Debates on Modernist Art Installations

Debates on Modernist Art Installations Standing within the entranceway, the atrium rises above, skylights permeating the inky and surreal display area, each installation glinting beneath the early morning sunlight. Nearby elevators climb exposed and metallic, offsetting the historical and modern paintings on nearby walls with their mechanistic contrast. This view of the Museum of Modern Art (MOMA) in New York is both breathtaking and inspiring yet constantly criticized as a detraction from the main participants in this voyeuristic journey, the art forms. In today’s expanding global community, there is a continued evolution of cultural definition, one which is no longer the responsibility of the elders or the overseeing governmental body. Instead, cultural emulsion has been allocated to the increasingly vocal members of social niches, the propagators of coinciding dissent and support, and within this melting pot, there lingers an uncertain future for the world of modern art, as critic and corporation alike vie for e qual say in placement and value. No longer is the industry controlled by the definitive opinions of the bourgeoisie, nor is it evolved through the work of a single revolutionary artist. Instead, art is an experiential form of community, one which is intimately related to the perception of the viewer and the intention of the artist. Within this collaborative experience, however, there is one more singular and remarkable player, the institutional architecture itself. It is from within these walls (or outside of them in some cases) that the viewer retrieves their spatial perception, and thereby a unique frame of reference to the art as it is viewed. The future of modern art institutions lies within the ability to link creative architecture and spectacular art, a task which has proved difficult for many global facilities. Ultimately, the nature of architecture is one which can be easily integrated into the creative maxims of a desirous society; and as culture evades popular dispersion a mid mass media clutter it is the responsibility of the institution to revive identity and meaning. Artistic representation evolved from a question, the internal struggle of a humanity determined to indentify an elusive meaning, a broad spectrum of thought which necessitated expression and discussion.[1] Historically, this impetus was founded on the religious iconography which was so pervasive in the centuries preceding the postmodernist era. Critics such as Ruskin challenged that the artist himself was a conduit of morality from which innate goodness and meritorious intent were required instruments of his art form.[2] Yet this theory could not hold in a society which continued to evade such limiting thought processes and introduce new and more radical ideas, variables of necessity more than revolution. The rise of modernism can be attributed to an institutionalization of radical doubt, a necessitated gathering of hypotheses from which collectivist tenacity can operate among multiple sources of authority.[3] It is from within this new structure that the architectural merits of the institution became divergent from their historical representation. Out of the cube with white walls and steady flow of viewers evolved a framework of participation, one which challenged architects to redefine their structures, creating true destinations to encompass a more discerning postmodern voyeur. The roots of modernism, according to Williams (1992) became a terminus, a limiter among artists who acted outside of the sphere of the large institution, thereby relegating subjectively assumed true artistic talent to the halls of mega-institutions where their modernity would flourish appropriately.[4] It was this realignment of art to institutional display which enabled a much broader public viewership, undermining the nature of elitism and discrimination. Lind (2007) notes that collaboration was an essential factor in the evolution of postmodernism, forming the expectations of community among artists and viewers, an active depiction which endeavored to draw the participants into the unique aesthetic of the art itself and away from the group-think expectations evoked by society.[5] Collaborative art would become more of a lifestyle than a form, enabling the structure to become much more significant, actively introducing the public to the merits of participation. As artists collabora te, so do the viewers, actively interpreting their vision and subjecting it to internal modes of expectation and perception. This cultural dissolution through creative depiction is one of the most essential evolutions within the modern art institution and it will continue to define the structure of future establishments as viewers and artists actively participate in their experience. In looking for examples of this revolution of design, the Museum of Modern Art (MOMA) in New York recognized the modernist movement and integrated Bauhaus-style architecture to become a global symbol for a new and utopian representation of exhibitionism.[6] The ideologies which underlie utopianism in art are a culturally divergent need for connectivism, a variability which can operate both functionally and introspectively, thereby challenging the propensity of acceptance and replacing it with a question of ‘what.’ The revised institution now enjoyed a supple foundation for developing this question into a lifestyle, one in which viewers would embark on an ethereal journey, whether they were immediately aware of it or not, partaking in exhibitions by the very basis of their viewership. The ability to modify both spatial and visual stimuli while integrating an artists unique vision and meaning enabled a cultural dialogue which became much more substantial than that of a sim ple meander through a while cubicle with painted blemishes hung at eye level. Werner (2005) offers a nostalgic perspective of traditional institutions as structures designed to preserve the cultural capital of a rapidly evolving population; and from these conservation tactics, inspire scholarship and educated debate.[7] Yet it was the lack of debate, the limitations which inebriated the artistic community in the modernist era that evolved to awaken these participants during the revolution of postmodernism. Yet there is no evasion of historical context, and the stereotypical cube lingers as prominently as modern structures themselves occupy social import. Yet, whereas the cubist nature of historical institutions continues to pervade popular critical opinion, recognizing the merits of art over the environmental variables, evolutionary thinkers such as Zaha Hadid note that it is the activation of participation within an exhibit which determines the emotional response evoked from the viewer.