Crime Trends in Chicago, IL Essay Example | Topics and Well Written Essays - 1000 words - 1

Crime Trends in Chicago, IL - Essay Example reported at the time when the total population of the city stood at less than three million; this resulted in a rate of murder of about thirty four percent per one hundred thousand. However, the city started experiencing considerable decrease in the cases of murder from the year 1992, whereby the total murder cases fell to six hundred and forty one in the year 1999. The city has fewer number of cases of murder in the year 2002 even though the rate was still quite higher that some other cities. Chicago crime statistics show a general downward pattern in criminal issues based on the data from eleven years, whereby violent there has been a significant decrease in violent and property crime. On the basis of this trend, we find that the rate of crime in Chicago for the year 2011 has seen a significant fall as compared to 2009. Chicago’s city violent crime in the year 2009 was higher as compared to national rate of violent crime averaged by one hundred and sixty two percent and the rate of city property crime was higher as compared to the rate of national property crime by forty percent (Zhang 129). In the year 2009, the rate of city violent crime in Chicago was higher as compared to the rate of violent crime in Illinois by one hundred and twenty six percent and the rate of city property crime in Chicago was higher compared to the rate of property crime in Illinois by fifty five percent. The rate of crime in Chicago continued its free fall in April, 2011, which marked th e twenty eighth consecutive months that a decline in the violent crime had been reported by the Chicago Police department (Zhang 130). The rate of homicide during the last year was the lowest to be experienced in the city since the year 1965 (Federal Bureau of Investigation 12). However, according to the crime numbers that were reported by the Chicago Police department this year, it appears that the freefall in the rate of homicide is going to continue. There have been about seventeen less homicides

Pramoedya ananta toer, his life and his literary achievements

Pramoedya ananta toer, his life and his literary achievements Chapter 2: Pramoedya Ananta Toer, his life and his literary achievements The account of Pramoedya Ananta Toers life and literary achievements, and the summary of his novel Bumi Manusia are mostly based on A. Teuuws book Citra Manusia Indonesia dalam Karya Sastra: Pramoedya Ananta Toer (1997:1-55), Schultz and Felters article, History, Education, and Nationalism in Pramoedya Toers Buru Quartet (2002), Dwi Elyonos unpublished dissertation of the Australian National University Harry Avelings and Willem Samuels Translations of Pramoedya Ananta Toers Novel Gadis Pantai: A Study of the factors, purposes, methods and effects of literary translation(2006:34-40), and two journal articles by GoGwilt entitled Pramoedyas Fiction and History: An Interview With Indonesian Novelist Pramoedya Ananta Toer (1996) and The Vanishing Genre of the Nyai Narrative: Reading Genealogies of English and Indonesian Modernism (2007). 2.1 The Literary Achievements of Pramoedya Ananta Toer Pramoedya Ananta Toer (6 February 1925-30 April 2006) was a leading Indonesian writer who was internationally renowned for his literary works which dwell on themes of social justice and humanity. He had written more than fifty novels, short stories, essays, social critiques and histories of which the majority have been translated into over 36 languages. He had collected more than a dozen international awards and had been frequently nominated for the Nobel Prize in Literature since 1981. He was also an important figure in Indonesian literature, â€Å"an exponent of ‘universal humanism, the liberal and individualistic cultural ideology of the loose association of writers, artists and intellectuals often referred to as the ‘Gelanggang group or the ‘Angkatan 45, the generation of the revolution† (as cited in Foulcher, 2008:1). The exceptional quality of Pramoedyas novels lies in his power as a storyteller to re-create the historical scene for the present audience. In a statement by the Ramon Magsaysay Award Foundation, Pramoedyas novels â€Å"[illuminate] with brilliant stories the historical awakening and modern experience of the Indonesian people† (as quoted in a book entitled Polemik Hadiah Magsaysay, 1997:212-13). In Pramoedyas interview with GoGwilt about the English translation of the Buru tetralogy, he emphasized the importance of historical settings in his novels as well as the complex relation between history and personal biography (GoGwilt, 1996). Considering the historical scope of his work, his novels are also regarded as a typical example of post-colonial literature in South East Asia. One particular characteristic of this literature is the actual historical setting, which describes the diverse culture and language environment and its role in creating social difference within zones of c olonial contact (cf.see Niekerk, 2003 and Errington, 2008). Pramoedya was often compared to many great authors of the Western literature Camus, Tolstoy and Gorky, to name a few. The historical scope of his novels suggests an