17th Century Venetian Opera

Lauren Rader Music History I November 19, 2010 17th Century Opera in Venice Between 1637 and 1678, in nine different theaters, Venetian audiences saw more than 150 operas. The creation of public opera houses sparked the interest of the people of the time because of social and philosophical changes that were happening in the Republican state of Venice. Opera was not only interesting to the elite. It had now made its way to a public audience. The primary audience was the crowd of Venetians and tourists that came for the carnival season in Venice.Opera succeeded as a public art form for many reasons: because of its exquisite musicality, it was highly successful and it became a way to produce revenue. Ellen Rosand says that three conditions existed for opera to be a permanent establishment in the Venetian culture: there was regular demand during the carnival season, dependable financial backing, and a broad predictable audience. An important group involved with the financial backing and librettos written for the opera houses were the Accademia degli Incogniti, translating to â€Å"The Academy of Unknowns†. This was a secret society of noblemen, founded by Giovanni Francesco Loredano.One reason opera was such a success during this time was due to this libertine group. Even though their ideas were bold and they said heretical things, without their financial backing, their librettos may have never made it to the opera houses if they hadn’t been in Venice at that time. Also, women were expected to exhibit certain social and moral standards during this time, and this was often the theme of many librettos written by the Accademia degli Incogniti from 1637-1678. The librettos were themed around virtues where a protagonist exemplified an act of goodness in her role.Another important factor about Venetian opera was that before the San Cassiano opera house, operas had been written for private courts of the wealthy aristocrats only. Public opera houses marked a new form of social event, entertainment, and source of revenue for musicians, writers/poets, and wealthy benefactors. Venice was a republican state and the government was considerably more open to new ideas and conventions than the rest of Italy, cities like Florence and Rome. Venice was a state with its own special position in the world and history that integrated freedom and stability. The great myth of Venice was that it was an undefeated state.The people claimed that the city was founded on the day of Annunciation on March 25, 421. Since that time no one had defeated Venice, and by the 17th Century it had lasted longer than ancient Rome. Scholars believe that this was because of its republican constitution allowing the noblemen to share the power and divide it among themselves. The wealthy were about 5% of the population, but the common people were pleased with this way of government and lived happily without too much complaint. [1] Venice’s government was more relaxed an d open, and that had much to do with what was allowed and not allowed in the public opera houses of the time.Another fact that is important to note is that the ruling patricians (noblemen) were involved in commerce and the arts—eventually opera. According to Edward Muir, â€Å"At the end of the sixteenth century, the camerata theorists under Medici patronage invented the form of musical drama now called â€Å"opera† for performance in the courtly environment of the Grand Duchy of Tuscany† (Muir 331). The opening of the Teatro San Cassiano marked the first public opera house for a paying audience. There was a divided relationship between patrician youth and the elderly patrician office holders.While the youth were licentious, the older generation had an impulse for social control. [2] The old law passed by the Council of Ten prohibited theatrical performances that were for carnivals and weddings, especially banning comedies. The Accademia degli Incogniti probably retrieved some of their ideas from the Compagnie della Calza, a club of young nobles â€Å"known for their hedonism and pushing the limits of their elders† (Muir 334), created at the end of the 16th century. The Compangie protected their identity through a code of silence. They used surnames, much like the Accademia degli Incogniti would do a century and a half later.Nonetheless, secret organizations were a way to avoid public persecution and harassment, while still speaking out on controversial issues. A young playwright, Ruzante, played characters that made fun of and criticized the upper class. To this end, Ruzante wrote a play where one critic complained that he exceeded the boundaries of taste: â€Å"completely lascivious, with very dirty words, and God was blasphemed by all of them, and [the audience] shrieked at them†(Muir 334). This relationship between cutting edge and tradition continued to be a prevalent issue into the time of Venetian opera in the 1600s.A distinguishing feature of new theaters was â€Å"the inclusion of several floors of boxes that provided elevated, separated, and private spaces from with paying customers, apparently patricians and distinguished foreigners could watch performances† (Muir 335). From his book, â€Å"The Short, Lascivious Lives of Two Venetian Theaters†. Eugene Johnson, talks