Corporate Social Responsibility - Hilton - 3197 Words

Corporate Social Responsibility Corporate social responsibility (CSR, also called corporate conscience, corporate citizenship, social performance, or sustainable responsible business/ Responsible Business) is a form of corporate self- regulation integrated into a business model. CSR policy functions as a built-in, self-regulating mechanism whereby a business monitors and ensures its active compliance with the spirit of the law, ethical standards, and international norms. CSR is a process with the aim to embrace responsibility for the companys actions and encourage a positive impact through its activities on the environment, consumers, employees, communities, stakeholders and all other members of the public sphere who may†¦show more content†¦in developing economies); projects that support sustainable economic growth by increasing opportunities for emerging local businesses to succeed in the global value chain; disaster preparation and resiliency; critical services including housing and hunger/food insecuri ty; †¢ Culture: includes education programs that foster cultural heritage, preservation and restoration of historic or cultural monuments; projects that bridge diverse cultures and foster inclusiveness and diplomacy; support for local sourcing and goods; †¢ Sustainability: includes projects that assist in the protection, conservation and restoration of natural resources and habitats; projects that educate and inform the public about sustainability; support for sustainable sourcing and purchasing. Unsolicited Requests for Funding: Given their focus areas, in general they do not accept unsolicited funding requests and prefer to invite requests for proposals that contribute to their strategic program areas. It will be the responsibility of the Corporate Responsibility team to invite such requests and these requests will be reviewed and evaluated by a Contributions Review Committee under the supervision of the Corporate Responsibility team. Opportunities At Hilton Worldwide,Show MoreRelatedCorporate Social Responsibility : Csr Essay1064 Words   |  5 Pages â€Æ' Table of Content Executive Summary 3 Introduction 4 Understanding the Importance of CSR 4 Corporate Social Responsibility Audit 6 Findings 6 Conclusion 7 Recommendations 7 Reference List 8 Executive Summary After investigating the current situation, I found that the poor working conditions and underpayment reduce loyalty and employees’ satisfaction, employees feeling pressure with high workload and poor working conditions, substandard waste disposal methods causedRead MoreMore Friendliness Administration Positions Are Being Taken By Alumni Of Neighborliness Administration1528 Words   |  7 Pagesdoubt of enormous business. Corporate social obligation obliges associations to exhibit capable business lead that does no mischief in the commercial center, in the work environment, in the group they work in, and to the regular habitat (Roberts, 2007). The activities of business effect the nearby, national, and worldwide group, so organizations have an obligation to guarantee that the effect is sure (Paton, 2007). What is CSR? Corporate Social Responsibility includes making business progressRead MoreCorporate Social Responsibilities Essay1603 Words   |  7 PagesOn September 13, 1970, Milton Friedman wrote and article, Social Responsibility of Business is to Increase its Profits. One of Milton’s theories suggested that the only legitimate incentive for a corporation to exist is to maximize its profits with its shareholders. As companies progress over time, so does the reason for the company existence. â€Å"What makes a stake holder?† Isabel Hilton (GE Stakeholders 2009) â€Å"What makes a stake holder? If you take a broad view of business then almost anyone whoRead MoreDevelopment of Triple Bottom Line Reporting and how this will Impact Financial Reporting and the Conceptual Framework2493 Words   |  10 PagesProfit seeking firms will not spend any dollar for non-value adding processing. (Smith, Thorne and Hilton, 2006) However, even with the lack of regulation, many organisations voluntary publicly release information about their social and environmental performance. (Deegan, 2009) According to Richard (1993) finding, investors intent to choose the company investing whether it demonstrates that is a market leadership or offer above average growth or bring in strong management. However, there are fewRead MoreCreating A Diverse And Inclusive Work Environment992 Words   |  4 Pages 2016). Diversity-Leaders need to know that they have to build accountability into their systems with regard to their managers taking responsibility for creating a diverse and inclusive work environment. Diversity initiatives can have important and interesting social justice benefits, but the real reason leaders pursue diversity programs is for innovation. Hilton Worldwide has any hotels and resorts across the globe with many background and variety of culture, and also has many guest travelling ofRead MoreHilton Hotel1075 Words   |  5 PagesHilton’s suppliers The touches that make Hilton Worldwide. Their supply management professionals in corporate offices and their six regional offices negotiate and implement contracts and agreements with suppliers of products and services in three key areas – Food amp; Beverage (Famp;B), Guest Rooms and Public Space, and Property Operations ------------------------------------------------- Food amp; Beverage Hilton Supply Management works closely with national and regional food and beverageRead MoreTransformation Is Run By Ceo Carole Anne Hilton1551 Words   |  7 Pagesand the social and economic capacity among First Nations communities. Their entire development and business goal is to establish governing structures, managing systems, and business development for First Nations people in order to establish a bright and structured future. Transformation is run by CEO Carole Anne Hilton who is driven by her ancestry and her passion to help struggling people. Hilton built the company off of the foundation of social and economic needs. Conventionally, Hilton runs herRead MoreMy Internship At The Hilton1130 Words   |  5 PagesDuring my internship at the Hilton, I have discovered hands on experience in the field I desire to have a degree in and hopefully land a job in after graduation. The amount of information I gathered and retained from this time frame in unimaginable. I thoroughly have enjoyed my stay at this hotel. The staff has been nothing but friendly and understanding. Everyone is willing to assist and direct me to the accurate direction to following proper procedures. Personally, if I could stay longer then IRead MoreInternational And Domestic Hospitality Companies1180 Words   |  5 Pagesimplementing eco-friendly initiatives is Hilton Worldwide. Hilton Worldwide is one of the largest global hospitality companies today, consisting of more than 4,500 hotels in 97 countries. Hilton’s history dates back nearly 100 years, and they continue to be one of the fastest growing companies in the hospitality industry. Part of the reason Hilton Worldwide continues to grow is their commitment to corporate social and environmental responsibility. Hilton Worldwide takes a comprehensive approachRead MoreIndividual Assessment Cover Sheet / Plagiarism Declaration Form8448 Words   |  34 Pages9 SERVICE: 9 INVESTIGATE THROUGH SOCIAL MEDIA: 9 RECOMMENDATION: 10 TOPIC 6 - BARS 10 BARS: 11 .DAN MURPHY’S 11 TOP SELLERS: 11 CLIENT CATEGORY: 12 BEST PROMOTION 12 EFFECTS OF CONSUMPTION OF ALCOHOL ON HEALTH 12 SURVEY 2013 12 TOPIC 7 – MICE: MEETINGS, INCENTIVES, CONVENTIONS, AND EXHIBITIONS 13 MICE IN SYDNEY 13 HILTON HOTEL 13 FOUR POINTS BY SHERATON HOTEL 13 PARK HYATT SYDNEY 13 COMPETITION ANALYSIS: 14 COMPARISON 15 TOPIC 8 - CORPORATE SOCIAL RESPONSIBILITY IN THE GLOBAL HOSPITALITY INDUSTRY

Management Forecasts Free Essays

â€Å"Management Earnings Forecasts: A Review and Framework† by D. E. Hirst, L. We will write a custom essay sample on Management Forecasts or any similar topic only for you Order Now Koonce and S. Venkataraman explained the antecedents, characteristics and consequences interlinked with earnings forecasts. Antecedents are characteristics that are prevalent prior to the consequence such as the existing environment/firm specific characteristics; and consequence is the outcome from antecedents and characteristics. Characteristics are the choices the management has deciding on how the report will be issued. The article guides the reader giving explanations of why management decides to release earnings forecasts, interactions of the three variables and its findings and how these findings may impact one period to another. Studies have found that management may issue forecasted earnings to reduce difference of opinions and/or information with the shareholders, to avoid litigation risks when the entity needs to make bad news disclosures and when managers have equity-based compensation tied to extend their wealth. Case Summary According to the case, â€Å"Management Earnings Disclosure and Pro Forma Reporting† by Mark T. Bradshaw and Jacob Cohen states that companies too often exclude information that negatively impacts the company’s earnings per share on their pro forma reports prior to releasing the financial statements that is in accordance with generally accepted accounting principles which is based on companies who have released such reports and the response to such reporting by the regulators. According to the case, pro forma reporting was originated by the SEC to provide earnings comparability for investors for differing time periods based on a â€Å"what if† analysis, meaning, what would have happened if this transaction had occurred and what would’ve been its impact on later reporting periods (Regulation S-X 1982). However, multiple incidents have shown that companies abuse the system. Proxim and Cisco, Inc. , both released their pro forma reports prior to their financial statements being released where both of the companies excluded the research and development costs, restructuring charges, mpairment/amortization of goodwill, which resulted in an overall positive net income with net income per share, whereas the financial statements in accordance with GAAP resulted in a loss with loss per share for both of the companies. Managers who are trying to disclose bad news about the company are more likely to issue earnings forecasts in order to avoid litigations (Skinner 1994, 1997). In addition, Trump Hotels and Casino, Inc. DJT) also excluded a onetime charge while including a onetime gain of $17. 2 million, exceeding the analysts’ estimates of $0. 54 per share to $0. 63 per share on their pro forma reporting (Burns 2002). The Securities and Exchange Commission (SEC) responded to their incautious reporting and DJT acknowledged the findings and consented to unyielding commitments if similar violations were to take place again. The DJT incident was the first time the commissions took action against abusing pro forma reporting. Financial forecast data rating agencies such as Standard Poor’s (SP) recommended for companies to include in their operating earnings such as restructuring charges, write-downs of assets, stock-option expenses and research and development costs and furthermore SP suggested companies to exclude from operating earnings the following four categories: 1) goodwill write-downs 2) charges for litigation 3) gains and losses on asset sales and 4) expenses related to mergers and acquisitions (Leisman and Weil 2001). Although SP made recommendations, Proxim, Inc. , still excluded restructuring charges, research and development costs while Cisco Systems, Inc. , also excluded restructuring, stock option exercise and research and developments costs on their pro forma reports, one of the reasons might be based on the belief that stock prices will fluctuate with high volatility, for example, when Rainforest Cafe announced earnings per share that was lower than expectations the stock price plummeted by 40% on a single day (Sloan and Skinner). Although managers may want to convince the investors their company’s value by providing pro forma reports that is plausible, they may want to consider the fact that this is only short term credibility because according to Hirst et al. (1999) only when the prior forecast is accurate do they consider future forecasts. The choices aren’t clear-cut on why the management continues to release misleading pro forma reports, the incentives behind them may be bonuses tied to stock prices or on the other hand management may want to release pro forma reports that is symmetrical to financial statements to reduce the asymmetry of information between managers, analysts and shareholders (Ajinkya and Gift 1984; Verrecchia 2001). It would be best for management to issue accurate pro forma reports to maintain creditability with the shareholders and the analysts because in the long-run the investors will depend on the entity’s reports for accuracy thus creating creditability which is the fundamental foundation of any business. How to cite Management Forecasts, Papers