affinity with the great historical novels of nineteenth-century Europe, particularly in the context of socialist-realism in literature, in terms of narrative style and content. The story deals with themes of universal humanism such as freedom of expression, power struggle, racism and social injustice (see Kurniawan, 1999; GoGwilt, 1996). In general, Pramoedyas novels and short stories cover four different periods, spanning the period of Singasari and Majapahit kingdoms (1300-1600) (e.g. Arok Dedesand Arus Balik), the pre-independence period under the Dutch colonial rule at the end of 19th century (e.g. Buru Quartet, The Fugitive), the the Japanese occupation period under the Japanese in Indonesia during WWII (e.g. Perawan Remaja dalam Cengkeraman Militer), and the post-independence period of Soekarnos (e.g. Corruption,The History of the Overseas Chinese in Indonesia) and Soehartos (e.g.The Girl from the Coast andA Mutes Soliloquy) regimes. The blunt criticism of the ruling government contained in some of Pramoedyas works had caused him several periods of imprisonment under different government administrations.  · Some some of the international awards conferred upon himPramodya include the PEN/Barbara Goldsmith Freedom to Write Award in 1988, the Wertheim Award, in 1992, the controversial Ramon Magsaysay Award for Journalism, Literature, and Creative Communication Arts in 1995, .  · the UNESCO Madanjeet Singh Prize in 1996 and the Chevalier de lOrdre des Arts et des Lettres Rà ©public of France in 2000. 2.2 The life of Pramoedya Ananta Toer Pramoedya Ananta Toer was born in a the small town of Blora, in the Province of Central Java, Indonesia, as the firstborn of eight siblings. His father, Mastoer, was a strong nationalist who took part in the Indonesian struggle for independence from the Dutch colonial rule and worked as a headmaster in a school under Boedi Oetomo Institute of Education, the first political native political organization in the Dutch East Indies (todays Republic of Indonesia). His mother, Oemi Saidah, was born from an aristocratic Javanese family. She was a full-time housewife who later took the role of the main breadwinner for her family when her husbands school was closed due to the oppression of the Dutch colonial government. His parents, particularly his mother, had a great influence in formulating his idealized image of the Indonesian people, which was reflected in most of his works. After spending his childhood in his home, Pramoedya went to the Radio Vocational School in Surabaya, but and had almost graduated when the Japanese invaded the city on the last day of the schools final examination period. During the Japanese occupation period he worked as a typist for the Japanese news agency Domei in Jakarta, where he met and built relations with many outstanding figures in Indonesian history. Having felt that he was treated unfairly, Pramoedya decided to escape from his work with the Japanese. In October 1945 he joined a paramilitary force known as Badan Keamanan Rakyat (BKR)in Cikampek (West Java) after the proclamation of Indonesian independence. During this time he began to write short stories and novels and also translated a several books from J.Veth, Frits van Raalte and Lode Zielens. His first major novel, Perburuan (The Fugitive), was completed during two years of captivity by the Dutch government in the Bukit Duri prison, Jakarta. During the first two decades of Indonesian independence, from the mid-1940s to the mid-1960s, Pramoedya became a renowned figure in Indonesian literature. This had broadened his social contacts especially in the world of literature and the arts. With time, these contacts contributed to his new perspective in politics and ideology. Several cultural exchanges, including trips to the Netherlands, the Soviet Union and the Peoples Republic of China, had opened his mind to the worlds political situation at that time. However, the most important event for Pramoedya at that time would be his short trip to China in 1956. This visit seemed to have sparked his interest in Marxist ideology, an apparent reason of for his decision later on to join Lekra (Peoples Cultural Insitute), a leftist organization, in 1958. From then on, Pramoedya became more active in politics. His writing style became more politically driven, as evidenced in the publication of a book which contains the correspondence he h ad with an imaginary Chinese discussing the history of the Indonesian Chinese, Hoa Kiau di Indonesia (History of the Overseas Chinese in Indonesia). It specifically criticized the governments instruction at that time which banned the Chinese minority in Indonesia to do business in rural areas, forcing them to close down their businesses or hand them over to the local natives and relocate to urban areas. This created friction between him and Soekarnos government and caused his detention at the Cipinang prison for nine months. Nonetheless, Pramoedya continued to build up his reputation as a literary and social critic, writing in various newspapers and literary journals, translating several literary works which were mostly came from Russian authors including Leo Tolstoi, Mikhail Sholokhov, Maxim Gorky, Aleksandr Kuprin and publishing a book about