about box seats creating a feeling of premier social space that was private but at the same time public. Yet, Venetians soon started to use these box seats as modern day motel rooms; â€Å"the box itself became a stage for imagination and metaphor for the libertine style†(Muir 335).The box seats were called plachi. The Jesuits complained almost immediately that these â€Å"wicked acts†¦creating scandal† in the plachi were immoral and provided another reason to promote their anti-theater cause. There is no real evidence of these scandalous acts taking place, but accounts say that boxes read on the f loor â€Å"per le donne†. During these obscene comedies, obscene acts were taking place at the same time on the other side of the thin wooden box seats; for Venetian theater was full of scandal.In 1606, Antonio Persis wrote in defense of the papal cause, criticizing the Venetians for their â€Å"addiction to avarice and luxuria† (Rosand 412). He said that the theaters were luxaria, and because of his account, the Jesuits destroyed the theaters in Venice. On the other hand, the Jesuits were then banned from Venice in late 1606 by the Interdict crisis, which opened up the opportunity again for seasonal comic theater. Even before opera, Venetians held a long standing tradition for carnivals, comedies, courtesans, and scandal. However, the politics in Venice â€Å"remained simply conservative and committed to republicanism† (Muir 337).Although, opera was comic and touched on social context of men and women, â€Å"[it] had the capacity to engage current political af fairs and debates† (Romano 402). In Purciello’s thesis from Princeton University, he talks about opera standing in contrast with the religious and economic ambiguity â€Å"amidst the spectacle and festivities of the carnival season. Venice was a port center where â€Å"people from the four corners of the world convened. This mix of cultures produced a rather exotic atmosphere: a combination of Christian and pagan religious histories.All sorts of audiences, rich and poor, swarmed to public opera houses to experience spectacle, music, and drama. Venice was a city where commercial business was thriving, which resulted in mass productions of entertainment (Purciello 11). Opera houses repeated operas a season by altering the music of libretti, characters wearing new costumes, and reinforcing popular plot lines. Musicians and talent were not usually local Venetian musicians. They were traveling tour groups, who performed all over Italy and Europe. Yet, the musicians knew th e unique character Venice required for its music, and how it differed in performance practice.Venetian opera was centered on spectacle: The use of stage machinery caused an increase in the number and elaborateness of scene change; but this is because there were whole stories told in the sets and the machinery, much of which is lost to the scholar today, who has little ability to reconstruct the stage scenery, and must rely on the libretti and the score† (Thornburn 183). Set design was crucial to the success of an opera. Part of the carnival atmosphere was seeing something extravagant and out of the ordinary. Venetian opera was the epitome of the kind of luxurious and complex entertainment.Theaters prided themselves and showed of how much money they had by buying costly machinery. One way to move the scenes, backdrops, and other stage devices was to cut holes in the floor and slide the set along the grooves for smooth scene transitions. Before this invention, the operas would u se dances to distract the audience from a scene change (Thornburn). The man who invented this idea was stage director, Giacomo Torelli: â€Å"he cut grooves all the way through the stage from the floor, and wings were mounted on little carriages that ran along the tracks located in the sub-stage area.Wings, back scenes, and borders were then operated by means of a winch system with counter weights. Thus, with the turning of a central drum beneath the stage, the entire scene changed almost instantaneously† (Thornburn 175). There was a large contrast from the way scenes were changed before Torelli’s invention. In the Cambridge Guide to Theatre it says that the scene changes were like â€Å"cinema dissolves† and unnecessary shifts between scenes were made for the delight of seeing it happen.Besides the stage machinery’s functional use, â€Å"in the same way the contemporary action films may have thin plots because the visual technology is so powerful, so th ese works must have overwhelmed to beauty of line in either the music or the poetry† (Thornburn 176). Starting in 1637 opera houses began to open as large scale venues. The four major theaters open in Venice were the San Cassiano, San Moise, San Salvatore, and Santi Giovanni e Paolo. Most of these opera houses seated anywhere from four to five hundred spectators.The Teatro Novissimo was â€Å"the shortest-lived and most influential theatre in the early years of Venetian commercial opera, opened for the carnival season of 1641† (Thorburn). The Novissimo presented operas from 1641 to 1645. There has been some debate as to when the theater actually stopped presenting operas. Cristoforo Ivanovich claims that there were operas going on until 1646, up until the day the theater was completely