BENEFITS OF BUDGET AND BUDGETARY CONTROL Essay Example For Students

BENEFITS OF BUDGET AND BUDGETARY CONTROL Essay Budget and budgetary control are the two most of import facets of any concern. The budgetary control acts as a complimentary facet to budget and plants and in manus. Budget can e termed as an accounting construct, whereby, an organisation and its members, seek to specify the tendency of activities of an organisation during a class of clip, depending on the past experience. Budgets, comes up assorted figures associating to gross revenues, purchase etc. and puts frontward a frame of mention in forepart of its employees and other members. Therefore, it helps an organisation to maintain a cheque on its present activities in relation to budget therefore provided, and this cheque in words can be termed as budgetary control. Budgets, by definition, have to be prepared in progress ; and as a consequence, frequently referred to as the provender forward system. Feed frontward incorporates the most of import facet of budgeting: looking at state of affairss in progress, believing about the impact and deductions of things in progress and trying to take control of state of affairss in progress. Budget and budgetary control seems to stream line the activities of organisations and provides a disciplinary mentality. Budgets are frequently termed as built-in portion of any concern and therefore, play a critical function in a organisational success. In the undermentioned study, an effort has been made to set across a brief overview in respect to the same. A budget can be described as a program expressed in quantitative and money footings. Budgets are normally prepared and approved in progress and take into consideration the period it needs to be used and the similar period on the old old ages. Budgets are prepared to set across a image whereby, an organisation tries to implement different actions and be aftering to achieve the budgetary figures. Budgets are prepared on a section wise every bit good as a whole. The budgetary figures put across helps an organisation to pitch up its activities and frequently act in hiking up the employee motive. However, since budget and budgetary facts and figures relates to future, the prediction and its readying should be taken attention off. Outline1 BUDGETORY CONTROL2 BENEFITS OF BUDGET AND BUDGETARY CONTROL3 LIMITATIONS OF BUDGET A ; BUDGETARY CONTROL4 Applicability of Budgeting and Budgetary Control5 The budgeting procedure6 The budget period7 Budget Centres8 Interrelations of budgets9 Decision BUDGETORY CONTROL As already mentioned, budget and budgetary control works manus in manus. A budget puts frontward the fiscal informations representation of certain facts and figures depending on the yesteryear, which needs to be fulfilled in the close hereafter. However, budgetary control ensures the fact that the budget is decently followed and an organisation attains the preset growing. In other words, the construct of budgetary control can be described as an action associating to the use on the budget to achieve pre-determined organisational success. The whole phenomenon can be described as a concatenation of activities whereby, budgets are prepared to achieve an organisational end and so, the successful execution and following those figures in different domain of activities can be described as budgetary control. In simple words, budgetary control relates to the constitution of budgets associating the duties of budget holders the demands of a policy. Budgetary control besides relates to the uninterrupted comparing of existent with budgeted consequences to guarantee that the aims of the same are decently achieved ; or to supply a footing for the alteration of those aims. In drumhead, a budget is a statement puting out the pecuniary, numerical or non quantitative facets of an administration s programs for the coming hebdomad or month or twelvemonth. Budgetary control is the analysis of what happened when those programs came to be put into pattern, and what the administration did or did non make to rectify for any fluctuations from these programs. Text and Traditions: Work Requirement One Historical Reconstruction EssayThe budget period The budget period is the period for which a set of budgets is prepared: typically the budget period is of one twelvemonth s continuance, and will be designed to co-occur with an administration s fiscal, or financial, twelvemonth. There is no ground why a budget period has to be one twelvemonth, but typically it is. However, a financial twelvemonth is normally divided into several smaller periods such as monthly or quarterly to maintain a close cheque on the departmental activities. However, in certain state of affairss, the budget period will be analysed harmonizing some peculiar characteristic of the work in that state of affairs: for illustration, stockbrokers have their twelvemonth divided into histories of two and three hebdomads continuance. These divisions of a budget period are control periods. Budget Centres Different organisations are tend to be divided in assorted organisational sections to guarantee the maximal benefit of the budget and the budgetary control. A budget Centre is one portion of an administration for which budgets are prepared. That is, a budget Centre, like a cost or net income Centre, is a subdivision of an administration ( division, section, edifice, person ) for which a separate budget is prepared. Interrelations of budgets As mentioned, different budget Centres get their specific budget and harmonizing to them they plan their activities. But, strikingly, all these departmental budgets has interlinked and possess inter-relationships and as a consequence, has to be worked out decently, in order to use it efficaciously. On readying of gross revenues budget, it can be easy noted that the same has got strong links with the stock budget and the stock budget has strong links with the hard currency budget. Therefore, when any of the budgets are changed it has its direct impact on the other related budgets. The more complex the administration and the more complex the procedures within that administration, the greater the figure and assortment of interrelatednesss that any budget for that administration is bound to incorporate. Decision In the above paragraphs, assorted facets of budgeting has been discussed. After all the treatments it can be farther concluded that a budget plays an built-in portion of any concern operations and in order to guarantee the proper use of budget and to maintain a close cheque on the different activities of an organisation, budgetary control is necessary. Both these procedure helps an organisation to achieve its organisational end. However, all the inside informations provided in this study are non absolute and are capable to assorted restrictions refering to limited cognition, clip and resources. But, we hope that the study will supply a brief thought about Te topic.

Publicistic Style free essay sample

The publicist style of language became discernible as a separate style In the middle of the 18th century. It also falls into three varieties, each having its own distinctive features. Unlike other styles, the publicist style has a spoken variety, namely, the oratorical subtle. The development of radio and television has brought into being another new spoken variety, namely, the radio and TV commentary. The other two subtitles are the essay (moral, philosophical, literary) and Journalistic articles (political, social, economic) In newspapers, Journals and magazines.Book reviews In Journals, newspapers and magazines and also pamphlets are generally included among essays. The general aim of publicist style, which makes it stand out as a separate style, is to exert a constant and deep influence on public opinion, to convince the reader or the listener that the interpretation given by the writer or the speaker is the only correct one and to cause him to accept the point of view expressed In the speech, essay or article not merely through logical argumentation but through emotional appeal as well. We will write a custom essay sample on Publicistic Style or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This brain-washing function Is most effective n oratory, for here the most powerful instrument of persuasion, the human voice, is brought into play. Due to its characteristic combination of logical argumentation and emotional appeal, publicist style has features in common with the style of scientific prose, on the one hand, and that of emotive prose, on the other. Its coherent and logical syntactical structure, with an expanded system of connectives and its careful paragraphing, makes It similar to scientific prose.Its emotional appeal Is generally achieved by the use of words with emotive meaning. The use of Imagery and other titlists devices as in emotive prose: but the stylistic devices used in publicist style are not fresh, or genuine. The individual element essential to the belles-letters style is, as a rule, little in evidence here. This is in keeping with the general character of the style. The manner of presenting ideas, however, brings this style closer to that of belles-letters, In this case to emotive prose, as it Is to a certain extent Individual.Naturally, of course, essays and speeches have greater individuality than newspaper or magazine articles where the Individual element Is generally toned down and emitted by the requirements of the style. 287 Further, publicist style is characterized by brevity of expression. In some varieties of this style it becomes a leading feature, an important linguistic means. In essays brevity sometimes becomes epigrammatic. 1. ORATORY AND SPEECHES The oratorical style of language is the oral subdivision of the publicist style. It has already been pointed out that persuasion is the most obvious purpose of oratory. Oratorical speech, writes A.Potency, seeks not only to secure the understanding and. Digesting of the Idea, but also serves simultaneously as a spring setting off a remits a combination of the syntactical, lexical and phonetic peculiarities of both the written and spoken varieties of language. In its leading features, however, oratorical style belongs to the written variety of language, though it is modified by the oral form of the utterance and the use of gestures. Certain typical features of the spoken variety of speech present in this style are: direct address to the audience (ladies and gentlemen, honorable member(s), the use of the 2nd person pronoun you, etc. , sometimes contractions (Ill, wont, havent, isnt and others) and the use of aliquot words. This style is evident in speeches on political and social problems of the day, in orations and addresses on solemn occasions, as public weddings, funerals and Jubilees, in sermons and debates and also in the speeches of counsel and Judges in courts of law. Political speeches fall into two categories: parliamentary debates, and speeches, at rallies, congresses, meetings and election campaigns.Sermons deal mostly with religious subjects, ethics and morality; sometimes nowadays they take up social and political problems as well. Orations on solemn public occasions are typical pessimism of this style and not a few of their word sequences and phrases are ready-made phrases or cliches. The sphere of application of oratory is confined to an appeal to an audience and therefore crucial issues in such spheres as science, art, literature, or business relations are not touched upon except perhaps by allu sion. If such problems are dealt with in oratorical style the effect is humorous. The following extract from Posthumous Papers of the Picking Club by Charles Dickens is a parody of an oration. -? But I trust, Sir, said Poet, that I have never abused the enormous power I wield. I trust, Sir, that I have never pointed the noble instrument which is placed in my hands, against the sacred bosom of private life, of the tender breast of individual reputation;-? I trust, Sir, that I have devoted my energies to-?to endeavourers-?humble they may be, humble I know they are-?to instill those principles 1 nowhere A.A. Pop. Cit. , p. 4. 