the history of the nationalist movements in Indonesia. In 1962-1965 he worked as an editor of Lentera, the weekly cultural edition of the lef t-wing newspaper Bintang Timur, where he published many articles on Indonesian history and literature around 1900-1920. He was also a lecturer of Indonesian language and literature at the University of Res Publica and was a founder of the Multatuli Language and Literature Academy in 1963. In October 1965 he was again put behind bars due to his association with Lekra, the cultural and literary institute affiliated with the Indonesian Communist Party as the organization which was alleged to be responsible for an attempted coup with the assassination of several senior generals of the Indonesian military. This bloody event ended Soekarnos political career and marked the transition of power to Suhartos â€Å"New Order† regime. After this incident, Pramoedyas books were banned in Indonesia and he was arrested as a political prisoner without trial in the penal colony of Buru Island from 1965-1979. During this period, he composed the first two parts of the famous Buru Quartet (Bumi Manusia/This Earth of Mankind and Anak Semua Bangsa/Child of All Nations) but did not have the opportunity to write it down. They were originally meant as a semi-biographical work of Tirto Adhie Soerjo, a nationalist figure and the founder of Sarekat Islam, the first native organization in I ndonesia. After Pramoedya was released from prison, he remained was placed under house arrest in Jakarta until 1992. During this time period he completed the last two parts of the Buru Quartet: Jejak Langkah (1985; Footsteps) and Rumah Kaca (1990; House of Glass), which instantly became best-sellers in Indonesia and gained him an international recognition. Unfortunately, ten months later these books were banned by the government as subversive materials which contained Marxist-Leninist ideology. In spite of these hardships, he continued to write other great novels such as Gadis Pantai (The Girl from the Coast) in 1982, a semi-fictional novel which portrayed his grandmothers life; Nyanyi Sunyi Seorang Bisu (A Mutes Soliloquy) in 1995, a personal biography based on the collection of letters that he wrote for to his daughter during his imprisonment in Buru, which were but was not allowed to send; and Arus Balik in 1995, a long historical novel considered by some literary critics to be his greatest literary work, which was revolved around the Tuban Kingdom, at the beginning of the Portuguese invasion of the Indonesian archipelago in the 16th century. In 1998, with the toppling of Soehartos regime and the beginning of the reformation era, the ban for on his books was eventually lifted. Pramoedya remained active as a writer until the last days of his life, when his health deteriorated due to old age and bad smoking his habit of smoking. In 2006 Pramoedya was hospitalized because of complications with diabetes, heart and lung diseases. He died on April 30, 2006 at the age of 81. 2.3 Pramoedya Ananta ToersBumi Manusia Bumi Manusia was first published in 1980, a year after Pramoedyas release from Buru Island. It is the first part of a semi-biographical tetralogy of Minke, the protagonist who is modelled after RM. Tirto Adhi Soerjo, a real historical figure of the anti-colonial movements in Indonesia. The story revolves around the historical emergence of Indonesian nationalism at the turn of the century when the Dutch colonial empire ruled in the East Indies. It explores various themes of universal discourse such as the emergence of nationalism, the corruption of the legal system, gender issues, the contradiction between traditional and modern values, and the importance of language as an instrument for articulating national identity. However, there are two important aspects to be highlighted in the novel: the realistic portrayal of colonial life in Indonesia, which provides the present audiencereaders today with a historical overview of that time and the way the author manages to convey to the prese ntmodern readers the complex socio-cultural interactions among various ethnicities in the colonial period and the inherent social attitude underlying these interactions. The story is reconstructed from the historical work which had been carried out before he was imprisoned for years without trial in Buru. In the first six or seven years of imprisonment in Buru, political prisoners were not given access to any writings or articles, let alone allowed to write on a piece of paper, so Pramoedya had to recite the story to his fellow prisoners. The story is what shaped the Buru quartet: Bumi Manusia, Anak Semua Bangsa, Jejak Langkah, and Rumah Kaca. The story isdeveloped through inner conflicts of the main character, which is are caused by the contradiction between the modern values he acquired from his western education, the traditional values which came from his Javanese roots, and the harsh social reality of living under the a colonial rule which denies all of the values he was taught to believe. The novel is told in the first-person and tells the life of Minke, a young Javanese aristocrat and the only native who receives a western education in an elite school which only Europeans are allowed to attend. It