[8] Should the four walled container be replicated room after room as it is in many scenarios, there is limited participation and a lack of interactivity, therefore, minimizing the relationship between visitor and artist. Similarly, variable angles and limitless perspective can also detract from the art itself, thereby making the institution a structural deviant and overcoming the artistic meaning through gauche architecture. There is a balance between structure and deconstruction in spaces, one which i s not readily intuited and is as important to the merits of the art as the quality of the artist’s medium. Combinative meaning represents the necessary steps taken to ensure that viewers are culturally and visually stimulated in their institutional journey; and as global expansion broadens the scope of participation, the architectural framework plays an intimate role in experiential influence. There is an underlying debate which unfortunately shrouds the merits of institutional participation, relegating their role to that of a corporate philanderer, a by-day street troller seeking monetary reward for singular experiences. By Werner’s (2005) perception, the value basis of the institution itself is founded on the relationship between social net worth and capital economy.[9] Therefore, should the public perceive artworks to be valuable, their readiness with capital backing to support this belief should coordinate with their imputed interests. The museum interprets popular culture, establishes demarcations of perceived representation, and then displays artifacts to support a desirous and discerning visitor base who feels an innate draw towards their now appropriately seeded cultural offering. Yet within this altruistic idealism, there is a limiter inflamed by the nature of the architectural value itself. In order to appropriately valuate a particular artist’s wor k, the externally implied value of the institution should be added to the socially defined valuation. In this way, consideration for structure and aestheticism are coupled with societal and capitalist value structures intimately uniting artist and establishment. The question which is then raised is whether the value of the art or the value of the institution is preponderant, and in which way can anxious critics ascribe a numerical quality to cultural aphorisms? The nature of commodification within the post-modernist society is one in which self-identification through means of lifestyle adaptation becomes greatly enhanced, almost to the point of religious zeal.[10] As museum clientele moved evolved from the elitist bourgeoisie to a much broader base of attendee, defining installations in terms of expectation became a much more difficult task. In continuing the legacy of dominating cultural theory, the curator and his team continue to retain responsibility for influencing exactly what this self-identification entails, parading their perceived values by way of artistic installation. Ruskin and his modernist ideals reminded that society must regulate itself through attention to intrinsic values and prevention of this capability should be undone and disintegrated from the constructs of an appropriately inclined social body.[11] Therefore, in spite of the proclivity towards radicalism, there has always been an assumed need for collectivist theory , from which architectural deviance retains a unique capability for defining the nature of the artistic experience. If the curator is to define identity, then the structure itself defies this definition, instead realigning its mission with that of the viewer, an evolving, variable, and discerning participant in a cultural exchange which continues to linger outside of stringent definition. It is from this understanding that Foster (2002) explores the idea that the institution is as important to art as the art is to the institution.[12] This dissolution of parity into spatially distinctive relationships sustains the nature of consumerism, thereby redirecting interests towards branded influence. The institution is no longer simply a four-walled bleach spot, it is now a faà §ade essential to the perception of art and inclusive of interactivity as well as interpretive guidance. The commodification of society is directly responsible for perception within the artistic institution, and in spite of the merits of traditionalist theory, the idea of construed reality is no longer a marketable brand. Instead, reality becomes a participant just as experience determines cognitive perception. The architectural evolution of the integrated structure thereby initiates each unique introspection and enables a passing collectivism that inspires and challenges while at the same time, repre sents cultural reactivation. Rem Koolhaas (2006) in a recent interview challenged that architecture serves as a balancing point between the past and future, exacting a form of control in a social structure where control was essentially indefinable.[13] His perception of institutional architecture idolizes the modularity of architectural structures, enabling the display and innate motion of artistic endeavors through the translatable nature of the buildings. It is this translation which then questions whether the art can simply be considered a work of the artist or should be reattributed to a collaborative process with the architect. Architectural influence becomes an intimate relationship between space and localization, returning responsibility to the installation specialists, as their placement becomes an essential part of the perceived meaning and cultural dispersion. The ability to manipulate meaning by simply moving a work of art to a different location or juxtaposing it with a contrasting work is a remarkab le power, one which shapes the nature of cultural manipulation in the modern era much more than was allowed under modernist structure. Douglas (1986) sustains this idea that the institution is responsible for generating the blueprint for a collectivist memory, one which is framed in political and social maxims yet comported by means of display and interactivity.[14] There is a framework of mediation which is highlighted by the architectural infrastructure of the art museum; within this collaborative dialogue, visitors are equally challenged and consoled through the principles of display, messaging, and revelation. Remarkably, voyeurism assumes a unique role within the new architecture, evolving to placate the needs of visual stimulation while at the same time establishing an intimacy of experience in which the visitor is unwittingly linked with the architecture and art simultaneously. There is a new collectivism, one which links experience, theory, discussion, and does so within the constructs of what can be considered a corporately moderated exhibition. The installation team in their determination of goals and obje ctives must placate both perceived social values as and evolve their placement to meet strict standards of visual responsibility. Yet the subjective nature of such placement simply evades any available scientific evaluation of its intricacies, as the person who is interpreting a specific piece in the matter of situating is simply intoning their own perception of cultural meaning, thereby imparting this upon all viewers who enter that space. Within this expectation of compliance, there is a unique debate surrounding subjectivism and the responsibility of artistic veneration, yet limited conclusions from which to situate any truly definitive argument. Vidokle (2007) challenged that art in general is an establishment of conditions which are necessary for creative production, therefore undermining any expectation that art could be truly ‘taught’ to a group of desirous students.