288 -? Here the editor of the Denotations Gazette appearing to ramble, Mr.. Picking came to his relief, and said-?Certainly. -? The stylistic devices employed in oratorical style- are determined by the conditions of communication. If the desire of the beaker is to rouse the audience and to keep it in suspense, he will use various traditional stylistic devices. But undue prominence given to the form may lead to an exaggerated use of these devices, to embellishment. Tradition is very powerful in oratorical style and the 16th century rhetorical principles laid down by Thomas Wilson in his Rate of Rhetoric are sometimes still used in modern oratory, though, on the whole, modern oratory tends to lower its key more and more, confining itself to a quiet business-like exposition of ideas. Stylistic devices are closely interwoven and mutually complementary thus building up an intricate tatter. For example, antithesis is framed by parallel constructions, which, in their turn, are accompanied by repetition, while climax can be formed by repetitions of different kinds.As the audience rely only on memory, the speaker often resorts to speech. Repetition is also resorted to in order to convince the audience, to add weight to the speakers opinion. The following extract from the speech of the American Confederate general, A. P. Hill, on the ending of the Civil War in the U. S. A. Is an example of anaphoric repetition: It is high time this people had recovered from he passions of war. It is high time that counsel were taken from statesmen, not demagogues It is high time the people of the North and the South understood each other and adopted means to inspire confidence in each other Further, Indianapolis is used: The South will not secede again. That was her great folly-folly against her own interest, not wrong against you. A mere repetition of the same idea and in the same linguistic form may bore the audience and destroy the speaker-audience contact, therefore synonymic phrase repetition is used instead, thus filling up the speech with details and embellishing it, as in this excerpt from a speech on Robert Burns: For Burns exalted our race, he hallowed Scotland and the Scottish tongue.Before his time we had for a long period been scarcely recognized; we had been falling out of the recollection of the world. From the time of the Union of the Crowns, and still more from the legislative union, Scotland had lapsed into obscurity. Except for an occasional riot or a Jacobin rising, her existence was almost forgotten. Here synonymic phras e repetition (been scarcely recognized, falling out of the recollection f the world, had lapsed into obscurity, her existence was almost forgotten) is coupled with climax. 89 Repetition can be regarded as the most typical stylistic device of English oratorical style. Almost any piece of oratory will have parallel constructions, antithesis, suspense, climax, rhetorical questions and questions-in-the-narrative. It will be no exaggeration to say that almost all the typical syntactical stylistic devices can be found in English oratory. Questions are most frequent because they promote closer contact with the audience. The change of intonation breaks the monotony of the intonation pattern and revives the attention of the listeners.The desire of the speaker to convince and to rouse his audience results in the use of simile and metaphor, but these are generally traditional ones, as fresh and genuine stylistic devices may divert the attention of the listeners away from the main point of the speech. Besides, unexpected and original images are more difficult to grasp and the process takes time. If a genuine metaphor is used by an orator, it is usually a sustained one, as a series of related images is easier to grasp and facilitates the conception of facts identified one with another.Allusions in oratorical style depend on the content of the speech and the level of the audience. Special obligatory forms open up and end an oration, e. G. My Lords; Mr.. President; Mr. . Chairman; Your Worship; Ladies and Gentlemen, etc. At the end of his speech the speaker usually thanks the audience for their attention by saying: Thank you or Thank you very much. Expressions of direct address may be repeated in the course of the speech and can be expressed differently: dear friends, my friends, Mark you! , Mind!Here is a sample of the speech made by a member of the House of Commons in Parliament in April 956 when the problem of air pollution was discussed. It is an ordinary speech the audience. There has been a tremendous change in the Ministers attitude since the Bill was first brought to the House. When we embarked upon the Committee stage we were begging for bread and he gave us a stone. Now, seemingly, when we are coming to the end of the feast he is putting many sweets in front of us. The Minister hopes that we shall accept this proposal without too critical an examination.While welcoming the Ministers proposals about the Clean Air Council up to a point, here should be no interference with the councils accountability to Parliament because the chairman of the council will be the Minister. When the hon.. Member for Exterminated (Mr.. Onboard) introduced a Private Bill, the Minister consulted at great length with interested bodies, and particularly with local authorities. It is within my knowledge that during those consultations suggestions were made to him by people who had practical experience.. Those suggestions have not been accepted and woven into the Bill.I do not want the Clean Air Council to become a kind of onscreen behind which the Minister makes a report to his own liking and which may contain views at variance with those of members of the council. 290 It is essential, if the council is to be effective, that it includes people who are interested and who have the knowledge and who have undertaken the scientific- research involved. It must be remembered that they will have a great deal more knowledge of the subject than will the chairman of the council. They will, therefore, have a totally different point of view about what is happening in the country than will the Minister.We should provide that we have the uncompromising opinions of the members of the council, including those members appointed to it because of their knowledge of the problems of various localities. Another point with which I want to deal was touched upon by the hon.. Member for Exterminated. During the Committee stage we debated at great length the topic of research into noxious fumes, especially sulfuric oxides. We especially pleaded that the Clean Air Council should have co-ordination powers so that it could co-ordinate the activities of bodies conducting research into problems of oxides and noxious fumes. Indeed, we thought that the Ministers opinion upon that subject was the same as ours. As the Bill is now drafted, certain powers are given to local authorities to contribute towards the cost of investigation and research into the pollution of the air. We know that scientific and technical institutes and the fuel technology sections of some universities are conducting research into the problem of sulfuric pollution; yet we do not see any power given to the Clean Air Council to deal with the problem of sulfuric oxides, even though sulfuric pollution is one of the worst forms of air pollution.Will the Minister give us an assurance that he will specially direct the attention of the Clean Air Council to its duties in co-ordination research into the problem of sulfuric oxides? Will he at the same time look again at the problem of Parliamentary accountability to make it possible for the council to give an annual report to the House, irrespective of the opinions of the Minister? The ornamen tal elements in this speech are reduced to the minimum. It is a matter-of-fact speech where no high- flown words or elaborate stylistic devices are to be found.It will be of considerable interest to compare this speech to Borons Maiden Speech in the House of Lords in style. Byron used his eloquence against the Bill providing capital punishment for the destruction of machines. His purpose was to prevent the passage of the Bill, to get an impartial examination of the facts. Borons speech is rich in oratorical devices. All these devices are motivated, they are organically connected with the utterance: the form by no means dominates the content.In contradistinction, an examination of the following speech will show that it is practically devoid of meaning. The speaker is merely seeking an effect. 91 Mr.. Chairman, Ladies and Gentlemen: It is indeed a great and undeserved privilege to address such an audience as I see before me. At no previous time in the history of human civilization have greater problems confronted and challenged the ingenuity of mans intellect than now. Let us look around us. What do we see on the horizon?What forces are at work? Whither are we drifting? Under what mist of clouds does the future stand obscured? My friends, casting aside the raiment of all human speech, the crucial test for the solution of all these intricate problems to which I have Just alluded is the sheer and reoccur application of those immutable laws which down the corridor of Time have always guided the hand of man, groping, as it were, for some faint beacon light for his hopes and aspirations.Without these great vital principles we are but puppets responding to whim and fancy, failing entirely to grasp the hidden meaning of it all. We must re-address ourselves to these questions which press for answer and solution. The issues cannot be avoided. There they stand. It is upon you, and you, and yet even upon me, that the yoke of responsibility falls. What, then, is our duty? Shall e continue to drift? No! With all the emphasis of my being I hurl back the message No! Drifting must stop.We must press onward and upward toward the ultimate goal to which all must aspire. But I cannot conclude my remarks, dear friends, without touching briefly upon a subject which I know is steeped in your very consciousness. I refer to that spirit which gleams from the eyes of a new-born babe, that animates the toiling masses, that sways all the hosts of humanity past and present. Without this energize principle all commerce, trade and industry are hushed and will perish room this earth as surely as the crimson sunset follows the golden sunshine. Mark you, I do not seek to unduly alarm or distress the mothers, fathers, sons and daughters gathered before me in this vast assemblage, but I would indeed be recreant too high resolve which I made as a youth if I did not at this time and in this place, and with the full realizing sense of responsibility which I assume, publicly declare and affirm my dedication and my consecration to the eternal principles and receipts of simple, ordinary, commonplace Justice. 1 The proper evaluation of this speech should be: Words, words, words. The whole speech is made to hide the fact that the speaker has no thought.Questions remain unanswered, climaxes are not motivated. What is the subject that cannot be left untouched? This is really a masterpiece of eloquent emptiness and verbosity. 1 The example is borrowed from Altair, R. D. Preface to Critical Reading. Holt, N. Y. , 1956, up. Vile-?veal. 292 As a separate form of English literature the essay dates from the close of the 16th century. The name appears to have become common on the publication of Montages Essays, a literary form created by this French writer. The essay is a dietary composition of moderate length on philosophical, social, aesthetic or literary subjects.It never goes deep into the subject, but merely touches upon the surface. Personality in the treatment of theme and naturalness of expression are two of the most obvious characteristics of the essay. An essay is rather a series of personal and witty comments than a finished argument or a conclusive examination of any matter. This literary genre has definite linguistic traits which shape it as a variety of publicist style. Here is a part of an essay by Ben Johnson which illustrates this style n its most typical and original form as it was at the end of the 16th century: Language most shows a man; speak, that I may see thee.It springs out of the most retired and inmost parts of us, and is the image of the parent of it, the mind. No glass renders a mans form or likeness so true, as his speech. Nay, it is likened to a man; and as we consider feature and composition in a man, so words in language; in the greatness, aptness, sound, structure, and harmony of it. Some men are tall and big, so some language is high and great. Then the words are chosen, the sound ample, he composition full, the absolution plenteous, and poured out, all grace, sinewy and strong.Some are little and dwarfs; so of speech, it is humble and low; the words are poor and flat; the members are periods thin and weak, without knitting or number. The middle are of Just stature. There the language is plain and pleasing: even without stopping, round without swelling; all well turned, composed, eloquent, and accurate. The vicious language is vast and gaping; swelling and irregular; when it contends, high, full of rock, mountain and pointlessness; as it affects to be low it is abject and creeps, full of bogs and holes. The essay was very popular in the 17th and 18th centuries. In the 17th century essays were written on topics connected with morals and ethics, while those of the 18th century focused attention on political and philosophical problems. The 18th century was the great age of essay writing. It was then the principal literary form, and discoursed on the important subjects of the day, often criticizing the shortcomings of the political and social system in England. Encyclopedia Britannica states that the essay became a dominant force in English literature of the 18th century.The following statement of an 18th century essayist is of some interest as it describes the character of the essay: We writers of essays or (as they are termed) periodical papers. .. This statement shows that periodical papers at that time contained only essays. In the 19th century the essay as a literary term gradually changed into what we now call the Journalistic article or feature article which 293 covers all kinds of subjects from politics, philosophy or aesthetics to travel, sport and fashions. Feature articles are generally published in newspapers, especially weeklies and Sunday editions.They are often written by one and the same writer or Journalist, who has cultivated his own individual style. The most characteristic language writers a degree of pessimistically, 2) the use of the first person singular, which justifies a personal approach to the problems treated, 3) a rather expanded use of connectives, which facilitate the process of grasping the correlation of ideas, 4) the abundant use of emotive words, 5) the use of similes and sustained metaphors as one of the media for the cognitive process. It is in the interrelation of these constituents that the real secret of the essay subtle consists. Some essays, depending on the writers individuality, are written in a highly emotional manner resembling the style of emotive prose, others resemble scientific prose, and the terms review, memoir or treatise are more applicable to certain more exhaustive studies. 