is set at the end of the 19th century, during the final years of the Dutch colonial rule in Indonesia, and provides detailed illustration on the situationpicture of colonial life in Surabaya at that time. At the beginning of the novel, the main character is introduced to an exceptional native woman known as Nyai Oentosoroh, the concubine of a Dutch property owner called Herman Mellema, and to her beautiful daughter, Annelies. Over time, Nyai Oentosoroh becomes an important figure in Minkes life, his personal life mentor and spiritual mother. The story of her origin, how she was sold into concubinage by her father, her rise in position as the overseer of her masters entire estates and businesses, as well as the fate of her daughter, Annelies, forms major parts of the storyline in Bumi Manusia. Minke falls in love with Annelies, whom he eventually marries according to his native customs. However, because of the family dispute over Mellemas inheritance, Annelies had to annul her marriage to Minke by the order of the Dutch colonial court. At the end of the novel, Annelies is forced to leave her mother and her husband Minke, and go to the Netherlands to live with her legal guardian, despit e all the efforts made by Nyai Oentosoeroh and Minke to resist the decision of the Dutch courts. Socio-cultural interaction among different ethnicities (Dutch, Europeans, Indos, Chinese, and natives) in the East Indies plays an important role in the development of the story and is skilfully portrayed by Pramoedya through his inventive use of Indonesian language variations, combination of different registers and the complexity of interplay between Javanese, Old Malay, Dutch, English and Jakartan dialects. One example is given below, where Minke tries to predict tell the identity of a man who follows him covertly, based on a certain ethnic stereotype which is widespread in Indonesia: Melihat dari pemunculannya, ia bukan orang Tionghoa, juga bukan Peranakan Tionghoa, juga bukan pedagang. Kalau toh Tionghoa Peranakan boleh jadi dari kalangan terpelajar, mungkin pegawai pada kantor Majoor der Chineezen.Atau peranakan Eropa-Tionghoa yang habis berlibur dan kini kembali ke tempat pekerjaan di Surabaya [] Ia jelas bukan pedagang. Bukan begitu pakaian pedagang. Atau ia seorang jurubayar pada Borsumrij atau Geowehrij? Atau mungkin sendiri Mayor der Chineezen? Tetapi seorang mayor biasanya angkuh dan merasa setara dengan orang Eropa, tak mungkin memperhatikan diriku, bahkan takkan peduli pada Pribumi siapapun. (Bumi Manusia, 1991:146) He didnt look Chinese, or like a Mixed-Blood Chinese, nor like a merchant. Anyway, if he was a Mixed-Blood Chinese, he was probably an educated one, perhaps an employee at the office of the Majoor der Chineezen the Dutch-installed leader of the local Chinese community? Or perhaps a Mixed-Blood European-Chinese returning from holidays to his workplace in Surabaya? He was clearly not a merchant. They werent the clothes of a trader. Or perhaps he was a cashier at one of the ‘Big Five Dutch trading companies Borsumij or Geowehrij? Or perhaps he was the Majoor der Chineezen himself? But the major were always arrogant, considering themselves equals with Europeans and so wouldnt take any notice of me, or any other Native for that matter. (Bumi Manusia, Lanes translation 1991:111) Words containing socio-cultural references abound in the dialogue. However, it is very difficult to render these socio-cultural nuances into English, thus it is understandable if sometimes the English translation cannot convey completely the richness of the dialogue in the novel. One great difficulty in the translation of Bumi Manusia is how to convey to the foreign readers the inherent social attitudes embedded in these culture-specific words which operate under different socio-cultural norms and history. One example of a culturally-marked word containing an important socio-cultural reference in Bumi Manusia is the word nyai. Nyai originally refers to a respectful form of address to a Javanese woman. However, the form undergoes a considerable change of meaning when it is adapted used into Indonesian. It becomes a â€Å"euphemistic, pejorative, and disrespectful term† referring to a historical stereotype of a native concubine or mistress in a colonial Dutch East Indies househo ld and implying the inherent social attitude behind the word nyai(GoGwilt, 2007:412): Bukan hanya Mevrouw Tà ©linga atau aku, rasanya siapa pun tahu, begitulah tingkat susila keluarga nyai-nyai: rendah, jorok, tanpa kebudayaan, perhatiannya hanya pada soal-soal berahi semata. Mereka hanya keluarga pelacur, manusia tanpa pribadi, dikodratkan akan tenggelam dalam ketiadaan tanpa bekas [] Semua lapisan kehidupan menghukum keluarga nyai-nyai; juga semua bangsa: Pribumi, Eropa, Tionghoa, Arab. (Bumi Manusia, 1980:44) Not only Mrs. Telinga and I knew, but it felt as if the whole world knew, that such indeed was the moral level of the families of nyais: low, dirty, without culture, moved only by lust. They were the families of prostitutes; they were people without character, destined to sink into nothingness, leaving no trace [] All social classes had passed judgment on the nyai; also all races: Native, European, Chinese, Arab. (This Earth, 