demolished. â€Å"In spite of its brief life†¦ the theater was atypical of opera theaters in Venice because it was intended for an audience that was entirely Venetian†(Thornbu rn 136).In a dissertation by Hugh Thornburn, he says that audience members who regularly attended the Novissimo were academic and aware of their intelligence, and they prided themselves in participating in the opera culture. However, they were not able to pay for their interest, hence the reason for the Teatro Novissimo closing. The Jesuit-driven ban on public theater was removed in 1607, so theatrical activity was increasing by the 1620s. By the 1630s the movement for more opera houses as a form of public entertainment was in full swing. The Venetian carnival season was the most important time of the year in Venice.Opera served as carnival entertainment, â€Å"a form of ribald and often satirical comedy performed during the annual season of festive license† (Muir 333). Spectacle was one attraction the opera house brought to the carnival season. However, there were social issues, involving mixed views on gender and how women fit into the role of opera libretti during the seve nteenth century. Once opera theater became accepted as a part the Venetian carnival season, Gianfrancesco Loredano founded the Accademia degli Incogniti in 1630. This association was made up of men who had liberal ideas, who were either rich aristocrats or scholars.The Accademia â€Å"on May 30, 1640 agreed to the concept of a communally owned theater created to express the aesthetics of the Accademia† (Thorburn 134). The Accademia was founded on the principles of a professor who taught at the University of Padua, Cesare Cremonini. Cremonini’s influence spread to his students who were in the Accademia degli Incogniti very powerfully. He taught in a way that adhered to Aristotle’s work and he paid little attention to â€Å"Christian theological precepts†, like the creation of the world and the immorality of the soul.He did not admit that he was a non-believer, but his â€Å"somewhat blasphemous views were well known to his Venetian admirers. The members o f the Incogniti expressed themselves through novella, poems, letters, and plays. Paolo Fabbri lays claim that the Incognito legacy used â€Å"eroticism and trasvestism in the operas†. The Incogniti used opera libretti and their writings as propaganda. The opera audiences were large, so the propaganda could reach many people who came to the carnival season. The Incogniti had a duel identity.First of all they were patriotic, since they were noble men and leaders of the Republic. In contrast, they also â€Å"emphasized a kind of libertismo, a moral freedom that was particularly skeptical of religious authority† (Heller 69). The members of this group had a very keen interest in defining the social structures that supported the stability of Venice; â€Å"a critical aspect of this social structure depended on the†¦position of women†: their suppression through marriage, while at the same time the â€Å"tolerance of a vibrant sex and pleasure industry†. 3] I ncogniti writings focused on women and their sexuality. They hypothesized â€Å"the female problem† which said that the fundamental problem of love and female morality was that it did not exist unless men were there to silence women and instruct them as how to love them. Cremonini taught that â€Å"friendship was something that could be shared by men of similar social and economic class; with women, the focus was on sexual relationships, and only rarely did male writers concern themselves with friendships between women† (Heller 75). The Incogniti wrote libretti that reflected these claims about women.For example, in Loredano’s play La forza d’amore it was clear that the general attitude towards women was negative and skeptical, much like the way the Incogniti viewed the Catholic Church. The Incogniti wrote about their admiration and physical desire for women, but also criticized the power women had to capture the hearts and souls of men. Conversely, there were women who spoke up against the Accademia. One of these women was Sister Arcangela Tarabotti. She wrote seven manuscripts defending female virtue and chastity, and exchanged letters with Loredano and other members of the Incogniti.She â€Å"exposed many complaints about the Venetian patriarchy and the social system whereby young women were forced to bury themselves in nunneries†(Heller 93). Consequently women were portrayed as venomous, unfaithful, and temptresses who couldn’t be trusted in the operas written by the Accademia degli Incogniti. During this time of Baroque opera, visual and aural spectacle were expected, and â€Å"emphasis on suspense and exaggeration was an ideal vehicle for the conveyance of cultural messages†(Heller 69). There was a demand for fresh works because the opera was the primary entertainment during the carnival season in Venice.Some common themes for these operas were: two pairs of lovers separated then united at the end; scenes of sleep, laments, nurses and pages who were comic roles; and a clear distinction between recitative and arias (Rosand 415). The genre of Venetian opera was successful because aristocrats in the Republican government were involved in the arts and put forth the money to run opera houses.