1 The essay on moral and philosophical topics in modern times has not been so popular, perhaps because a deeper scientific analysis and interpretation of facts is required.The essay in our days is often biographical; persons, facts and events are taken from life. These essays differ from those of previous centuries -? their scapulars is simpler and so is their logical structure and argumentation. But they still retain all the leading features of the publicist style. In comparison with oratorical style, the essay aims at a more lasting, hence, at a slower effect. Epigrams, paradoxes and aphorisms are comparatively rare in oratory, as they require the concentrated attention of the listener.In the essay they are commoner, for the reader has opportunity to make a careful and detailed study both of the content of the utterance and its form. The close resemblance in structure between the essay and he oration has more than once been emphasized by linguists. The main difference between them is very well summarized by H. Robbins and R. Oliver in their work Developing ideas into Essays and Speeches. . .. An essay is distinguished from a speech primarily . By the fact that the essay seeks a lasting, the speech an immediate effect.Words of emotive meaning, for example, are few, if any, in popular scientific articles. Their exposition is more consistent and the system of connectives more expanded than, say, in a satirical article. The language of political magazine articles differs little from that of newspaper articles as described in the chapter on Newspaper Style (see low). But such elements of publicist style as rare and bookish words, neologisms (which sometimes require explanation in the text), traditional, word-combinations and parenthesis are more frequent here than in newspaper articles.In an article dealing with what were forthcoming presidential elections in the USA, which it is impossible to quote here because of its length, we find such bookish and highbrows words as ambivalent, exhilarated, appalled, etc. Its argumentation and emotional appeal is achieved by emphatic constructions of different kinds: how dim the outlook or victory was, Stevenson is anything but an irresponsible man, it could well have been, though. He is at once exhilarated and appalled, Humorous effect is produced by the use of words and phrases which normally are out of the range of this sort of article: melancholy, graciously, extending his best wishes, and by periphrases. Literary reviews stand closer to essays both by their content and by their linguistic form. More abs tract words of logical meaning are used in them, they often resort to emotional language and less frequently to traditional set expressions. Publicistic Style free essay sample The publicistic style of language became discernible as a separate style in the middle of the 18th century. It also falls into three varieties, each having its own distinctive features. Unlike other styles, the publicistic style has a spoken variety, namely, the oratorical substyle. The development of radio and television has brought into being another new spoken variety, namely, the radio and TV Ã' Ã ¾mmentary. The other two substyles are the essay (moral, philosophical, literary) and journalistic articles (political, social, economic) in newspapers, journals and magazines. Book reviews in journals, newspapers and magazines and also pamphlets are generally included among essays. The general aim of publicistic style, which makes it stand out as a separate style, is to exert a constant and deep influence on public opinion, to convince the reader or the listener that the interpretation given by the writer or the speaker is the only correct one and to cause him to accept the point of view expressed in the speech, essay or article not merely through logical argumentation but through emotional appeal as well. We will write a custom essay sample on Publicistic Style or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This brain-washing function is most effective in oratory, for here the most powerful instrument of persuasion, the human voice, is brought into play. Due to its characteristic combination of logical argumentation and emotional appeal, publicistic style has features in common with the style of scientific prose, on the one hand, and that of emotive prose, on the other. Its coherent and logical syntactical structure, with an expanded system of connectives and its careful paragraphing, makes it similar to scientific prose. Its emotional appeal is generally achieved by the use of words with emotive meaning, the use of imagery and other stylistic devices as in emotive prose; but the stylistic devices used in publicistic style are not fresh, or genuine. The individual element essential to the belles-lettres style is, as a rule, little in evidence here. This is in keeping with the general character of the style. The manner of presenting ideas, however, brings this style closer to that of belles-lettres, in this case to emotive prose, as it is to a certain extent individual. Naturally, of course, essays and speeches have greater individuality than newspaper or magazine articles where the individual element is generally toned down and limited by the requirements of the style. 287 Further, publicistic style is characterized by brevity of expression. In some varieties of this style it becomes a leading feature, an important linguistic means. In essays brevity sometimes becomes epigrammatic. 1. ORATORY AND SPEECHES The oratorical style of language is the oral subdivision of the publicistic style. It has already been pointed out that persuasion is the most obvious purpose of oratory. Oratorical speech, writes A. Potebnya, seeks not only to secure the understanding and. digesting of the idea, but also serves simultaneously as a spring setting off a mood (which is the aim) that may lead to action. 1 Direct contact with the listeners permits a combination of the syntactical, lexical and phonetic peculiarities of both the written and spoken varieties of language . In its leading features, however, oratorical style belongs to the written variety of language, though it is modified by the oral form of the utterance and the use of gestures. Certain typical features of the spoken variety of speech present in this style are: direct address to the audience (ladies and gentlemen, honourable member(s), the use of the 2nd person pronoun you, etc. ), sometimes contractions (Ill, wont, havent, isnt and others) and the use of colloquial words. This style is evident in speeches on political and social problems of the day, in orations and addresses on solemn occasions, as public weddings, funerals and jubilees, in sermons and debates and also in the speeches of counsel and judges in courts of law. Political speeches fall into two categories: parliamentary debates, and speeches, at rallies, congresses, meetings and election campaigns. Sermons deal mostly with religious subjects, ethics and morality; sometimes nowadays they take up social and political problems as well. Orations on solemn public occasions are typical specimens of this style and not a few of their word sequences and phrases are ready-made phrases or cliches. The sphere of application of oratory is confined to an appeal to an audience and therefore crucial issues in such spheres as science, art, literature, or business relations are not touched upon except perhaps by allusion. If such problems are dealt with in oratorical style the effect is humorous. The following extract from Posthumous Papers of the Pickwick Club by Charles Dickens is a parody of an oration. — But I trust, Sir, said Pott, that I have never abused the enormous power I wield. I trust, Sir, that I have never pointed the noble instrument which is placed in my hands, against the sacred bosom of private life, of the tender breast of individual reputation;— I trust, Sir, that I have devoted my energies to—to endeavours—humble they may be, humble I know they are—to instil those principles of—which—are—. ________ 1 — Here the editor of the Eatonswill Gazette appearing to ramble, Mr. Pickwick came to his relief, and said—Certainly. — The stylistic devices employed in oratorical style- are determined by the conditions of communication. If the desire of the speaker is to rouse the audience and to keep it in suspense, he will use various traditional stylistic devices. But undue prominence given to the form may lead to an exaggerated use of these devices, to embellishment. Tradition is very powerful in oratorical style and the 16th century rhetorical principles laid down by Thomas Wilson in his Arte of Rhetorique are sometimes still used in modern oratory, though, on the whole, modern oratory tends to lower its key more and more, confining itself to a quiet business-like exposition of ideas. Stylistic devices are closely interwoven and mutually complementary thus building up an intricate pattern. For example, antithesis is framed by parallel constructions, which, in their turn, are accompaniÐ µd by rÐ µpetition, while climax can be formed by repetitions of different kinds. As the audience rely only on memory, the speaker often resorts to repetitions to enable his listeners to follow him and retain the main points of his speech. Repetition is also resorted to in order to convince the audience, to add weight to the speakers opinion. The following extract from the speech of the American Confederate general, A. P. Hill, on the ending of the Civil War in the U. S. A. is an example of anaphoric repetition: It is high time this people had recovered from the passions of war. It is high time that counsel were taken from statesmen, not demagogues It is high time the people of the North and the South understood each other and adopted means to inspire confidence in each other Further, anadiplosis is used: The South will not secede again. That was her great folly-folly against her own interest, not wrong against you. A mere repetition of the same idea and in the same linguistic form may bore the audience and destroy the speaker-audience contact, therefore synonymic phrase repetition is used instead, thus filling up the speech with details and embellishing it, as in this excerpt from a speech on Robert Burns: For Burns exalted our race, he hallowed Scotland and the Scottish tongue. Before his time we had for a long period been scarcely recognized; we had been falling out of the recollection of the world. From the time of the Union of the Crowns, and still more from the legislative union, Scotland had lapsed into obscurity. Except for an occasional riot or a Jacobite rising, her existence was almost forgotten. Here synonymic phrase repetition (been scarcely recognized, falling out of the recollection of the world, had lapsed into obscurity, her existence was almost forgotten) is coupled with climax. 