54) Interactions between Minke, Nyai Oentosoroh and other characters in the book who came from different cultural and language backgrounds are parallel to the diverse culture and language situation in modern Indonesia. The vital role of Nyai Oentosoroh in Minkes life, as the person who is mostly responsible for Minkes growing awareness ofn the oppression oppressiveof the Dutch colonial towards rule over him and his fellow countrymen, in some way, represents in some way the indispensable role of language in growing nationalism in Indonesia. The account of Nyai Oentosorohs life,her extraordinary characteristics and excellent ability in to absorbing the knowledge given by her Dutch master and using use it to climb up from the bottom to the top rank of the colonial society, may have an indirect association with the historical development of the Indonesian language and its elevated status as a national language today. In the past, Bahasa Indonesia (Indonesian Language), a variant of Bazaar Ma lay, was a minority language in the East Indies. It was a language of trading and commerce, which is used throughout the Indonesian archipelago. Bazaar Malay was once considered as a language with no aesthetic values and lacking in expressiveness compared to other languages. However, its use as a trading instrument throughout the Indonesian archipelago has enhanced its flexibility in absorbing modern concepts and elaborate cultural elements from other languages and modern concepts brought by western civilisation. This is likelymight be one of the reasons why it was selected as the national language of Indonesia. Bumi Manusia,as the first part of the Buru quartet, provides an important historical account and unique perspective of colonial life at the end of the 19th century, an important period in Indonesian history, which determined the future of the Indonesian people as a free nation. As Razif Bahari argues in his book entitled Pramoedya Postcolonially,the tetralogy and its literary and social context may provide valuable insights regarding the force which drives the main character to obtain power and freedom, and could answer some of the questions regarding the construction of history, language, and gender within postcolonial literature literary studies (Bahari, 2007). It is the significance of cultural, historical, and literary aspects of Bumi Manusia which makes the study of its translation worthwhile. It gives new insights into strategies and methods employed in the translation of cross-cultural texts as well as their cultural implications; and ways to convey effectively the message of the original text to foreign readers without disturbing the story narrative flow and maintaining the target readers interest and expectations.

Television Soap Operas and Moral Debate :: Philosophy Research Papers

Television Soap Operas and Moral Debate ABSTRACT: This paper proposes that we should aim to refine talk about issues in soap opera as a means of developing moral reasoning skills. I begin with a report of work at schools in New Jersey over 1996-97, during which excerpts of a popular soap opera, 'Party of Five,' were used as the basis of a rigorous philosophical discussion of moral behavior. I then turn to the distinctive role of soap opera as a locus of moral discussion, with an example of a Mexicana telenovela. I suggest that children are already engaged in moral debate about soap operas and are eager to develop a more rigorous critical framework for the debate. I argue that children appreciate the opportunity to flesh out the school yard gossip about soap operas with a philosophically sophisticated discussion. My approach draws on the work of Matthew Lipman in philosophy for children, Neil Postman's critique of television, and David Buckingham's analysis of children's responses to television. The paper proposes that we aim to refine talk about issues in soap opera as a means of developing moral reasoning skills. It begins with a report of work at schools in New Jersey over 1996-7, during which excerpts of a popular soap opera, 'Party of Five' were used as the basis of a rigorous philosophical discussion of moral behaviour. The paper then turns to the distinctive role of soap opera as a locus of moral discussion, with an example of a Mexican telenovela. I suggest that children are already engaged in moral debate about soap operas and are eager to develop a more rigorous critical framework for the debate. My argument is that children appreciate the opportunity to flesh out the school yard gossip about soap operas with a philosophically sophisticated discussion. The approach draws on the work of Matthew Lipman in Philosophy for Children, Neil Postman's critique of television and David Buckingham's analysis of children's responses to television. PARTY OF FIVE Claudia: No, uh ah, no way. Charlie: Claudia Claudia: No, forget it. That's, that is a terrible thing to do. Julia: Yeah, it is. It is, but how else, Claude, I mean, how else are we going to get him here? Claudia: I don't know, but that? No, you can't tell him that. You can't have him get in his car and drive all the way over here thinking that. You don't think this is the cruelest thing you could do to a person, I mean you're actually OK with this ?