Mathematics in Daily Life Essay

People use math in their daily life. When you go to the grocery story you have to find out if you have enough money. When there are sales how much money it is and how much you save!! People use math every day. You use math whenever money, time, weight, height, calories or distance are involved for starters. Money You are going to book a hotel room for a trip. You have a coupon for a 15% discount. The rate is $120 before your discount. What is your rate ($102) and is it better than the internet rate, of $99.95? You will also want to consider the 10% hotel tax rate and the fees charged by the internet travel site (tax + $5.00.) With tax the room with the coupon is now $112.20, but with taxes and fees the rate for the internet room is $114.95. Good thing we know math. Time You get home at 4:15pm and you have a friend coming to pick you up to go to a party at 8:30. If you need to switch the laundry (10min), walk the dog (20min), take out the trash (15min), cook and eat dinner (60min) and do the dishes (20 min). How much time do you have to pick out clothes (?), shower (10min), iron clothes (10min), do your hair (?), do makeup (?), find shoes (?) and if you do the laundry first will there be enough time to use a piece of clothing that you put in the dryer earlier? Weight Your child is 4 and weighs 35lb and has tended to be of average weight/height. You want to buy something for your child that will hold up to 75lb. How many other kids can play on the item also? If 11 year olds weigh about 77lbs how long will he be able to use the item? Height If you have a 9ft ceilings,your tree topper is 7†³ tall and your tree stand adds 9†³ in height, what is the tallest Christmas tree you can fit? What if you get an artificial tree with it’s own stand that adds 0†³ to the height? Calories If you are serving a 600 calorie meal and you want to serve spaghetti, garlic bread, salad, wine and desert you will need to know how much they all are. 1 serving of spaghetti (5oz) is about 182c and sauce adds another 93c. Salad is only 17c a serving but dressing adds calories. If you let people add their own they tend to use two servings. Ranch adds 73c per serving , Italian only has 43c. Garlic bread is 170c per piece. You want to serve either tiramisu or poached pears for dessert. Tiramisu is about 450c per serving and the pears would be about 112xc per pear. The wine adds about 120c per glass and most people will have 2 glasses. What dessert should you serve? Does changing the dressing or adding it to the salad (so you limit the amount people get) change anything? What if you only serve wine with dinner (1 glass) and coffee (black = 0c, cream + 39c, whole milk + 18c, skim milk + 11c, sugar + 18c) with dessert? What if you serve smaller portions? Distance If you average 50mph on a day long trip and you need to go about 420 miles to visit your grandparents, how long will you be driving. If you stop for 30min for lunch and have two buy gas/use restroom/walk around breaks that are about 10-15min long, what time will you arrive if you leave at 7am? If you need to be there by 3pm, what time do you need to get going?