[15] Spawning from this conclusion, the belief that artistic placement could have a singular dimension is equally as flawed, and thereby challenges the curator to explore both the merits of architectural influence and artistic variables to ensure that a work is portrayed representative of the artist’s expected meaning. Interestingly, this statement alone raises yet another challenge to the merits of meaning in that as placement is subjective, the artist’s vision is subjective, and the visitor’s perception is also subj ective, there is limited objectification which can translate across the broad scope of artistic representation and define the true meaning of any work of art. Integrating the architecture of an institution into the visually provocative nature of art offers a socially collaborative incidence of inspiration, one which enables curator, artist, and viewer to coalesce, bringing singular, and remarkable insight to light upon a unique cultural connection within the museum’s walls. In considering the merits of other forms of artistic representation, such as those which are take out of the four walled structure and placed in public view, there are similar variables which determine the architecture of the natural environment and assist in determining the unique meaning of the piece in relationship to its placement. â€Å"The value of material representation was not self-evident at the outset and that like all inventions; material representation was contingent upon, coherent with, and dialectically related to the contemporaneous neurological, social, technological, and ideational context.†[16] When a particular subject is placed within public view, there are an infinite number of variables which can influence perception, inclusive but not limited to, weather, natural environment, crowd flow, and political climate. If one were to view Rachael Whitread’s water tower on a clouded day with internal angst reminiscent of Joan of Arc on her deathbed, the pe rception of clarity and purpose might be obscured by these subjective sentiments. Therefore, there is a recognition that art must be interpreted through the constructs of internally generated, experientially driven, conditions in order to ensure that its palpability resonates with each unique viewer. As art is extracted from the institution, the institution adjusts to become the environment. This evolution proffers a unique vision of globalized community, as placing out of context representations within unique settings, such as Antony Gormley’s ‘another place’ at various stages of drown on any foreign shoreline, enables a broad range of viewers to explore their personal understanding of such figures without the storyline or scripted meaning which might be readily available in a museum. From these arguments spawns the constructs of a new dimension in art appreciation, one which undermines any perceived notion of institution, and instead places the idea of institution in the hands of the viewer. The relationship between art and the institutional architecture is one of symbiosis, a collusion of cultural inoculation from which there is one surviving beneficiary, the museum, as capital rewards are disguised as essential culture-needy pittances. Bourdieu and Darbel (1992) corroborate that the true function of the museum is to reinforce cultural brotherhood in the form of sacristy.[17] Yet there is another responsibility which has evolved over the past decade, one which evokes a sense of internal turmoil from the institutional oversight committee, but retains public appreciation when implemented within an appropriate scope. In spite of the need for capitalistic sustenance, the museum’s responsibility has yet to alter from its original path of cultural enlightenment and in turn, collectivist assimilation. No longer must the comodification of society undermine the need for self-identity, as identity lingers within the institutional halls, defined by subjectivism and interpreted internally, in spite of architecture or obscure efforts at creative placement. To activate internal modes of observation within a viewer corrupted by a society that bombards with constant stimuli requires a pairing of both architectural extravagance and artistic uniqueness. Whereas artists may endeavor to impart meaning to their viewer through images or representations, the architect engenders a sense of being and belonging through their hallways and trusses and archways which is entirely collaborative and evidentiary of the current social clime. There is a discussion which evolves from this argument as to the relationship between space and structure. In consideration for the nature of art, a connectivity which can be easily broken by distraction or unforeseen variables, could it be that architecture has exceeded its boundaries by exploding in modern institutions on such a grandiose scale? Adorno (1992) addressed this issue from the standpoint of artistic autonomy and the realignment of the new sociopolitical debate with that of historical responsibility. By his definition, Adorno recognizes that the committed works of the political debater will often assume a role of expectation, a maxim of necessity which requires that the viewer also appreciate a similar political viewpoint.[18] Yet if representation is subjective, then could viewership also take on subjective qualities? The reality is that autonomy in art is the recognition that interpretation is variable, divergent, and oftentimes completely distant from original meaning . Therefore, given the nature of architecture, could the institutional structure itself be considered an autonomous representation of current cultural and social ideologies? The reality is that the institution is no longer the combatant in the artistic community, it is the internalization of prescribed commodification which undermines the capabilities of need voyeurs. Their assumptions and wrongfully inspired intuition becomes nothing more than a derivative of the blueprint which has been established by a desensitized society corrupted by mass media and broad scale image distribution. Appreciation for the merits of a particular work of art becomes intimately related to internally generated necessity, and participants should therefore embrace the inclusion of architectural drama and aesthetic into this equation. As the curators of MOMA can attest, the affected state of voyeurism in conjunction with eccentric architecture or visually stimulating structures can lead critics to challenge the capacity for viewers to truly appreciate their attendance objective, the art.[19] As the grand atrium is a vast and spacious area, ripe with distractions ranging from marbled flooring to elevators, visual stimulation is easily reduced to a combinative effort, the capable observer environmentally and artistically influenced simultaneously. Yet, there is a differentiation which must be addressed regarding what is gauche over-stimulation or simply installed experience. In the case of MOMA, the exterior distractions are minimal when considering the inspiring nature of the artistic stimuli. Wallach characterizes it as a ‘spectacularized’ space, one which is designed with ‘free-floating intensity’ which will both overwhelm but stimulate reverential appreciation.[20] The redefinition of s pace over the past decades is a function of necessity as well as a creative interpretation on the part of the architect and his team. Introducing variable structures into the social structure by means of architectural ingenuity furthers the propagation of art, enticing attendees and allowing corporate overseers to compete for urban space with a new breed of remarkable architecture. Artist Martin Kemp, in a recent interview, noted that there has been an adjustment to the artistic display process over the past decades, one in which the viewer is now often integrated into the artists meaning by way of publication or installation aids.