Local Business Project Paper

Trends: young children people are looking for a healthier desserts teenagers people are looking for less expensive desserts implies young adults 4 Commencement of the Business â€Å"l didn't even like frozen yogurt. † When most people hear this quote, they wow old not think it sets the stage for a successful frozen yogurt restaurant. However, alt cough Mackey, the owner of Yogurts, said this, the restaurant is more successful than ever under his ownership. Most people think of a lively environment and healthy food when they hear the e words â€Å"frozen yogurt restaurant. Mackey and his family think on a much deeper level than j just this for their mission, vision, and objectives. Mackey says he wants people to think of the line e â€Å"proud immunity us porter† when one thinks of Yogurts. He and his family like to s purport the community in every way they can, and have a positive impact on the surround inning area. He told us that recently, his restaurant held a fundr aiser for Carmela Elementary and g eve them 20% of the profits they earned that day. Mackey and his family had numerous reasons for opening Yogurts.Although t hey had never operated in the frozen yogurt industry, they had multiple interesting id ease and reasons to open this restaurant. Interestingly enough, Mackey and his family owned 5 Us byway restaurants before purchasing Yogurts. This gave them enough interest and experience in the food industry to be motivated to diversify their ownership. They ended up selling one Of the Subway restaurants to invest in Yogurts because they wanted more freedom in operate ions and the ability to have fun and be creative. They invested in Yogurts at the end of May as a FAA mill.Originally, a doctor and a relative of the doctor owned the restaurant. Mackey was interest deed in purchasing Yogurts from them because he wanted to diversify his portfolio. At the time, h e only owned Subway restaurants in the Fishers and Ageist area. He was motivated t o open Yogurts because he knew his family would be able to run it in a relaxed atmosphere and not have to follow franchise regulations. Mackey balanced the risks and rewards of the frozen yogurt Indus try and ultimately decided to purchase Yogurts due to the opportune location.The ultimate pull factor that encouraged Mackey and his family to purchase You gurus is its prime location. It is located off of Meridian and Carmela Drive, which encomia sees a large amount of traffic. Yogurts is visible from Carmela Drive, and is located next to other businesses that draw in lots of customers, which ultimately helps them make money. This is analyzed in rater depth later on. Along with the location, the amount of space also once raged Mackey and his family to sign on the dotted line. The amount of square feet in Yogurts ma ekes it the largest frozen yogurt restaurant in the area.This allows Mackey to use the space in a creative and family friendly way, with multiple lager tables and a play ar ea for children that include sees a whiteboard for the kids to draw on. The setup also allows them to play sporting events on the main T -V. In order to entertain all the dads while blasting popular hit songs through the CE ailing speakers to create a partially atmosphere. The location exhilarated Mackey because it NV loves more than just traffic; it encompasses a felicitous location in central Carmela mixed with t heir opportune target market.Statements Vision: To be the most profitable frozen yogurt shop in the state while being a been Lent supporter to the community. 6 Mission Statement: For our company to sell the most frozen yogurt out Of any ice cream or yogurt shop in the city of Carmela each year by offering the highest quality and diverse selection of flavors and toppings. Slogan: For the health of it Yogurts did not have a vision statement so we decided to create one for them The vision statement is measurable and achievable in that we firmly believe that Yogurts is a SSI generic business.Between the group members, we have combined ate at many differ .NET frozen yogurt shops in which none have been superior to Yogurts. Between the quality of the Eire product, wide array of choices, and atmosphere of the venue, Yogurts differentiates itself FRR mom other individual frozen yogurt shops and even franchised ones. Not only does it strive to be a successful enterprise, but Yogurts exceedingly values its role in the community. The stats moment was based off the idea of receiving but then giving back.Being a business, the universal g AOL is to make a profit, but to Yogurt it is to then take their profits, turn around, and make an impact in the community. This vision statement provides the owners and employees a goal to strive for. Yogurts also did not have a mission statement, so we created one for them t hat was all encompassing to the company, and one that would motivate owners and me peoples to reach this competitive goal each year. It incorporates the â €Å"who†, Yogurts, the â€Å"what†, sell the most frozen yogurt compared to their competitors, and the â€Å"how', offering high quality an d diverse selection f flavors and toppings.The mission statement is specific, measurable, attain able, relevant, and time specific as well. The mission statement galvanism Yogurts to transcend t he other frozen yogurt stores in Carmela and be superlative in comparison to them in all facets 7 Merits of Small and Large Business Yogurts was originally started and owned by someone else, but Mackey Burch eased all of the equity, thereby becoming the new owner. After doing so, he converted the e business into a partnership, splitting the equity amongst his family members in the idea that eventually it will continue on as a family business.It is noteworthy that he considered it prefer able to remain a partnership rather than an LLC, a limited liability company, or a corporation b cause he felt keeping it as a partnership was more benefic ial, due to lower taxes, than the t radioed for less liability at this point in the business. This, however, would likely only be the ca SE for a small business. In the united States, a small business is a business that employs less than 500 people, and in a company like Yogurts, it would have to expand significantly to do that.It I s easier to remain a partnership as a small business, with smaller market and employee number , and avoid liability claims than it would be for a larger business. Another merit of a small business s is that they can be more flexible to the market demands than a large one could. This is a com pension for being in fewer markets, because they can more fully utilize their current one. This is where a local store knows to carry a specific item that the local Walter would not even co insider. Often times, smaller business will provide far superior products in comparison to lard egger ones.The famous Linton Burger chain, for example, pride themselves on superio r quail y by remaining a small business and keeping its supply chains short. In contrast, the benefits to being a large business are quite obvious. As a large r business, there is a huge amount of name