Males and Females in Peter Greenaways Films Essay

The following paper gives an overview of the movies of Peter Greenaway along with how he portrays women and men his films. The paper would be based on the roles of men and women in his three movies, drowning by numbers, the belly of an architect and the Draughtsman’s contract. One common aspect that would be discussed in his movies is that the men are usually thought of as victims and the women are presented as the true artistic creators. His Movies: Drowning by Numbers: In opposition to the background of the autumnal Suffolk seashore, three generations of women, each one given the name of Cissie Colpitts, assassinate their not good enough husbands by obscuring them in a bathtub, in the ocean, and in a swimming pool, correspondingly. In arrival for assurance for sexual favoritism, which the women at the end of the day refuse to give, the neighboring coroner, Henry Madgett (Hill), comes in agreement to endorse the casualties as unintentional, even though a minute but steadily-growing swarm of eyewitnesses and associations put stress on him to acquaint with the reality. His juvenile son, Smut, who is preoccupied with casualty and brings together animal and insect dead bodies, furthermore he considers his father must appear spotless. Factual to Madgett’s and the movies fascination with games, he places up a tug-of-war from corner to corner of a waterway to come to a decision to the problem, where he and Smut connect to Cissie in opposition to their hecklers. Greenaway is an often-infuriating, one-of-a-kind filmmaker who repeatedly experiments the staying power of his spectators. A lot of experience it as not significant as the attempt to shape out his difficult to understand games, let unaccompanied their implication, exclusive of a quantity of kinky sex or run through to disappear the procedures. Drowning by Numbers provides up ample of this: a circumcision by clippers, a repeated repulsion for provisions and flesh, and various near-sickening views of decompose and pests. Still, as if paying no attention to the filmmaker’s mysterious propensities, the presentations are ironic, cynical, sardonic and over and over again blackly humorous, and each and every framework is crammed with detail and magnificence. Here was an unprincipled anecdote enlightened ethically, with a tough feminist implication—approximately all of the male characters breathe their last breath by means of the unconquerable Cissies’ scheme shimmering, as Greenaway himself has acknowledged that the superior do not obtain content and happiness, and the depraved are infrequently rebuked, and the above suspicion are for all time badly treated. Drowning by Numbers is typically concerning numbers and the means they are employed to systematize the games individuals take part in. Despite the fact that the greater part of the human relations of whichever significance is determined by unstructured requirements, we use up a large amount of our lives demanding to offer them shape. We look for examples and successions, and enjoyment in the psychosomatic language that comes into view to give explanation. We search for regulations and unavoidability, and identify relations as the competition in which people occupy themselves for the reason that these games have both, happiness and contention. Drowning by Numbers is crammed with games: those men engage in recreation with women, women with men, and jump rope, cricket, and some games out of Greenaway’s tremendous sleight of hand. For the most part continuous game is the one Greenaway plays with the spectator. The motion picture starts with a small woman hopping rope as she count from one to one hundred (Peter Greenaway, 100). The Bell of an Architect: In Belly of an Architect, Brian Dennehy plays the central character who considers the main beliefs of structural design will regulate the humankind. He struggles the backstabbing of dishonest classmates and environment’s attrition of both construction and body. Sooner than the film ends, he loses his architectural assignment and is lost to stomach cancer. The screen in Belly is beleaguered with scaffolding, drop fabrics, plaster, powder, and huge degeneration hallways and corridors seeping out with water and sludge, which Greenaway challenges to put together into well-designed symmetries much as his hero attempts to protect the architectural classicisms he stumbles on to be so comforting. Again, the ordering organization contained by the film surrounds it. An immature artiste is constricted to implement twelve illustrations of a sumptuous countryside residence in 17th century England. Drawn into an affectionate and passionate association with the two conniving ladies of the residence he outlines and fabricates illustrated indications of the assassination. He almost immediately discovers himself trapped in the rumble ferociousness of the over sophisticated spirits of the landed upper classes. As all the times, Peter Greenaway provides beautiful and stunning masterpieces that contemplate on