[21] His view is that juxtaposition of conflicting or complementary art forms within a particular installation offer the viewer visual stimulation otherwise unappreciable given the distance between particular works. It is within this new age ideology that the foundations of the future of the modern art museum are formed, as contrast and collaboration are two fundamental visual aspects within the scope of institutions that can be manipulated and imparted to an unsuspecting viewer. Placing a renaissance painting next to one from the 1980’s offers the remarkable ability to explore socio-cultural ideals across generations and historical legacies. Similarly, the evolving architecture of the institution allows the placement of modern zeal next to that of historic propriety. Therefore, as Kemp challenges that contrast is the wave of the future, the structural qualities of museums across the globe are already forming similar opinions for an unwitting viewer. Corporate influence over this perceived disconnect will continue to establish and evoke remarkable nuance with limited understanding of their participation in the creative definition of modern society. While many critics may challenge that they are absolutely sure of their manipulation of cultural distribution, there is an inability to predict the nature of the art/viewer relationship which challenges any preconception of response. In truth, the viewer response should be an intricate part of the artistic process, and through study and further understanding, recognition of qualifying contrast can assist in defining the future of artistic creation. Zaha Hadid in her recent interview with Hans Ulrich Obrist recognizes the extremely pivotal role which the museum architecture plays in terms of exhibitionism and the structural variables which can directly influence the viewer and their journey through a particular installation.[22] Most importantly, her perception of relationship is an essential development within the modern architectural environment, as experiential voyeurism becomes a foundation for artistic appreciation. Her vision likens institutional architecture to designing a laboratory within which both critic and artist can dialogue, actively partaking in a conversation of perception through which ideas can be developed, disintegrated, and resurrected, drastically shaping the future of artistic endeavor. If each installation is considered just that, an experiment, there is substantial opportunity for an extremely collaborative process, one in which viewer insights shape the future of institutions. Benjamin (2006) challenge d that authenticity in art is a form of transmission which is defined by physical duration and historical testimony.[23] Yet when testimony is directly linked to the nature of subjective relevance, in that a foreign viewer will not experience the political fire of a native who witnessed the collapse of the Berlin Wall, and physical duration is limited by the social and institutional variables, there can be no perceived authenticity in art. Benjamin’s interpretation is not errant, but simply too narrow in scope to identify with a modern era of intensified visual acumen. There is a dramatic shift towards remarkableness, one which is engendered with the cultural and social traits of a melting pot, not simply those of unique social or ethnic classes. Exhibitionism, as recognized by Hadid, is becoming a tool of unification, and in this way, will serve as a mode of global collaboration within the laboratory of the institution. In order to fully explore the nature of the institution in the modern era, it becomes important to note the evolution of the critic, and more importantly, those who are responsible for determining the future of artistic endeavors. Montmann (2006) challenges the evolution of the art institutions a direct result of a power shift from the traditional bourgeoisie and their monopolization of socially legitimized ideologies to a function of populist mandate, controlled by a homogenized corporate vision.[24] This evolution is a direct result of the fragmented nature of popular society as the stratification which once divided aristocrat and peasant is no longer relevant as globalized consumerism now radically changes the fleeting voyeurism which so defined the historical role of the museum and its definitive influence. Sennett (2006) reminds that the habitual nature of the past has been abandoned for selective and subjective interpretation of interactions within a limited time frame.[25] The reby, the institution itself is charged with meeting the needs of a niche based audience, one with conflicting perceptions, needs, and demands, and one which strategically navigates within a broadening geographical sphere to imbue their own theories within the minds of other nomadic voyeurs. Therefore, as institutional criticism evolves to encompass the architectural merits of a particular museum, the fleeting visitors who frequent its doorways are challenged to appropriate meaning from a similarly fleeting interpretation by an overly critical eye. The nature of architecture within the institution is one which should entice and embrace its visitors, not incite critical contempt and irascible scripting. Yet, given the nature of a society no longer defined by the bourgeoisie minority, the much more vocal public base will continue to evoke a sense of dread each time a change enters the artistic community. Across the globe, modern museums are taking note of architectural merits. Oil wealthy countries such as the United Arab Emirates are paving the way for spectacular structures in exotic locations who offer collections of the world’s greatest artists throughout the annals of history. This encapsulation beneath the expectation of destination travel presents a unique focal point for the museums of the future as community is no longer defined in terms of geographic localization. As art evolves to encompass the nature of global humanity, the subjective nature of viewers equalizes with this radical adjustment, appreciating the socio-political evolution of artistic heroes and the institutions which house their work. The expansion of these destination facilities continues to evolve towards corporate ownership and patronage yet the relationship between viewer and art form cannot be dissolved. Tactically, as these conglomerates actively purchase diverse installations for their exhibits, the ability to contrast a broad range of subjects within a singular house of creativity is expanded, thereby verifying the merits of architectural evolution. While the future of participants in the modern museum may remain uncertain given the nature of electronic distribution, the necessity for such structures will remain a natural part of social evolution. The connectivity inspired by architectural and artistic creativity incites a sense of community which, when explored from a global perspective, is all the more necessitated in this modern era. Bibliography Adorno, Theodor. â€Å"Art, Autonomy and Mass Culture.