data, among other control information. Destination address—Contains a unicast (singular), multicast (group), or broadcast (every station) address. As with Ethernet and Token Ring addresses, FDDI destination addresses are 6 bytes long. Source address—Identifies the single station that sent the frame. As with Ethernet and Token Ring addresses, FDDI source addresses are 6 bytes long. Data—Contains either information destined for an upper-layer protocol or control information. Frame check sequence (FCS)—Is filed by the source station with a calculated cyclic redundancy check value dependent on frame contents (as with Token Ring and Ethernet). The destination address recalculates the value to determine whether the frame was damaged in transit. If so, the frame is discarded. End delimiter—Contains unique symbols; cannot be data symbols that indicate the end of the frame. Frame status—Allows the source station to determine whether an error occurred; identifies whether the frame was recognized and copied by a receiving station. †¢ †¢ Copper Distributed Data Interface Copper Distributed Data Interface (CDDI) is the implementation of FDDI protocols over twisted-pair copper wire. Like FDDI, CDDI provides data rates of 100 Mbps and uses dual-ring architecture to provide redundancy. CDDI supports distances of about 100 meters from desktop to concentrator. CDDI is defined by the ANSI X3T9. 5 Committee. The CDDI standard is officially named the Twisted-Pair Physical Medium-Dependent (TP-PMD) standard. It is also referred to as the Twisted-Pair Distributed Data Interface (TP-DDI), consistent with the term Fiber Distributed Data Interface (FDDI). CDDI is consistent with the physical and media-access control layers defined by the ANSI standard. The ANSI standard recognizes only two types of cables for CDDI: shielded twisted pair (STP) and unshielded twisted pair (UTP). STP cabling has 150-ohm impedance and adheres to EIA/TIA 568 (IBM Type 1) specifications. UTP is data-grade cabling (Category 5) consisting of four unshielded pairs using tight-pair twists and specially developed insulating polymers in plastic jackets adhering to EIA/TIA 568B specifications. Figure 8-11 illustrates the CDDI TP-PMD specification in relation to the remaining FDDI specifications. Internetworking Technologies Handbook 8-10 1-58705-001-3 Chapter 8 Fiber Distributed Data Interface Summary Figure 8-11 CDDI TP-PMD and FDDI Specifications Adhere to Different Standards FDDI Media Access Control (MAC) FDDI physical layer (PHY) FDDI Station Management (SMT) Twisted-pair wire PMD Single-mode fiber PMD Multimode fiber PMD Specification for CDDI Summary The Fiber Distributed Data Interface (FDDI) specifies a 100-Mbps token-passing, dual-ring LAN architecture using fiber-optic cable. FDDI is frequently implemented as a high-speed backbone technology because of its support for high bandwidth and greater distances than copper. Review Questions Q—What are the benefits of using FDDI instead of CDDI? A—Longer distance, no RFI, no EFI. Q—What role does the DAC play in the FDDI network? A—The concentrator is a dual-attachment station device and ensures that when single-attachment station devices—such as PCs—are turned off, they do not interrupt the network ring. Internetworking Technologies Handbook 1-58705-001-3 ct840811 8-11 Chapter 8 Review Questions Fiber Distributed Data Interface Internetworking Technologies Handbook 8-12 1-58705-001-3

The Dangers of Cell Phone Use While Driving

In today’s society, most people communicate using of cell phones. Just 15 to 20 years ago, cell phones were a rarity for the average person. The average income person could not afford a cell phone. Today, cell phones are affordable and the majority of people own them. The days of waiting until you are home to use a telephone or searching for a pay phone if you are out are long gone. In fact, pay phones are being removed, which increases the need for a cell phone. The government will provide a cell phone with limited monthly service for those that are low income and meet certain criteria. The cell phone has also created people to feel the need to be accessible to constant communication. The major problem lies with cell phone use while driving, which presents a constant danger on the road. In many instances, it is a deadly danger. Based on my experience and experiences of those I know, I believe that law should ban all cell phone use. Laws have passed recently restricting the use to a hands free device while driving. I feel this is a good move in the right direction however; a hands free device can be equally as distraction. Some claim the distraction is no different from changing a radio station or taking a sip of your beverage. I do not believe this claim to be true. I cannot count the number of times I have witnessed a driver using their cell phone, not giving their full attention to the traffic. I have witnessed drivers pull out directly in front of on coming vehicles barely avoiding an accident. My adult children are prime examples of this practice. I have been a passenger with them while they take a call or look at a text message. During the conversation or glancing at the text message; they have crossed the centerline, weaved over onto the shoulder of the road, and swerved within their lane. I fear for their safety, others safety, and my own. Many feel the use of a hands free device is safer. In many ways, it is safer but still is a major distraction. A friend of my son was in a deadly accident while using his hands free device. He was riding his motorcycle and having a conversation on his â€Å"Bluetooth†. He was speaking to a friend and told them he was going to pass a trash truck. He was traveling on a single lane roadway. While passing at a high rate of speed he lost control. The friend heard what was happening. The young man was thrown over the front of the motorcycle landing on his head. His neck was broken. He was paralyzed from the head down and was only able to mouth words as his larynx was paralyzed. He was mouthing the words, â€Å"let me go†. After a year, his parents made the agonizing decision to remove him from the ventilator. He died shortly after at the young age of 22. I cannot help but wonder had he not been talking on the phone would he have made a better decision about passing the trash truck. Most people feel these horrors cannot happen to them. Driving any vehicle requires full attention. I believe that using a cell phone can be as impairing as driving while under the influence of alcohol. Many laws have passed in Maryland and nationwide concerning the issue. I feel the laws are necessary and should go a stop further with a full ban. A full ban would save many lives across the state and the nation.