the artist’s infatuation for order and the oppression of organizations—whether communal or artistic. This untimely Greenaway effort observes unfaithfulness and substantial weakening, all in the perspective of a demanding occupational existence. The cuckold is a renowned American designer, Stourley Kracklite, who goes to Rome to place on a demonstration in reminiscence of his male protagonist, the 18th century farsighted draftsman, Etiene Louis Boullee. Kracklite fails to remember the current to respect the ancient times, but at what cost? He pays no attention to his pregnant wife who searches for soothe in the arms of Kracklite’s opponent. He furthermore takes no notice of his physical condition and is influenced that his stomach’s throbbing are the consequences of his wife’s efforts to exterminate him. The punishment for such fascination is the failure of his presentation— the extraordinarily obsession he gave up all other elements of his life to accomplish (Peter Greenaway, 105). The Belly of an Architect is a visual extravagance, approximately deference to the techniques and fashions of Rome’s structural designs, judged with skill, ability, proficiency and crammed with impenetrable and mysterious shades. The Draughtsman’s Contract: Greenaway’s foremost profit-making element, The Draughtsman’s Contract, is the chronicle of a draughtsman who in 1694 is specially made by the woman of an enormous residence to do twelve depictions of her property. At the opening it gives the impression that he’s to a certain extent in command of his lady and background, receiving them together down anywhere he desires them, till his meticulousness does him in. By painstakingly drafting the manor house and foundation, he unintentionally duplicates indications to an assassination. As expected, its perpetrators don’t desire him in the region. The methodical little draughtsman fall’s a victim not to environment’s impulse but to man’s ravenousness and violent behavior (Peter Greenaway, 45). The twelve drawings are at one time the evidences to the massacres and the arrangements of the motion picture. From then on, all noteworthy objects in the motion picture are revolving around the paintings that hold the clues and all the film’s action—the drawings and the assassinations—must be accomplished by the time movies reaches to its end. This is systematic Greenaway. Human games and their dependence on ritualistic traditions are both the area under discussion of the draughtsman’s contract and its form. As the characters get involve within the findings of the clues and murderer with each other, it brings in the the chaos of passion. Greenaway assembles his schemes and positions according to the murder and clues. The Draughtsman’s Contract is thrice regarding commanding order on disorder, on man’s unreasonable desires and nature’s predictable decompose: first, surrounded by the sequence of events; second in its structural association; and third, in the glance of the screen. Greenaway is an order-and-chaos fanatic (Amy Lawrence, 175). Conclusion: In all the movies of Peter Greenaway discussed above, one thing is very common, that the men are always shown as a powerless creature and the women are always dominating. All the films bring the women as murderers of men. In the majority of his films, Peter Greenaway has at least a suggestion of proposal that the most important rationale of women is to damage men’s lives, typically with the aid of the men in query. More than any of his others, with the probable exclusion of the outstanding â€Å"Drowning By Numbers†, conveys a suggestion to the front, by using it as a primary message, rather than as an indication of the disentanglement of the plot. Unluckily, perhaps due to this approach, there are not a lot of subplots there, and therefore, the movie needs somewhat in difficulty, in contrast with some of his previous work. The Draughts men’s Contract came into view like a touching work of art with bright color and dazzling imagery. Though all are great movies, their schemes can be puzzling with the need of familiar dialogue and character progress. Greenaway movies are compactly and tightly weighed down with figure of speech and satisfied with metaphors, and are required to be moved towards accordingly, not with the similar state of mind that one would come close to a distinctive Hollywood motion picture, for an instance. Possibly furthermore supportive is a quotation from Greenaway himself: â€Å"If you want to tell stories, be a writer, not a filmmaker.†(IMDB, Pp1) References: Greenaway, Peter. 2001. The Draughtsman’s Contract: The Draughtsman’s Contract. Published by Distributed Art Pub, Pp 45 Greenaway, Peter. 1998. Drowning by Numbers. Published by Dis Voir, Pp 100 Greenaway, Peter. 1988. The Belly of an Architect. Published by Faber, Pp 105 Lawrence, Amy. 1997. The films of Peter Greenaway. Published by CUP Archive, Pp 175 The Internet Movie Database (IMDB), Biography for Peter Greenaway. (2008)Retrieved on 24th March ’09 from http://www. imdb. com/name/nm0000425/bio