† In Art in Modern Culture: An Anthology of Critical Texts, eds. Francis Frascina and Jonathan Harris, 74-79. New York: HarperCollins Publishers Inc., 1992. Benjamin, Walter. Walter Benjamin: Selected Writings, Vol. 3. London: Belknap, 2006. Bourdieu, Pierre; Darbel, Alain. â€Å"The Love of Art.† In Art in Modern Culture: An Anthology of Critical Texts, eds. Francis Frascina and Jonathan Harris, 174-180. New York: HarperCollins Publishers Inc., 1992. Douglas, Mary. How Institutions Think. Syracuse, New York: Syracuse University Press, 1986. Foster, Hal. Design and Crime and other Diatribes. London: Verso, 2002. Giddens, Anthony. â€Å"Modernity and Self-Identity: Self and Society in the Late Modern Age.† In Art in Modern Culture: An Anthology of Critical Texts, eds. Francis Frascina and Jonathan Harris, 17-22. New York: HarperCollins Publishers Inc., 1992. Obrist, Hans Ulrich. Rem Koolhaas. Ehrenstr: Verlad der Buchhandlung Walther Konig, Koln, 2006. Obrist, Hans Ulrich. Zaha Hadid. Ehrenstr: Verlad der Buchhandlung Walther Konig, Koln, 2007. Raney, Karen. Art in Question. London: Continuum, 2003. Montmann, Nina. â€Å"Art and its Institutions.† In Montmann, Nina, ed. Art and its Institutions: Current Conflicts, Critique and Collaborations, ed. Nina Montmann, 8-17. London: Black Dog Publishing, 2006. Sennett, Richard. The Culture of the New Capitalism. New Haven: Yale University Press, 2006. Vidokle, Anton. â€Å"Exhibition as School in a Divided City,† In Taking the Matter Into Common Hands, eds. J

A Diverse Workforce Essay

1.1: 3 organisation benefits of attracting and retaining a diverse workforce In this era of economic globalization, many companies are making efforts to achieve workforce diversity, which aims to employ workers from different backgrounds to provide tangible and intangible benefits to the organization. Understanding the advantages of workforce diversity helps an organization to establish with a competitive edge. This can include employing workers with cultural and language skills that can lead to greater reach for the business. 3 organisation benefits of attracting and retaining a diverse workforce 1: Increase in Productivity Workforce diversity can bring about an increase in productivity and competitive advantages. Employers can offer more solutions to customers because of new ideas and processes brought into the organization. Workplace diversity increases employee morale and causes employees to desire to work more effectively and efficiently. 2: Increase in Creativity Workforce diversity increases creativity within a company because people coming from many cultures can give many ideas and their own experience. Employees from different backgrounds bring in a variety of solutions on how to achieve a common goal. In atmospheres when brainstorming is necessary, more ideas are formed because team members are culturally diverse. For example, employees from China working in American companies may approach a problem totally differently than do American workers. 3: Positive Reputation Job seekers are drawn to companies with diverse workforces because it is evident that the companies do not practice employment discrimination. Potential employees would want to know that employers treat their staff fairly regardless of race, ethnicity or gender. Not only are such firms able to attract new talent but they can also retain existing talent because of high employee morale resulting from workforce diversity. 1.2: 4 factors that affect an organisation’s approach to attracting talent 1: Selecting choice of advertisement: this is a wide area to attract new recruits by posting adverts in professional recruitment agencies like Berkley Scott or Reed. 2: Company branding and the state of business: many companies show income statement on the Internet and their mission plan for the next few years, which mainly includes quality plans for employees. 3: Learning and Development: nowadays companies like The Doyle Collection or McDonald’s are involved in many apprenticeships programme and they are encouraging by funding people in any age to go for degree or to take up professional qualifications. 4: Type of role: many employers reduces the roles within an organization and they are creating the job portfolio roles e.g. Payroll with accounts assisting, which is more paid and it is more motivating for individuals. 1.3: 3 factors that affect an organisation’s approach to recruitment and selection: Proactive human resource professionals understand the various internal and external factors influencing recruitment. When conditions change in the marketplace, the company needs to monitor these changes to determine how it affects the talent pool. The company also needs to analyze internal functions to see what helps and hinders effective recruitment. 1.Personnel Utilization: A company can avoid having to hire new employees by monitoring the skill sets of existing employees. For example, if you are opening a new sales division that focuses on a new family of products, then you may be able to utilize your current sales staff to provide the startup sales professionals the new group will need. The success of the new department will necessitate the need for recruiting outside representatives at some point in the future, but you can save on startup costs by utilizing existing personnel. 2.Outsourcing: The concept of outsourcing activities that are not a company’s core competency is an internal business practice that affects recruiting. For example, a food processing company would hire an outside IT firm to install and administer the company’s computer network because computers are not the food processing company’s core competency. When companies outsource, that reduces the need for recruiting new employees. The human resources department will have to shift resources away from recruiting for the outsourced functions, and focus on supplying employment candidates for the company’s core business units. 3: Competition: Companies within the same industry are competing for qualified candidates to ensure future growth. There is competition in the recruiting end of your business just as there is in selling products. You need to analyze what your competition is offering new employees, and try to develop a competitive package to lure in the talent that you need. 2.1 Describe the benefits of at least 3 different recruitment methods 1: Internal Recruitment: benefit is cheaper and quicker to recruit. People are already familiar with the business and how it operates. It can be motivating as it provides opportunities for promotion with in the business. Organization is already aware of the strength and weaknesses of candidates. Easy to pick up the best talents within an organization. It builds a long relationship with employees. 2: External Recruitment: The benefit is the outside people bring in new ideas. You get a larger pool of workers from which you can select the best candidate. Candidates will have a wider range of experience. Uniqueness in employees worked for different companies can take the company to an extra mile. 3: Third-Party Sourcing: Third party sourcing involves using a placement agency or headhunter to find qualified job candidates. These third-party sources use various techniques and tools to find appropriate job applicants, such as extending offers of improved sala ry compensation and more flexible benefits packages. 1.3: benefits of at least 3 different selection methods. 