289 Repetition can be regarded as the most typical stylistic device of English oratorical style. Almost any piece of oratory will have parallel constructions, antithesis, suspense, climax, rhetorical questions and questions-in-the-narrative. It will be no exaggeration to say that almost all the typical syntactical stylistic devices can be found in English oratory. Questions are most frequent because they promote closer contact with the audience. The change of intonation breaks the monotony of the intonation pattern and revives the attention of the listeners. The desire of the speaker to convince and to rouse his audience results in the use of simile and metaphor, but these are generally traditional ones, as fresh and genuine stylistic devices may divert the attention of the listeners away from the main point of the speech. Besides, unexpected and original images are more difficult to grasp and the process takes time. If a genuine metaphor is used by an orator, it is usually a sustained one, as a series of related images is easier to grasp and facilitates the conception of facts identified one with another. Allusions in oratorical style depend on the content of the speech and the level of the audience. Special obligatory forms open up and end an oration, e. g. My Lords; Mr. President; Mr. Chairman; Your Worship; Ladies and Gentlemen, etc. At the end of his speech the speaker usually thanks the audience for their attention by saying: Thank you or Thank you very much. Expressions of direct address may be repeated in the course of the speech and can be expressed differently: dear friends, my friends, Mark you! , Mind! Here is a sample of the speech made by a member of the House of Commons in Parliament in April 1956 when the problem of air pollution was discussed. It is an ordinary speech almost devoid of any signs of elevation so typical when the orator tries to convince the audience. There has been a tremendous change in the Ministers attitude since the Bill was first brought to the House. When we embarked upon the Committee stage we were begging for bread and he gave us a stone. Now, seemingly, when we are coming to the end of the feast he is putting many sweets in front of us. The Minister hopes that we shall accept this proposal without too critical an examination. While welcoming the Ministers proposals about the C lean Air Council up to a point, there should be no interference with the council’s accountability to Parliament because the chairman of the council will be the Minister. When the hon. Member for Kidderminster (Mr. Nabarro) introduced a Private Bill, the Minister consulted at great length with interested bodies, and particularly with local authorities. It is within my knowledge that during those consultations suggestions were made to him by people who had practical experience. . Those suggestions have not been accepted and woven into the Bill. I do not want the Clean Air Council to become a kind of smokescreen behind which the Minister makes a report to his own liking and which may contain views at variance with those of members of the council. 290 It is essential, if the council is to be effective, that it includes people who are interested and who have the knowledge and who have undertaken the scientific-research involved. It must be remembered that they will have a great deal more knowledge of the subject than will the chairman of the council. They will, therefore, have a totally different point of view about what is happening in the country than will the Minister. We should provide that we have the uncompromising opinions of the members of the council, including those members appointed to it because of their knowledge of the roblems of various localities. Another point with which I want to deal was touched upon by the hon. Member for Kidderminster. During the Committee stage we debated at great length the topic of research into noxious fumes, especially sulphuric oxides. We especially pleaded that the Clean Air Council should have co-ordinating powers so that it could co-ordinate the activities of bodies conducting research into problems of oxides and noxious fumes. Indeed, we thought that the Ministers opinion upon that subject was the same as ours. As the Bill is now drafted, certain powers are given to local authorities to contribute towards the cost of investigation and research into the pollution of the air. We know that scientific and technical institutes and the fuel technology sections of some universities are conducting research into the problem of sulphuric pollution; yet we do not see any power given to the Clean Air Council to deal with the problem of sulphuric oxides, even though sulphuric pollution is one of the worst forms of air pollution. Will the Minister give us an assurance that he will specially direct the attention of the Clean Air Council to its duties in co-ordinating research into the problem of sulphuric oxides? Will he at the same time look again at the problem of Parliamentary accountability to make it possible for the council to give an annual report to the House, irrespective of the opinions of the Minister? The ornamental elements in this speech are reduced to the minimum. It is a matter-of-fact speech where no high-flown words or elaborate stylistic devices are to be found. It will be of considerable interest to compare this speech to Byrons Maiden Speech in the House of Lords in defence of the Luddites, which can be regarded as a perfect specimen of oratorical style. Byron used his eloquence against the Bill providing capital punishment for the destruction of machines. His purpose was to prevent the passage of the Bill, to get an impartial examination of the facts. Byrons speech is rich in oratorical devices. All these devices are motivated, they are organically connected with the utterance: the form by no means dominates the content. In contradistinction, an examination of the following speech will show that it is practically devoid of meaning. The speaker is merely seeking an effect. 291 Mr. Chairman, Ladies and Gentlemen: It is indeed a great and undeserved privilege to address such an audience as I see before me. At no previous time in the history of human civilization have greater problems confronted and challenged the ingenuity of mans intellect than now. Let us look around us. What do we see on the horizon? What forces are at work? Whither are we drifting? Under what mist of clouds does the future stand obscured? My friends, casting aside the raiment of all human speech, the crucial test for the solution of all these intricate problems to which I have just alluded is the sheer and forceful application of those immutable laws which down the corridor of Time have always guided the hand of man, groping, as it were, for some faint beacon light for his hopes and aspirations. Without these great vital principles we are but puppets responding to whim and fancy, failing entirely to grasp the hidden meaning of it all. We must re-address ourselves to these questions which press for answer and solution. The issues cannot be avoided. There they stand. It is upon you, and you, and yet even upon me, that the yoke of responsibility falls. What, then, is our duty? Shall we continue to drift? No! With all the emphasis of my being I hurl back the message No! Drifting must stop. We must press onward and upward toward the ultimate goal to which all must aspire. But I cannot conclude my remarks, dear friends, without touching briefly upon a subject which I know is steeped in your very consciousness. I refer to that spirit which gleams from the eyes of a new-born babe, that animates the toiling masses, that sways all the hosts of humanity past and present. Without this energizing principle all commerce, trade and industry are hushed and will perish from this earth as surely as the crimson sunset follows the golden sunshine. Mark you, I do not seek to unduly alarm or distress the mothers, fathers, sons and daughters gathered before me in this vast assemblage, but I would indeed be recreant to a high resolve which I made as a youth if I did not at this time and in this place, and with the full realizing sense of responsibility which I assume, publicly declare and affirm my dedication and my consecration to the eternal principles and receipts of simple, ordinary, commonplace justice. 1 The proper evaluation of this speech should be. The name appears to have become common on the publication of Montaignes Essays, a literary form created by this French writer. The essay is a literary composition of moderate length on philosophical, social, aesthetic or literary subjects. It never goes deep into the subject, but merely touches upon the surface. Personality in the treatment of theme and naturalness of expression are two of the most obvious characteristics of the essay. An essay is rather a series of personal and witty comments than a finished argument or a conclusive examination of any matter. This literary genre has definite linguistic traits which shape it as a variety of publicistic style. Here is a part of an essay by Ben Jonson which illustrates this style in its most typical and original form as it was at the end of the 16th century: Language most shows a man; speak, that I may see thee. It springs out of the most retired and inmost parts of us, and is the image of the parent of it, the mind. No glass renders a mans form or likeness so true, as his speech. Nay, it is likened to a man; and as we consider feature and composition in a man, so words in language; in the greatness, aptness, sound, structure, and harmony of it. Some men are tall and big, so some language is high and great. Then the words are chosen, the sound ample, the composition full, the absolution plenteous, and poured out, all grace, sinewy and strong. Some are little and dwarfs; so of speech, it is humble and low; the words are poor and flat; the members are periods thin and weak, without knitting or number. The middle are of just stature. There the language is plain and pleasing: even without stopping, round without swelling; all well turned, composed, eloquent, and accurate. The vicious language is vast and gaping; swelling and irregular; when it contends, high, full of rock, mountain and pointedness; as it affects to be low it is abject and creeps, full of bogs and holes. The essay was very popular in the 17th and 18th centuries. In the 17th century essays were written on topics connected with morals and ethics, while those of the 18th century focussed attention on political and philosophical problems. The 18th century was the great age of essay writing. It was then the principal literary form, and discoursed on the important subjects of the day, often criticizing the shortcomings of the political and social system in England. Encyclopedia Britannica states that the essay became a dominant force in English literature of the 18th century. The following statement of an 18th century essayist is of some interest as it describes the character of the essay: We writers of essays or (as they are termed) periodical papers This statement shows that periodical papers at that time contained only essays. In the 19th century the essay as a literary term gradually changed into what we now call the journalistic article or feature article which 293 covers all kinds of subjects from politics, philosophy or aesthetics to travel, sport and fashions. Feature articles are generally published in newspapers, especially weeklies and Sunday editions. They are often written by one and the same writer or journalist, who has cultivated his own individual style. The most characteristic language features of the essay, however, remain 1) brevity of expression, reaching in good writers a degree of epigrammaticalness, 2) the use of the first person singular, which justifies a personal approach to the problems treated, 3) a rather expanded use of connectives, which facilitate the process of grasping the correlation of ideas, 4) the abundant use of emotive words, 5) the use of similes and sustained metaphors as one of the media for the cognitive process. It is in the interrelation of these constituents that the real secret of the essay substyle consists. Some essays, depending on the writers individuality, are written in a highly emotional manner resembling the style of emotive prose, others resemble scientific prose, and the terms review, memÐ ¾ir or treatise are more applicable to certain more exhaustive studies. 1 The essay on moral and philosophical topics in modern times has not been so popular, perhaps because a deeper scientific analysis and interpretation of facts is required. The essay in our days is often biographical; persons, facts and events are taken from life. These essays differ from those of previous enturies — their vocabulary is simpler and so is their logical structure and argumentation. But they still retain all the leading features of the publicistic style. In comparison with oratorical style, the essay aims at a more lasting, hence, at a slower effect. Epigrams, paradoxes and aphorisms are comparatively rare in oratory, as they require the concentrated attention of the listener. In the essay they are co mmoner, for the reader has opportunity to make a careful and detailed study both of the content of the utterance and its form.