The Four Agreements

The Four Agreements The Four Agreements After reading The Four Agreements by Don Miguel Ruiz I realized I’ve been living dreams of other people in my life and not my own. It was decided early on what I should do, what’s possible and what’s not. Starting at birth we are told what to think by our parents, schools, and church. Subconsciously, we have made agreements with them to live our life according to their rules. Don Miguel believes that these agreements are self-limiting and shares four agreements that if we adapt into our lives we will reach true peace and happiness.The book made so much sense to me, but the hard part is to actually commit to living out the four agreements. In short, the four agreements are listed below: Be impeccable with your words. Speak with integrity and say what you mean. Use the power of your word in the direction of truth and love. Avoid gossip and remember words do hurt. Dictionary. com definition of impeccable is â€Å"incapable of sin† and a sin is something you do or believe that goes against you. At this point of my life I try to be nothing but the truth and I’ve learned from past experiences not to gossip about others because I understand the emotional power of words.This agreement states that one should speak with integrity and by being impeccable with yourself will in return reflect in your life and world around you. I pride myself on usually keeping my word. Don’t Take Anything Personally. Get over yourself – it’s not about you. What others say and do is a projection of their own reality, their own dream. When you are immune to the opinions and actions of others, you won’t be the victim of needless suffering. I remember a time in my life when someone said something about me and it meant more than what I thought and knew new to be true about myself.Over the years I’ve learned that what someone else thinks and/or says about me no longer matters. One day I w oke up and I said to myself â€Å"I’m taking back my power over me. † I guess that day I made an agreement with myself not to let what others think dictate my life. I finally realized that people will talk about you whether you’re doing good or bad. Don’t Make Assumptions. Find the courage to ask questions and to express what you really want. Communicate with others as clearly as you can to avoid misunderstanding, sadness and drama.With just this one agreement, you can completely transform your life. We make assumptions because we need explanations (to our questions) to address what’s going on in our own minds. The mind is a powerful thing and our minds have different voices and personality that can create a lot of confusion. When I make assumptions there is always conflict that follows. I know now that through communication we can arrive to resolution. This agreement rings true for me and has caused disappointment and sadness in my life to be at a point in my life that I can ask for what I want.Always Do Your Best. Your best is going to change from moment to moment; it will be different when you are healthy as opposed to sick. Under any circumstance, simply do your best and you will avoid self-judgment, self-abuse and regret. I don’t always feel as if I did my best—I never have, too. In this agreement I know it mentions that your best is going to change from moment to moment. I would like to experience my best more often. To truly give my best I have to be moved in some kind of spiritual way.That is the only time I feel as if I’m doing something I want versus something I have to do. The more my life is shifting into trying to live more in the moment I’ve realized the more I do my best and the better I become. Three years ago I went into my personal dream(s) and started changing my agreements. I began to embark on a journey of self-healing. It was purely about finally living in peace, openly and fr eely, but first I needed to revisit some old childhood wounds that had been holding me hostage my entire life.I began to pray daily in preparation to deal with the many demons that resides inside me. If I had kept the agreements given to me by my household and neighborhood while growing up, I would be in a mental institution or dead. As a child, I had no choice about what agreements that were instilled in me, but now I can create my own. I feel as if I’m living an impeccable life and am being true to the disciplines of a Toltec Warrior. http://archpsyc. ama-assn. org/cgi/content/abstract/68/1/33

Strategies and Tactics of Charleston SC Super Sofa Fire (June18,2007) Research Paper