1.Lower employee turnover rate. 2.Picking the right employee from the start saves time and money. 3.Positions are staffed with competent employees. 4.1: 3 purposes of induction and how they benefit individuals and organisations. 1.It is a process of bringing/introducing/familiarizing a new recruit into the organization. 2. Company orientation i.e. showing how the employee fits into the team and how their role fits with the organization’s strategy and goals. 3. Details of the organization’s history, its culture and values, and its products and services. Benefits for individuals: The employee will feel welcomed into the organization, be respected and be made to feel more comfortable in the workplace. An individual will also find it easier to integrate into the workplace. †¨Ã¢â‚¬ ¨ New employee will feel that they made the right decision to join a particular organization. †¨Ã¢â‚¬ ¨ A good induction programme will help to build the new employee’s self-esteem, morale and sense of motivation. An induction programme will establish good communication between the manager or the supervisor and the new employee from the very beginning. Benefits for the organization: Increase productivity; Reduce wastage through correct material utilization; Reduce incidents & accident 4.2 The Bristol Hotel New Employee Induction Plan Friday 30/09/10 Time Areas Covered Action Required By Whom 9.00 – 10.30 Welcome and Introductions Introduce Line manager and colleagues. Welcome and introduction to the department. i.e. direct reports, rosters, procedures and service standards. HR Manager, Line Manager 10.30-10.45 COFFEE BREAK 10.45-12.30 Walk the property Fire Drill procedure explained. Employee is aware of meeting point in event of a fire. Employee is aware of location of all fire exits. Knowledge of nearest fire fighting equipment to work area and explanation of colour coding Director Operations 12.30-13.00 LUNCH BREAK 13.00-14.00 Health & Safety Policy Health and safety requirements explained. Introduction to First Aider and Health and Safety representatives. Lifting techniques explained. Safety equipment issued. Health & Safety Officer 14.00-15.00 Administration Issue of employee handbook. Conditions of employment explained. Confirmation of when full employment would begin, i.e. probationary period ends. Pay rates, periods, absence pay and reporting policy. Grievance procedure explained. Employee records completed. Bank details form completed. Driving licence checked. Start letter, P45 to payroll HR Manager 15.00-15.30 COFFEE BREAK 15.30-16.30 Catch up Taking feedback on department, comfortability GM, Director Operations

She Stoops to Conquer

————————————————- She stoops to conquer ————————————————- ————————————————- Characters * Charles Marlow  Ã¢â‚¬â€œ The central male character, who has set out to court the young attractive Kate Hardcastle. A well-educated man, â€Å"bred a scholar†, Marlow is brash and rude to Mr. Hardcastle, owner of â€Å"Liberty Hall† (a reference to another site in London), whom Marlow believes to be an innkeeper. Because Marlow's rudeness is comic, the audience is likely not to dislike him for it.Marlow is sophisticated and has travelled the world. Around lower-class women Marlow is a lecherous rogue, but around those of an upper-class card he is a ne rvous, bumbling fool. Thus, his interview with Kate exploits the man's fears, and convinces Miss Hardcastle she'll have to alter her persona drastically to make a relationship with the man possible. The character of Charles Marlow is very similar to the description of Goldsmith himself, as he too acted â€Å"sheepishly† around women of a higher class than himself, and amongst â€Å"creatures of another stamp† acted with the most confidence. George Hastings  Ã¢â‚¬â€œ A close friend of Charles Marlow and the admirer of Miss Constance Neville. Hastings is also an educated man who cares deeply about Constance, with the intention of fleeing to France with her. However the young woman makes it clear that she can't leave without her jewels, which are guarded by Mrs. Hardcastle, thus the pair and Tony collaborate to get hold of the jewels. When Hastings realises the Hardcastle house isn't an inn, he decides not to tell Marlow who would thus leave the premises immediately. * Tony Lumpkin  Ã¢â‚¬â€œ Son of Mrs.Hardcastle and stepson to Mr. Hardcastle, Tony is a mischievous, uneducated playboy. Mrs. Hardcastle has no authority over Tony, and their relationship contrasts with that between Hardcastle and Kate. He is promised in marriage to his cousin, Constance Neville, yet he despises her and thus goes to great effort to help her and Hastings in their plans to leave the country. He cannot reject the impending marriage with Neville, because he believes he's not of age. Tony takes an interest in horses, â€Å"Bet Bouncer† and especially the lehouse, where he joyfully sings with members of the lower-classes. It is Tony's initial deception of Marlow, for a joke, which sets up the plot. * Mr. Hardcastle  Ã¢â‚¬â€œ The father of Kate Hardcastle, who is mistaken by Marlow and Hastings as an innkeeper. Hardcastle is a level-headed countryman who loves â€Å"everything old† and hates the town and the â€Å"follies† that come with it. He is ve ry much occupied with the ‘old times' and likes nothing better than to tell his  war stories  and to drop names, such as the  Duke of Marlborough, into conversations.Hardcastle cares for his daughter Kate, but insists that she dress plainly in his presence. It is he who arranges for Marlow to come to the country to marry his daughter. Hardcastle is a man of manners and, despite being highly insulted by Marlow's treatment of him, manages to keep his temper with his guest until near the end of the play. Hardcastle also demonstrates a wealth of forgiveness as he not only forgives Marlow once he has realised Marlow's mistake, but also gives him consent to marry his daughter. * Mrs. Hardcastle  Ã¢â‚¬â€œ Wife to Mr.Hardcastle and mother to Tony, Mrs. Hardcastle is a corrupt and eccentric character. She is an over-protective  mother  to Tony, whom she loves, but fails to tell him he's of age so that he is eligible to receive ? 1,500 a year. Her behaviour is either over-th e-top or far-fetched, providing some of the play's comedy. She is also partly selfish, wanting Neville to marry her son to keep the jewels in the family; she's blissfully unaware however, that Tony and Neville despise each other, and that Constance is in fact planning to flee to France with Hastings. Mrs.Hardcastle is a contrast to her husband, which provides the humour in the play's opening. She loves the town, and is the only character who's not happy at the end of the play. * Miss Kate Hardcastle  Ã¢â‚¬â€œ Daughter to Mr. Hardcastle, and the play's stooping-to-conquer heroine. Kate respects her father, dressing plainly in his presence to please him. The formal and respectful relationship that she shares with her father, contrasts with that between Tony and Mrs. Hardcastle. Kate enjoys â€Å"French frippery† and the attributes of the town, much as her mother does.She is both calculating and scheming, posing as a maid and deceiving Marlow, causing him to fall in love with her. * Miss Constance Neville  Ã¢â‚¬â€œ Niece of Mrs. Hardcastle, she is the woman whom Hastings intends to court. Constance despises her cousin Tony, she is heir to a large fortune of jewels, hence her aunt wants her to remain in the family and marry Tony; she is