Suicide Solution Essays - Suicide, Assisted Suicide, Suicide Victim

Suicide Solution Essays - Suicide, Assisted Suicide, Suicide Victim Suicide Solution I'm about to take up a position which is going to be deamed by some, if not all, as a terrible stand to take. As a matter of fact, if anyone were to agree with me on ths subject, I'd be surprsed. For you see, rather than arguing from the postion of suicide being an unjustified and inane way to die, I shall argue the other point. That being suicide does have its merits. Before you people start screaming, hear my case out. Most people argue that nothing justifies the taking of someone's life. Yet what makes life so valuable? Why do people cling to it so? All we consist of is a bunch of carbon atoms, bound together to form an exoskeleton, organs, and tissue. In this light, there really is not much to life. Out of the 5 billion who inhabit the planet, very few of them shall emerge to be true world leaders. The rest will just lead a mediocre life of work and little play. The taking of ones life can be argued from a populistic view as well. It makes little sense to preserve life in an over populated world. True, one less person here on there will not make a large dent. Yet if everyone who attempts or had attempted suicide were not stopped, the impact would be noticed. Another popular argument for stoppers, people who want to prevent suicide, is that nothing can be bad enough. Yet how do they know this? They do not have to put up with the same stuff the suicide victim does everyday. How could they possibly know what the potential suicide victim feels. Just as a severely burned victim may wish to be allowed to die in peace, the suicide victim wishes the same. To die in peace with no argument from others. The argument of "look at the people you will hurt" also does not hold. Imidiate family members will be the only ones to suffer any great pain. Friends will go on with thier lives and in time forget about the death. Imidiate family too will forget the loss in time. Although it will take most considerably longer for them than it will for friends. Finaly, the argument of suicide being selfish is hard to grasp. Selfish in whose eyes? Certainly not the eyes of the victim. To them, they consider it selfish of others to try and preserve their life. Again, the argument of the stoppers don't know what the victim has to go through. They are not the ones enduring the pain. Religious people also crop up into the debate. Catholics claim that for someone to committ suicide sneds their soul straight to Hell. In many religions, suicide is considered taboo. However why is this so? Why should it be looked upon as disgracefull, when some religions claim death the be the reward for people after their time on earth is done. Suicide is an issue which should be examined at by all angles. Not just from the angle that it is "wrong". End of debate. Rather it should be looked at from the point of view that "yes" for some people, they should be allowed to die in peace.

Characteristics of the Classic Monster Movie

Fundamentally, certain genres lend to certain types of story arcs.   While the romantic comedy often follows a more character driven plot, where the characters find the meaning of true love, the monster movie follows a definable plot driven format.   And basically, in the plot driven movie, the overall story illustrates the efficiency of a town’s characters and how well they are able to stand up to the monster, before, either they are killed or the monster is finally neutralized or vanquished in a final, climax of a scene. To be honest, the end result of the town and its people doesn’t really matter, and any ending is entirely plausible.   But, the intrigue that makes a good monster movie is to be competently presented with the monster, the origin of the monster, and for the audience to discover what that monster wants out of the society they are terrorizing.   While the monster makes the lives of the characters in the story miserable, the audience is torn between wanting the characters to win, or actually feeling sympathy for the monster because of the conditions presented surrounding that monster’s origin. Moreover, monster movie plots have been known to fit into the plot categories and monster types to such a degree that a generator was actually created by David Neilsen.   Among the other completely hilarious and surprisingly useful generators to be had, the Monster Movie Pitch allows a user to create their own monster movie pitch by filling in the required fields.   Once filled in, the monster movie pitch is instantly created and a visitor can do what they want with the results. Because this generator actually serves to illuminate the points within this paper, a short detour will be taken.   With that said, the generator dictates that a male lead, female lead, and male sidekick are required, as well as a title.   Then the setting must be chosen: either a dark and forbidding forest, a sleepy little town, a mental institution, at sea, or ancient ruins.   Then the monster type must be selected: either the undead, extra-terrestrial, scientific abomination, creature of folklore/myth/legend, or nature gone bad.   And finally, the monster motive must be defined: revenge, to feed, to protect its young, its slumber has been disturbed, or it seeks to destroy humanity. Now, let’s see what fun can be had.   The selections have been made for the practice monster movie entitled, The Big Bad.   The rundown: heroic Zack and best buddy Trent, live in a sleepy little town and will come across an extra-terrestrial, leading lady Emily, and who seeks to destroy humanity.   Simple and sounds like a blockbuster.   Plugged into the generator, here’s the actual movie pitch: Critically acclaimed Egyptian filmmaker Aslad Assop brings his nightmare back to the screen with The Big Bad. This long awaited sequel to his international hit, Gong of Deviled Oxen, reunites aggressive shepherd Huche Ramman (Zack) with his holy guide Hammotep (Trent) in their biggest adventure yet. This time, Huche discovers messages in the entrails of his sheep and the trail leads to an extra-terrestrial temptress (Emily) who wishes to use sin to destroy all of humanity. Now the temptress is invading Huche’s Sleepy Little Town of Grozer, Egypt and only Huche’s faith can save the world! Sounds better than some of the monster movies out there.   Now, the purpose of the generator was not merely for amusement, though it was a bit of fun; however, it also serves to prove and illustrate the core, salient characteristics of the monster movie which are the type of monster, the psychological appeal of the monster, and the plot, or, motive of the monster. Because Neilsen states the monster types right out, it’s easy to realize, once they are presented in such a manner, that every monster movie (probably ever made) fits well into the categories, without even needing wriggle room.   To be precise, Neilsen states that there are five basic types of monster. The first type is the undead monster.   Now, the undead monster movie began in the 1930’s with Dracula and continued well into the freaky zombie thrillers of today like 28 Days Later and Resident Evil.   The undead category is not only chilling, but is perhaps the most used of all the monster types.   Even pop culture revolves around vampires, zombies, and the undead with shows like Buffy the Vampire Slayer, and Supernatural.   This type of monster has the greatest impact on an audience because of the psychological aspect and appeal behind that monster. Moreover, the second monster type is the extra-terrestrial and is evident in movies like Alien, War of the Worlds and Predator.   ET actually fits this category as well, though that alien is more cute and cuddly than frightening.   Now, this monster type usually has the same motive, that to destroy all of mankind, and is the least escapable of all the monster types because they take more to vanquish than simple guns and grenades.   Characters in these movies die rapidly and often, and do little but to illustrate the irk of the monster. The third monster type is known as the scientific abomination.   This is an interesting monster category because it actually encompasses many different sorts of monsters, from Frankenstein, to Dr. Jekyll and Mr. Hyde, to the Invisible Man.   In all cases, this type of monster is created, even purposefully manufactured, and the outcome is accidental and tragic.   The creator of the monster is often murdered, or lost to his darker evil side, and the characters again, serve only to be killed off as the mad scientist almost realizes his folly. The fourth type of monster is the creature from folklore/myth/legend.   This category encompasses monsters from The Mummy, to monsters in The Relic, Cerberus, and After Dark.   These monsters all have the same motive, and all, actually, seem to have become a plague to the characters because of that motive: being disturbed from their slumber, which serves to kill off most of the characters in the most violent and brutal method possible. Finally, the fifth monster type is nature gone bad.   This fits the Armageddon sort of flick, where birds, bats, plague, or impending asteroids kill off a good portion of the characters.   Movies like Stephen King’s The Birds, Armageddon, 10.5, and The Day After Tomorrow fit this category well.   The problem with this last monster type is that it differs the most dramatically from the genre because a great deal more time is spent on character growth than on the priorities of the monster, being nature, but in the end, nature usually wins out, despite how great the characterization is. Furthermore, Stuart Fischoff’s study commented on many things monster but one conclusion was striking, that â€Å"film monsters have proven to be such unforgettable characters that in many instances they have become part of our culture.†Ã‚   In fact, they are unforgettable to the degree that â€Å"most Americans would recognize a picture of Frankenstein, Dracula, King Kong, Godzilla or the Mummy before recognizing a Supreme Court Justice† (Fischoff). This conclusion is not only remarkable, it is entirely true.   John Rutledge is one of the most recently discussed Supreme Court Justices, but his name means nothing unless that person has been thoroughly engrossed in the newspaper for the past two years.   On the other hand, a person doesn’t even have to watch Godzilla to know that Godzilla is a dinosaur-like creature that wreaks havoc on Tokyo or that Dracula is a vampire with unconventional vampire powers. Additionally, the second core characteristic of monster movies is the psychological aspect and appeal of the monster.   This aspect can roughly be defined as not only the type of monster, but the character of that monster and what affect that monster has on an audience.   Fischoff’s study was also to survey a group of people and conclusively determine who the â€Å"King of Monsters† was. Turns out Dracula wins, though not because he is the most violent, nor is he the best killer among the monsters to choose from.   Freddy Krueger and Hannibal Lector obviously had the mass-slaying thing down, but they could never have the staying power that Dracula has because their nature is for violence and they lack the extreme psychological aspect that makes Dracula not only frightening, but also seductive. Monster movies are great to watch when the monster is a monster.   But, when man becomes a monster, as in the case of Hannibal Lector in Silence of the Lambs, for reasons pertaining to his youth and not some botched experiment, the movie experience becomes nearly transcendently frightful with the very real aspect that Hannibal could be a real person in a very real neighborhood.   