Strategies and Tactics of Charleston SC Super Sofa Fire (June18,2007) - Research Paper Example It was reported as the greatest single loss of firefighters since the bombing incident of the World Trade Center in September 11, 2001 (Newman, 2010). It is believed that the fire started shortly before 7pm, well within the working hours of the store. This is also a time when there is significant traffic outside the store. The staff of the store believed that the fire started in the trash outside the loading dock and quickly spread inside loading dock, then to the retail showroom and the annexed warehouse are thereafter. The first call reporting the fire was made to Charleston Fire Department at around 7:08 pm and units were dispatched a minute later. It took the approximately three minutes to arrive at the scene, an admirable response time. Another battalion from the St. Andrews Public Service District arrived at the scene a minute later to reinforce the initial team. On arrival they observed that there was a trash and debris fire against the docking area wall. A team entered the showroom but they didn’t observe any obvious fire other than smoke and light at the ceiling tiles where the fire was burning form outside. It has been noted that the Incident Commander opened the door from the dock area leading the showroom prompting an inrush of oxygen which aggravated the fire to enter the showroom. It is thought that the fire’s fury made it impossible for the commander to close the door to prevent the fire from engulfing the showroom. It is also suggested that the fire was slowly burning due to lack of oxygen in the dock area but the sudden influx of oxygen made it possible for the fire to migrate to the mail retail showroom (Newman, 2010). Approximately forty five minutes later the fire is still razing and a flashover occurs. The interior of the showroom erupts into a fireball and collapse sending ashes and debris all over the area. The fire is brought under control four hour later but in those four hours six firefighters from the Charleston had

Develop an evaluation form that includes 7 objective criteria to Essay

Develop an evaluation form that includes 7 objective criteria to evaluate the effectiveness of the developed plan (regarding nursing shortage) - Essay Example After communication, the evaluation form would be distributed to personnel who would be deemed most appropriate to respond. The distribution of evaluation forms would be done the day after the monthly meeting. Collection of the responses would be undertaken the day after these evaluations forms are distributed. The data would be interpreted through collation and tallying, according to nursing units. The findings would be communicated by the assigned nurse manager to the department heads. The department heads would assign one department manager to integrate the findings for subsequent report to the vice president of nursing. Any weaknesses in the evaluation form could be identified and corrections would be recommended. The final report would be submitted to the board of directors for their review. After the board has reviewed the findings from the evaluation form and report, the results, recommendations, and conclusion would be disseminated to the involved personnel in the next scheduled monthly meeting. Health practitioners and nurses could therefore communicate any methods of improvement in achieving the identified objectives; as well as in suggesting any improvements in the evaluation process, as deemed necessary. Education Career Articles. (2014). The Latest Statistics on Nursing Shortage. Retrieved from educationcareerarticles.com:

Report Essay Example | Topics and Well Written Essays - 750 words - 15

Report - Essay Example According to the Oxy Chemical case, the message is important to top management cadre, employees, and also the public in general. The integration of drug test policy in the organization will help the organization achieve its desired goals and objectives without any setbacks resulting from employee health and safety within the workplace. Drug use and abuse of substance has a negative effect on employees’ performance. As a result, it is imperative for the organization to carry out various intervention strategies and procedures that will curb the problem. According to President Morgan, employees’ drug test in the organization will have a positive impact on employees’ production capacity and promote corporate social responsibility. Morgan argued that alienation of workers from the organization does not solve the entire issue of drug use and substance. Therefore, initiating a procedure through which employees undertake drug testing will help the society, resulting into a positive corporate image (USDL 3). Drug use and abuse of substance can only be mitigated through correction and improvement procedures among employees in order to increase production capacity. Drug testing regulations and laws vary from one country to the other. The implementation of drug testing policies among employees is necessary in some large organizations that have high sensitive jobs. Some governments may prohibit or allow drug test policies for employees in the workplace. For instance, Indian does not have a particular law that prohibits or encourage employees to carry out drug testing. Therefore, the organization is left with the sole responsibility to determine whether to perform drug testing. The Oxy Chemical plant President proposed drug testing among employees aimed at rectifying and improving health standards within the workplace.