secretly an admirer of George Hastings however. Neville schemes with Hastings and Tony to get the jewels so she can then flee to France with her admirer; this is essentially one of the sub-plots of  She Stoops to Conquer. Sir Charles Marlow  Ã¢â‚¬â€œ A minor character and father to Charles Marlow; he follows his son, a few hours behind. Unlike his son, he does not meet Tony Lumpkin in the Three Pigeons, and thus is not confused. He is an old friend of Mr. Hardcastle, both of them once having been in the British military, and is quite pleased with the union of his son and his friend's daughter. Sir Charles enjoys the follies of his son, but does not understand these initially. However, he is quite upset when his son t reats Kate as a maid. [1] ————————————————-Short summary of she stoops to conquer? Answer: She stoops to Conquer is a comedy by the Irish author Oliver Goldsmith. The play was initially titled as Mistakes of a Night and the events in the play, indeed, happen during the time frame of one night. Mr. Hardcastle, a rich countryman plans to marry his daughter Kate to the son of his old friend, Sir Charles Marlow. Hardcastle's second wife is determined in marrying her spoiled son, Tony Lumpkin to her niece, Constance Neville in order to keep her fortune, a casket of jewels within the family.But Miss Neville has plans to marry Hastings, a friend of young Marlow. While Hardcastle's family is eagerly awaiting the arrival of Marlow and his friend, Hastings, the friends stop at the village Inn to inquire their way. Tony Lumpkin, who is present there, realizes their identity and plays a joke by telling them that they are far away from their destination and asks them to stay at an inn, recommending Hardcastle house as the best Inn around there. Thus the friends arrive there and treat Mr. Hardcastle as mere Inn keeper.This enrages Mr. Hardcastle and is convinced that Marlow is not suitable for his daughter. On the other hand, Young Marlow who is nervous in the presence of ladies of his own social status, yet quite the quite opposite with lower-class women doesn't look properly at Kate on their first meeting. Kate realizes this and stoops to conquer him, by posing as bar maid and putting Marlow at his ease so that he falls for her in the process. However, he changes his mind when he realizes the truth behind Marlow's behaviour. The play concludes with Mr.Hardcastle realizing the truth behind Marlow's behaviour and changing his mind; Kate succeeding in her plan and getting engaged to Marlow; Tony Lumpkin discovering he is of age and receives his entitled money, whic h his mother hides from him. He refuses to marry Ms. Neville, who then gets her entitled jewels and gets engaged to Mr. Hastings. So all is well that ends well. Summary She Stoops to Conquer  opens with a prologue in which an actor mourns the death of the classical low comedy at the altar of sentimental, â€Å"mawkish† comedy.He hopes that Dr. Goldsmith can remedy this problem through the play about to be presented. Act I is full of set-up for the rest of the play. Mr. and Mrs. Hardcastle  live in an old house that resembles an inn, and they are waiting for the arrival of  Marlow, son of Mr. Hardcastle's old friend and a possible suitor to his daughter Kate. Kate is very close to her father, so much so that she dresses plainly in the evenings (to suit his conservative tastes) and fancifully in the mornings for her friends. Meanwhile,  Mrs.Hardcastle's niece Constance is in the old woman's care, and has her small inheritance (consisting of some valuable jewels) held un til she is married, hopefully to Mrs. Hardcastle's spoiled son from an earlier marriage,  Tony Lumpkin. The problem is that neither Tony nor Constance loves the other, and in fact Constance has a beloved, who will be traveling to the house that night with Marlow. Tony's problem is also that he is a drunk and a lover of low living, which he shows when the play shifts to a pub nearby.When Marlow and  Hastings  (Constance's beloved) arrive at the pub, lost on the way to Hardcastle's, Tony plays a practical joke by telling the two men that there is no room at the pub and that they can find lodging at the old inn down the road (which is of course Hardcastle's home). Act II sees the plot get complicated. When Marlow and Hastings arrive, they are impertinent and rude with Hardcastle, whom they think is a landlord and not a host (because of Tony's trick). Hardcastle expects Marlow to be a polite young man, and is shocked at the behavior. Constance finds Hastings, and reveals to him th at Tony must have played a trick.However, they decide to keep the truth from Marlow, because they think revealing it will upset him and ruin the trip. They decide they will try to get her jewels and elope together. Marlow has a bizarre tendency to speak with exaggerated timidity to â€Å"modest† women, while speaking in lively and hearty tones to women of low-class. When he has his first meeting with Kate, she is dressed well, and hence drives him into a debilitating stupor because of his inability to speak to modest women. She is nevertheless attracted to him, and decides to try and draw out his true character.Tony and Hastings decide together that Tony will steal the jewels for Hastings and Constance, so that he can be rid of his mother's pressure to marry Constance, whom he doesn't love. Act III opens with Hardcastle and Kate each confused with the side of Marlow they saw. Where Hardcastle is shocked at his impertinence, Kate is disappointed to have seen only modesty. Kate asks her father for the chance to show him that Marlow is more than both believe. Tony has stolen the jewels, but Constance doesn't know and continues to beg her aunt for them. Tony convinces Mrs.Hardcastle to pretend they were stolen to dissuade Constance, a plea she willingly accepts until she realizes they have actually been stolen. Meanwhile, Kate is now dressed in her plain dress and is mistaken by Marlow (who never looked her in the face in their earlier meeting) as a barmaid to whom he is attracted. She decides to play the part, and they have a lively, fun conversation that ends with him trying to embrace her, a move Mr. Hardcastle observes. Kate asks for the night to prove that he can be both respectful and lively. Act IV finds the plots almost falling apart.News has spread that  Sir Charles Marlow(Hardcastle's friend, and father to young Marlow) is on his way, which will reveal Hastings's identity as beloved of Constance and also force the question of whether Kate and Ma rlow are to marry. Hastings has sent the jewels in a casket to Marlow for safekeeping but Marlow, confused, has given them to Mrs. Hardcastle (whom he still believes is the landlady of the inn). When Hastings learns this, he realizes his plan to elope with wealth is over, and decides he must convince Constance to elope immediately.Meanwhile, Marlow's impertinence towards Hardcastle (whom he believes is the landlord) reaches its apex, and Hardcastle kicks him out of the house, during which altercation Marlow begins to realize what is actually happening. He finds Kate, who now pretends to be a poor relation to the Hardcastles, which would make her a proper match as far as class but not a good marriage as far as wealth. Marlow is starting to love her, but cannot pursue it because it would be unacceptable to his father because of her lack of weatlh, so he leaves her. Meanwhile, a