recognition. There are undoubtedly few Poe peel in the civilized 8 world that are unfamiliar with companies such as Collate, Disney, or Google . Currently, Yogurts is not a well recognized business compared to the latter, however, the eye hold their own against the different frozen yogurt franchises such as Woozy and Orange Leaf.In addition, securing funds is significantly easier as a large business, as banks consider NV sting in them to be almost a sure thing. People are also more willing to leave their current jobs for a large business for this same reason: security. This aspect of a large business does c relate to Yogurts in that the owners have trouble finding employees that are not teenagers beck cause of their size. When scheduling the work hours for their employees, a large maj ority of the m can only work late a night or on the weekends because Monday through Friday they attend s school.Yogurts being categorized as a small business, makes it less attractive for people out o f college to apply to work their. Business Objectives Yogurts has many valuable objectives as a business, however the owners Spec official emphasized their operational goals. Mackey said he likes to challenge his ample eyes to work very efficiently. He encourages them to keep up with him while he works one of two registers, or while he restocks food and cuts fresh fruit. This helps employees feel like he s on the same level as him, not just a figurehead above them, and it also helps them learn to word k at a faster pace.This operational goal has proven to be successful for Yogurts, and has led the m to introduce new technology to their employees. A strategic objective of Yogurts, is to franchise the company. Since Mackey and family have worked with franchises for a long time, they know that they will b e able to use their 9 acquired skills in the frozen yogurt industry as well. Multiple people outfits e have asked Mackey to open up Yogurts restaurants in their respective states. A few exam less include Florida, Ohio, and Illinois.This positive feedback from customers and other b equines owners has encouraged Mackey to turn Yogurts into a franchise and illustrates that the You gurus business model is now a proven proof of concept in the market. This goal would not ha eve come about if it were not for his successful environment, yearning for feedback, and profession anally trained employees. Role of the Business Functions Human Resources does not have its own department in Yogurts since they on lye have 71 0 employees at a time. The owners of Yogurts directly interview and hire the Eire employees who need to be able to do maintenance and work the register.The owners alls o value an employee who is social and able to create small talk with the customers. They want t heir customers to feel welcomed, and to be assisted when needed, so therefore, t e owners take into consideration how cordial and outgoing an applier is when determining if that person should be hired or not. The owners personally train and work with their employees so the at they are as efficient as possible, and they directly deal with any issues that a worker may I impose, however, this is rare with the people that they employ.The finance and accounts aspect is also completed by the owners. As stated b before, the owners have a sufficient amount of personal money between them due to the e money that they had acquired from their Subways. The upper management of Yogurts is very organized as well, so all of their expenses are recorded and paid for on time. Financially speaking g, between their 10 personal money from the selling of one of their Subways, they were able to RA sis enough capital to fund the business and then take the money they made to reinvest back nit o the company in order for it to be financially independent.Frozen yogurt is an exceedingly popular product that grosses billions of dollar s of revenue each year while generating mass amounts of profit across the world. According to IBIS World, through 2008201 3, annually growth of the industry has been 21%. The SE facts substantiate that the frozen yogurt industry has an increasing market of new, loyal customers to support the frozen yogurt shops such as Yogurts.To capture the attention of these new customers, the marketing department for Yogurts (also the owners) use social media such as twitter and faceable to inform their followers about current deals or changes to the company that are being implemented. The owners do not believe in marketing in the newspaper because they hypothesize that it is a dying form of communication and would not be worth the money to attract their target market through. Who never advertising in the store or out of the store, they like to make them colorful and bright so t hat it catches the eye and encompasses the whole ideological feel of frozen yogurt.Overall, the marketing â€Å"department† could be stronger by finding new, ingenious ways to spread the word about Yogurts that could be seen or heard by a conglomerate group of people that lie eve in the area. Possible ideas could be a local commercial, or they could effortlessly advertise e through banners/ signs at high school sports events (like they have at Off the Wall Sports) or at different middle schools. 11 All in all, there is not a long, complex process to their operations. They buy the e frozen yogurt from another company and then stock the machines themselves.Cuts mores come In through the front doors and are directed to the yogurt machines through a p sage blocked off by a four foot wall. On their way in, overhead are large, flatterers T. V. S that expel main the process of how to assemble their customized product along with other important inform action such as the suggeste d flavor combination of the week. The employees station themselves behind the register surrounded by the topping bars. This layout gives the employees a 360 degree e workable space to assist customers by offering samples and answering questions while at the same time manning the register.The owners also manage inventory. They track and formulate statistics of which flavors and toppings are popular so that they know the quantity to order of each item as precaution to not waste product or understood themselves. The Four Business Sectors Yogurts uses resources from the primary and secondary sectors, and combines them into a tertiary business. Because Yogurts does not personally make their frozen yogurt with their own recipes, it an therefore be considered a retail business in the tertiary sector. Yogurts has two main 12 providers that they purchase their frozen yogurt from.They buy their yogurt by the quart, and then process it through their machines. In this way, they act as a seconda ry b equines due to the machine processing of their frozen yogurt. However, Yogurts provides a seen/ICC e to its customers so it is therefore mostly involved in the tertiary sector. The Six Core Concepts Change is evident in the history of Yogurts. They transitioned owners and have e been flourishing ever since. Not only this, but Yogurts has adapted in order to rest nod to competition, and to differentiate themselves.