Same with Freddy Krueger, though he at least has that whole dream-killing thing happening which makes him, in reality, a bit less plausible, though his deeds are no less terrifying. Fischoff offers some insight into this phenomena, stating that â€Å"it is believed to be the thrill of fright, the awe of the horrific, the experience of the dark and forbidden side of human behavior that lures people into the dark mouth of the theater to be spooked† (Fischoff).   Even though the man-monster takes off on a different path from the genre, hitting horror and the psychological aspect harder than ever before, people still flock to these movies in droves due to the need for fright, to experience the thrill without living the thrill (how scary would it be if Hannibal lived down the street?).   And, the best monster movies are able to produce at least that much. Moreover, according to Fischoff’s survey, the top ten monsters of all time, in order, are: Dracula, Freddy Krueger, Godzilla, Frankenstein, Chucky, Michael Myers (Halloween), King Kong, Hannibal Lector, Jason Voorhees (Friday 13th), and Alien.   It is interesting to notice when looking at this list that the monster to man-monster ratio is an exact split between the ten.   Five genuine monsters and five men-turned-monsters.   When it comes to monster movies, the best monster is obviously a cross between the most horrific and the most frightening. Furthermore, the third characteristic of monster movies is the use of plot as a device to form the movie around the monster.   Like Neilsen’s generator was helpful to suggest, there are five different plots that make up the monster movie genre, almost, in its entirety.   And, these plots all revolve around or are centered on, the motive of the monster. Basically, the monster can be out for revenge, need to feed, need to protect its young, their slumber has been disturbed, or they want to destroy humanity.   All movies created in the early black and white era actually follow this format, the most famous of them setting up the very archetype known as monster movies today. To begin with, Frankenstein (1931) demonstrates the classic revenge plot.   Dr. Henry Frankenstein wanted to make a man out of stolen body parts and actually managed to do so.   In fact, Dr. Frankenstein’s monster would have been a medical marvel if not for the criminal brain secured for his construction.   Because of that tiny little fatal flaw, the monster rises with a vendetta for Dr. Frankenstein.   And because Dr. Frankenstein screwed up, he becomes the obsession of his own creation. In Dracula (1931), Count Dracula, something of a real estate tycoon and upwardly rich aristocrat, preys on the people he comes across in Transylvania.   Dracula is different than the average monster because of his strikingly literal human nature.   He also has the enhanced ability to seduce his victims beyond their control, which makes him exceptionally difficult to properly vanquish.   The story also ends heroically as Van Helsing is proven right and is able to destroy Dracula.   Dracula’s main motive, besides amusement, is simply, to feed. King Kong (1933) differs from many monster movies because the character relationships are vitally important for the movie to progress.   There are two main relationships developed throughout, that of Ann and Jack and that of Ann and King Kong.   King Kong’s motive, once he falls for his new companion Ann, is to protect her from the evils in his jungle environment, and later, the evils he sees New York City.  Ã‚  Ã‚   One of the final lines in the movies, â€Å"it wasn’t the airplanes, it was beauty that killed the beast† strikes a cord in any heart and makes King Kong perhaps the most lovable of all movie monsters because of his human desire to protect Ann. In The Mummy (1932) a priest is resurrected accidentally by an unwitting team of archeologists and sets about seeking his lost love.   Bad things happen along the way, one of the archeologists is taken as a replacement for the mummy’s lost bride, but the mummy is vanquished in the end when the archeologists destroy the scroll that brought him back to life.   The mummy, Im-ho-tep, basically sends his wrath out on the world and spends the movie causing mass destruction because his slumber was disturbed.   Simple as that. Finally, in Godzilla (1954), Godzilla is a monster god (more like un-extinct dinosaur) that preys on the countryside of Tokyo and fits the classic monster out to destroy humanity plot.   The natives sacrifice virgins in an attempt to appease the monster, but Godzilla seems to enjoy wreaking as much destruction as possible.   The monster attacks every few scenes, with the people in a panic as to how to destroy him before they are all killed.   And, even though they manage to kill Godzilla in the end, the result is not joyful as the people still fear another Godzilla is just moments from rising from the sea. Overall, all movies follow a specific formula which can be calculated and defined based upon the genre they fall in to.   The monster movie is a cross between the horror film and the psychological thriller and has certain core, salient characteristics that define the monster movie as a genre.   Neilsen helps to illuminate the various forms of monster and monster motives with his monster movie pitch generator, and it can be said that, categorically, monster type, psychological aspect of the monster, and motive of the monster as demonstrated in the plot combine to form the core characteristics of the monster movie. Works Consulted. Fischoff, Stuart, et al.   â€Å"The Psychological Appeal of Your Favorite Movie Monsters.† International Scientific Communications, 2003. —-.   â€Å"The Psychological Appeal of Movie Monsters.†Ã‚   Journal of Media Psychology, 2005. LaBarbera, Michael.   â€Å"The Biology of B-Movie Monsters.†Ã‚   University of Chicago, 2003. http://fathom.lib.uchicago.edu/2/21701757/ Neilsen, David.   â€Å"Monster Pitch Generator.†Ã‚   Brunching Shuttlecocks, 2001. Waters, Cullen.   â€Å"The Plot Archetypes of Giant Monster Movies.†Ã‚   WordPress.com, 2005.   http://welltuncares.wordpress.com/2005/04/18/the-plot-archetypes-of-giant-monster-movies/ Zoombaba.   â€Å"Creature Feature: Monster Movie Roleplaying.†Ã‚   Accessed March 22, 2007. http://homepage.mac.com/zoombaba/RPG/CF.html Characteristics of the Classic Monster Movie Fundamentally, certain genres lend to certain types of story arcs.   While the romantic comedy often follows a more character driven plot, where the characters find the meaning of true love, the monster movie follows a definable plot driven format.   And basically, in the plot driven movie, the overall story illustrates the efficiency of a town’s characters and how well they are able to stand up to the monster, before, either they are killed or the monster is finally neutralized or vanquished in a final, climax of a scene. To be honest, the end result of the town and its people doesn’t really matter, and any ending is entirely plausible.   But, the intrigue that makes a good monster movie is to be competently presented with the monster, the origin of the monster, and for the audience to discover what that monster wants out of the society they are terrorizing.   While the monster makes the lives of the characters in the story miserable, the audience is torn between wanting the characters to win, or actually feeling sympathy for the monster because of the conditions presented surrounding that monster’s origin. Moreover, monster movie plots have been known to fit into the plot categories and monster types to such a degree that a generator was actually created by David Neilsen.   Among the other completely hilarious and surprisingly useful generators to be had, the Monster Movie Pitch allows a user to create their own monster movie pitch by filling in the required fields.   Once filled in, the monster movie pitch is instantly created and a visitor can do what they want with the results. Because this generator actually serves to illuminate the points within this paper, a short detour will be taken.   With that said, the generator dictates that a male lead, female lead, and male sidekick are required, as well as a title.   Then the setting must be chosen: either a dark and forbidding forest, a sleepy little town, a mental institution, at sea, or ancient ruins.   Then the monster type must be selected: either the undead, extra-terrestrial, scientific abomination, creature of folklore/myth/legend, or nature gone bad.   And finally, the monster motive must be defined: revenge, to feed, to protect its young, its slumber has been disturbed, or it seeks to destroy humanity. Now, let’s see what fun can be had.   The selections have been made for the practice monster movie entitled, The Big Bad.   The rundown: heroic Zack and best buddy Trent, live in a sleepy little town and will come across an extra-terrestrial, leading lady Emily, and who seeks to destroy humanity.   Simple and sounds like a blockbuster.   Plugged into the generator, here’s the actual movie pitch: Critically acclaimed Egyptian filmmaker Aslad Assop brings his nightmare back to the screen with The Big Bad. This long awaited sequel to his international hit, Gong of Deviled Oxen, reunites aggressive shepherd Huche Ramman (Zack) with his holy guide Hammotep (Trent) in their biggest adventure yet. This time, Huche discovers messages in the entrails of his sheep and the trail leads to an extra-terrestrial temptress (Emily) who wishes to use sin to destroy all of humanity. Now the temptress is invading Huche’s Sleepy Little Town of Grozer, Egypt and only Huche’s faith can save the world! Sounds better than some of the monster movies out there.   Now, the purpose of the generator was not merely for amusement, though it was a bit of fun; however, it also serves to prove and illustrate the core, salient characteristics of the monster movie which are the type of monster, the psychological appeal of the monster, and the plot, or, motive of the monster. Because Neilsen states the monster types right out, it’s easy to realize, once they are presented in such a manner, that every monster movie (probably ever made) fits well into the categories, without even needing wriggle room.   To be precise, Neilsen states that there are five basic types of monster. The first type is the undead monster.   Now, the undead monster movie began in the 1930’s with Dracula and continued well into the freaky zombie thrillers of today like 28 Days Later and Resident Evil.   The undead category is not only chilling, but is perhaps the most used of all the monster types.   Even pop culture revolves around vampires, zombies, and the undead with shows like Buffy the Vampire Slayer, and Supernatural.   This type of monster has the greatest impact on an audience because of the psychological aspect and appeal behind that monster. Moreover, the second monster type is the extra-terrestrial and is evident in movies like Alien, War of the Worlds and Predator.   ET actually fits this category as well, though that alien is more cute and cuddly than frightening.   Now, this monster type usually has the same motive, that to destroy all of mankind, and is the least escapable of all the monster types because they take more to vanquish than simple guns and grenades.   Characters in these movies die rapidly and often, and do little but to illustrate the irk of the monster. The third monster type is known as the scientific abomination.   This is an interesting monster category because it actually encompasses many different sorts of monsters, from Frankenstein, to Dr. Jekyll and Mr. Hyde, to the Invisible Man.   In all cases, this type of monster is created, even purposefully manufactured, and the outcome is accidental and tragic.   The creator of the monster is often murdered, or lost to his darker evil side, and the characters again, serve only to be killed off as the mad scientist almost realizes his folly. The fourth type of monster is the creature from folklore/myth/legend.   This category encompasses monsters from The Mummy, to monsters in The Relic, Cerberus, and After Dark.   These monsters all have the same motive, and all, actually, seem to have become a plague to the characters because of that motive: being disturbed from their slumber, which serves to kill off most of the characters in the most violent and brutal method possible. Finally, the fifth monster type is nature gone bad.   This fits the Armageddon sort of flick, where birds, bats, plague, or impending asteroids kill off a good portion of the characters.   Movies like Stephen King’s The Birds, Armageddon, 10.5, and The Day After Tomorrow fit this category well.   The problem with this last monster type is that it differs the most dramatically from the genre because a great deal more time is spent on character growth than on the priorities of the monster, being nature, but in the end, nature usually wins out, despite how great the characterization is. Furthermore, Stuart Fischoff’s study commented on many things monster but one conclusion was striking, that â€Å"film monsters have proven to be such unforgettable characters that in many instances they have become part of our culture.†Ã‚   In fact, they are unforgettable to the degree that â€Å"most Americans would recognize a picture of Frankenstein, Dracula, King Kong, Godzilla or the Mummy before recognizing a Supreme Court Justice† (Fischoff). This conclusion is not only remarkable, it is entirely true.   John Rutledge is one of the most recently discussed Supreme Court Justices, but his name means nothing unless that person has been thoroughly engrossed in the newspaper for the past two years.   On the other hand, a person doesn’t even have to watch Godzilla to know that Godzilla is a dinosaur-like creature that wreaks havoc on Tokyo or that Dracula is a vampire with unconventional vampire powers. Additionally, the second core characteristic of monster movies is the psychological aspect and appeal of the monster.   This aspect can roughly be defined as not only the type of monster, but the character of that monster and what affect that monster has on an audience.   Fischoff’s study was also to survey a group of people and conclusively determine who the â€Å"King of Monsters† was. Turns out Dracula wins, though not because he is the most violent, nor is he the best killer among the monsters to choose from.   Freddy Krueger and Hannibal Lector obviously had the mass-slaying thing down, but they could never have the staying power that Dracula has because their nature is for violence and they lack the extreme psychological aspect that makes Dracula not only frightening, but also seductive. Monster movies are great to watch when the monster is a monster.   But, when man becomes a monster, as in the case of Hannibal Lector in Silence of the Lambs, for reasons pertaining to his youth and not some botched experiment, the movie experience becomes nearly transcendently frightful with the very real aspect that Hannibal could be a real person in a very real neighborhood.   Same with Freddy Krueger, though he at least has that whole dream-killing thing happening which makes him, in reality, a bit less plausible, though his deeds are no less terrifying. Fischoff offers some insight into this phenomena, stating that â€Å"it is believed to be the thrill of fright, the awe of the horrific, the experience of the dark and forbidden side of human behavior that lures people into the dark mouth of the theater to be spooked† (Fischoff).   Even though the man-monster takes off on a different path from the genre, hitting horror and the psychological aspect harder than ever before, people still flock to these movies in droves due to the need for fright, to experience the thrill without living the thrill (how scary would it be if Hannibal lived down the street?).   And, the best monster movies are able to produce at least that much. Moreover, according to Fischoff’s survey, the top ten monsters of all time, in order, are: Dracula, Freddy Krueger, Godzilla, Frankenstein, Chucky, Michael Myers (Halloween), King Kong, Hannibal Lector, Jason Voorhees (Friday 13th), and Alien.   It is interesting to notice when looking at this list that the monster to man-monster ratio is an exact split between the ten.   Five genuine monsters and five men-turned-monsters.   When it comes to monster movies, the best monster is obviously a cross between the most horrific and the most frightening. Furthermore, the third characteristic of monster movies is the use of plot as a device to form the movie around the monster.   Like Neilsen’s generator was helpful to suggest, there are five different plots that make up the monster movie genre, almost, in its entirety.   And, these plots all revolve around or are centered on, the motive of the monster. Basically, the monster can be out for revenge, need to feed, need to protect its young, their slumber has been disturbed, or they want to destroy humanity.   All movies created in the early black and white era actually follow this format, the most famous of them setting up the very archetype known as monster movies today. To begin with, Frankenstein (1931) demonstrates the classic revenge plot.   Dr. Henry Frankenstein wanted to make a man out of stolen body parts and actually managed to do so.   In fact, Dr. Frankenstein’s monster would have been a medical marvel if not for the criminal brain secured for his construction.   Because of that tiny little fatal flaw, the monster rises with a vendetta for Dr. Frankenstein.   And because Dr. Frankenstein screwed up, he becomes the obsession of his own creation. In Dracula (1931), Count Dracula, something of a real estate tycoon and upwardly rich aristocrat, preys on the people he comes across in Transylvania.   Dracula is different than the average monster because of his strikingly literal human nature.   He also has the enhanced ability to seduce his victims beyond their control, which makes him exceptionally difficult to properly vanquish.   The story also ends heroically as Van Helsing is proven right and is able to destroy Dracula.   Dracula’s main motive, besides amusement, is simply, to feed. King Kong (1933) differs from many monster movies because the character relationships are vitally important for the movie to progress.   There are two main relationships developed throughout, that of Ann and Jack and that of Ann and King Kong.   King Kong’s motive, once he falls for his new companion Ann, is to protect her from the evils in his jungle environment, and later, the evils he sees New York City.  Ã‚  Ã‚   One of the final lines in the movies, â€Å"it wasn’t the airplanes, it was beauty that killed the beast† strikes a cord in any heart and makes King Kong perhaps the most lovable of all movie monsters because of his human desire to protect Ann. In The Mummy (1932) a priest is resurrected accidentally by an unwitting team of archeologists and sets about seeking his lost love.   Bad things happen along the way, one of the archeologists is taken as a replacement for the mummy’s lost bride, but the mummy is vanquished in the end when the archeologists destroy the scroll that brought him back to life.   The mummy, Im-ho-tep, basically sends his wrath out on the world and spends the movie causing mass destruction because his slumber was disturbed.   Simple as that. Finally, in Godzilla (1954), Godzilla is a monster god (more like un-extinct dinosaur) that preys on the countryside of Tokyo and fits the classic monster out to destroy humanity plot.   The natives sacrifice virgins in an attempt to appease the monster, but Godzilla seems to enjoy wreaking as much destruction as possible.   The monster attacks every few scenes, with the people in a panic as to how to destroy him before they are all killed.   And, even though they manage to kill Godzilla in the end, the result is not joyful as the people still fear another Godzilla is just moments from rising from the sea. Overall, all movies follow a specific formula which can be calculated and defined based upon the genre they fall in to.   The monster movie is a cross between the horror film and the psychological thriller and has certain core, salient characteristics that define the monster movie as a genre.   Neilsen helps to illuminate the various forms of monster and monster motives with his monster movie pitch generator, and it can be said that, categorically, monster type, psychological aspect of the monster, and motive of the monster as demonstrated in the plot combine to form the core characteristics of the monster movie. Works Consulted. Fischoff, Stuart, et al.   â€Å"The Psychological Appeal of Your Favorite Movie Monsters.† International Scientific Communications, 2003. —-.   â€Å"The Psychological Appeal of Movie Monsters.†Ã‚   Journal of Media Psychology, 2005. LaBarbera, Michael.   â€Å"The Biology of B-Movie Monsters.†Ã‚   University of Chicago, 2003. http://fathom.lib.uchicago.edu/2/21701757/ Neilsen, David.   â€Å"Monster Pitch Generator.†Ã‚   Brunching Shuttlecocks, 2001. Waters, Cullen.   â€Å"The Plot Archetypes of Giant Monster Movies.†Ã‚   WordPress.com, 2005.   http://welltuncares.wordpress.com/2005/04/18/the-plot-archetypes-of-giant-monster-movies/ Zoombaba.   â€Å"Creature Feature: Monster Movie Roleplaying.†Ã‚   Accessed March 22, 2007. http://homepage.mac.com/zoombaba/RPG/CF.html

Home Depot Financial Income Statement Essay Example | Topics and Well Written Essays - 1000 words

Home Depot Financial Income Statement - Essay Example Since the main purpose of business is to generate profits from its operations, the income statement is very important since it helps to show if the organization is in a position to achieve its goals. This helps the responsible authorities to make meaningful decisions that can help to improve the operations of the organization in the event that it has been recording losses. Decisions such as scaling down the operations of business if it has been making losses can be made using its income statement. On the other hand, a business can expand its operations if it has been operating profitably over a give n accounting period. For instance, the income statement of Home Depot’s Annual Report (2008, p. 18) shows that â€Å"Net Sales for fiscal 2008 decreased 7.8% to $71.3 billion from $77.3 billion for fiscal 2007.† On the other, â€Å"Gross Profit decreased 7.7% to $24.0 billion for fiscal 2008 from $26.0 billion for fiscal 2007 while operating expenses increased 4.7% to $17.8 billion for fiscal 2008 from $17.1 billion for fiscal 2007.† These statistics point a negative picture in the operations of the company and this is the reason why a decision to close underperforming stores during the first quarter of 2008 was made. Instead of making profits, the company has been recording losses in its operations. 2. The balance sheet of the company speaks volumes about its stock. The balance sheet of the company is mainly comprised of assets, liabilities as well as equity (Investopedia, 2014). The assets show things that are of value to the company and they can be converted into cash at any given period. On the other hand liabilities show what the company owes to others while equities represent earnings contributed by shareholders. A company’s balance sheet shows if the company is able to sustain its operations through creating a fine balance between what belongs to it and what it owes to others. In actual fact, a balance sheet is very important in