Blood Brothers Essay

Dear Headteacher and Governors, I am writing in response to the governor’s decision to stop the production of Blood Brothers by Willy Russell. I understand the reasons for this, but I wish to demonstrate how certain themes are an integral part of the play, and that it is not unreasonable for it to be performed by students. One of the biggest issues is the use of swearing in the play. Willy Russell uses the bad language to emphasise the difference between the classes. This is shown when Micky and Eddie first meet and Micky says that he is â€Å"Pissed off. † Edwards’s reaction to this is â€Å"Pissed off? You say smashing things don’t you. † This shows that Eddie doesn’t understand Micky as he thinks he is â€Å"Smashing† Micky on the other hand is using the swearing to express his emotions in the best way he knows. Also, the fact that he has been brought up with so many brothers and sisters who swear makes it second or even first nature for him to swear. There is also the point that Eddie uses bad language in the wrong context. This is demonstrated when he calls his mother a â€Å"Fuck Off† this not only shows the audience that he doesn’t understand how to swear, but it also hint as the fact that Eddie is actually a Johnstone and is showing his true nature. This would play on Mrs Lyons’s mind, as this is the one thing she fears most and has spent many years trying to avoid. Bad language also gives the play a sense of comedy. This is shown when Edward tells his teacher to†Ã¢â‚¬ ¦ take a flying fuck at a rolling doughnut. † This inevitably makes the audience laugh, as this is only the second time they hear him swear and the first time he uses it in the right context. It also leads to him being suspended, which reveals another similarity between him and Micky. A second point that someone may uses to discredit the play is the part when Micky and Eddie go to watch â€Å"Adult Films† this again is an integral part of the play as it shows the growing up and becoming teenagers. This is proven when Edward says â€Å"Listen, we can see how it is done; look the Essolado for one week only, Nymphomaniac Nights and Swedish Au Pairs. † This shows that the pair are eager to learn about subjects that they are interested in, and demonstrates them growing up. Also the names like â€Å"Nymphomaniac Nights† and â€Å"Swedish Au Pairs. † Are subtle and could be much more graphic in there description, and whilst performing the play we don’t actually have to show the film, as we can just simulate it. Two teenagers going to watch an erotic film will almost certainly lead to them discussing it in detail to each other, including them making references to the female body. This once again shows them growing up, but also demonstrates the differences caused by the upbringing. This is shown when Micky stops to talk to Linda, where as Eddie jus continues his chat of â€Å"Tits, Tits, Tits,† whilst oblivious to anything else. This shows that although having enjoyed the film Micky is un-phased and continues to act normally shortly after watching it. Eddie however is constantly going on about the film for quite a while after, showing that he has had a more sheltered upbringing. There are many other themes in the play that can be used against it, but these are far weaker in there argument. One of these is the presence on guns and violence in the play. Children today are exposed to violence from a very young age and guns are just a part of that. Also children play with guns from a young age to, and there fore have become desensitised to the violence. The theme of romance and relationships is relevant to the age group that will be performing the play, and also has the sub-theme of childhood sweethearts. Also the Edward/Linda relationship is realistic and does happen in the real world. Tragedy also plays a big part as the whole play is structured towards it. However as the audience see a small clip at the beginning that shows the end, it doesn’t comes as a surprise. Tragedy is a common ending to many stories. Mrs Johnstone makes a big deal about superstitions in the play, and they set up the ending. This demonstrates a contrast to Mrs Lyons as she thinks that superstitions are stupid and pointless. However the biggest theme in the play is class differences. This is in effect the whole play and shows how children are aware of it at a very young age, but it only really affects them as they get older. I hope I have portrayed my opinion of the play and the decision to stop the production of it.