letter from Hastings arrives that Mrs.Hardcastle intercepts, and she reads that he waits for Constance in th e garden, ready to elope. Angry, she insists that she will bring Constance far away, and makes plans for that. Marlow, Hastings and Tony confront one another, and the anger over all the deceit leads to a severe argument, resolved temporarily when Tony promises to solve the problem for Hastings. Act V finds the truth coming to light, and everyone happy. Sir Charles has arrived, and he and Hastings laugh together over the confusion young Marlow was in. Marlow arrives to apologize, and in the discussion over Kate, claims he barely talked to Kate.Hardcastle accuses him of lying, since Hardcastle saw him embrace Kate (but Marlow does not know that was indeed Kate). Kate arrives after Marlow leaves the room and convinces the older men she will reveal the full truth if they watch an interview between the two from a hidden vantage behind a screen. Meanwhile, Hastings waits in the garden, per Tony's instruction, and Tony arrives to tell him that he drove his mother and Constance all over in circles, so that they think they are lost far from home when in fact they have been left nearby.Mrs. Hardcastle, distraught, arrives and is convinced she must hide from a highwayman who is approaching. The â€Å"highwayman† proves to be Mr. Hardcastle, who scares her in her confusion for a while but ultimately discovers what is happening. Hastings and Constance, nearby, decide they will not elope but rather appeal to Mr. Hardcastle for mercy. Back at the house, the interview between Kate (playing the poor relation) and Marlow reveals his truly good character, and after some discussion, everyone agrees to the match.Hastings and Constance ask permission to marry and, since Tony is actually of age and therefore can of his own volition decide not to marry Constance, the permission is granted. All are happy (except for miserly Mrs. Hardcastle), and the â€Å"mistakes of a night† have been corrected. There are two epilogues generally printed to the play, one of which sketche s in metaphor Goldsmith's attempt to bring comedy back to its traditional roots, and the other of which suggests Tony Lumpkin has adventures yet to be realized. Suggested Essay Questions 1.Explain the meaning and significance of the title  She Stoops to Conquer. Even without reading the play, the irony of the title is obvious, since the â€Å"she† in question is lowering herself in order to prove herself superior. In context of the play, the title could be argued to refer both to Kate's plan to trap Marlow and to Goldsmith's purpose of using â€Å"low comedy† to convince his audience to embrace it. The former is a good description of the irony of Kate's plan: in order to convince herself she is a worthy match for Marlow, she has to first convince him she is of a low class.However, the title also describes Goldsmith's purpose: he wishes to convince an audience to embrace this â€Å"low† or â€Å"laughing† comedy, and by indulging in it, he might convince them that it is superior to â€Å"sentimental† comedy. Regardless of which description one uses, the irony of the title expresses Goldsmith's view of humanity: while we pretend to be of impeachable high class, we all have a â€Å"low,† base side that we should celebrate rather than try to ignore. 2. How is Kate an example of moderation?Explain how her personality stands as the way of life Goldsmith most recommends. The play is organized into a series of conflicting philosophies: high-bred aristocrats vs. low-bred common folk; city life vs. country life; wealth vs. poverty, etc. Much of the absurdity that fuels Goldsmith's comedy comes from exploiting the way most people engage in contradictions even when they pretend to be examples of virtue. The best example is Marlow, and his bizarre contradictory attitudes towards women depending on their class.Kate stands at the center of most of these, and as such is the best depiction of Goldsmith's message. As a country girl wh o has spent time in town, she is an example of what Marlow calls â€Å"refined simplicity,† and knowing as much as she does about humanity, is able to also enjoy and be amused by the contradictions rather than disgusted by them (as most of the elder characters are). 3. In what ways is Tony Lumpkin a hero in the play? Use historical/social detail to explain why this heroism is unconventional. Tony Lumpkin would traditionally have been considered nothing but comic relief.Consider most Shakespeare plays, where the poor, common characters might have wisdom, but are primarily used to comedic effect, and are rarely engaged in the main plots. Tony is presented this way initially in  She Stoops to Conquer, but we quickly see that there is a great wisdom to his lifestyle, which prizes enjoyment of life over heavy considerations of it. When his parents discuss the way to live in Act I, Tony takes off quickly for the Three Pigeons, where he sings a song that expresses a desire for tru e life rather than the hypocrisy of overly-educated or overly-religious lifestyles.Tony perhaps has more agency than any other character in the play, setting in motion the confusions that ultimately allow everyone to be happy. The message, of which Tony is the best representative, is that by engaging in the confusions and contradictions of human nature, we can find our best happiness. 4. For a comedy,  She Stoops to Conquer  has a serious vein of commentary of class. Explain. In a traditional sentimental comedy, money would ultimately be shown to be irrelevant in the face of true love, so as to stress the characters’ virtue.Of course, the characters would have almost all been high-bred and money not a serious issue in their lives. In this play, there are characters, like Tony or Constance, who really do need money if they want a strong future. Even in what is perhaps the most cliche romantic subplot – that between Constance and Hastings – money becomes an in escapable force, and in the end they turn to the virtue of asking Hardcastle's permission not because of some innate virtue, but because they acknowledge that they will need money.In another way, Marlow's class contradictions are certainly meant to be amusing, but there is a serious criticism in the way that a class system has led him to despise what he enjoys. He considers himself inferior for his love of unpretentious women, and assumes that he ought to love a â€Å"modest† woman. Part of the lesson Kate teaches him is that the substance of a person is what matters, and not the way one gauges her behavior as high or low class. 5. How does the device of dramatic irony facilitate the play's major themes and comedy?The play is a masterpiece of dramatic irony, which is a device where the audience has information and knowledge that the characters do not. From the moment Tony plays the practical joke on Marlow and Hastings, the audience learns secrets that will grow more complica ted and hence create confusion that leads to hilarious situations. The best example is perhaps the way Marlow and Hastings treat Hardcastle, because they think him a landlord. Because we understand the details of the confusions, we understand the jokes whereas the characters only grow more offended.However, the behavior wrought by the dramatic irony reveals much of Goldsmith's view on humanity and class. The same example listed above is funny, but also shows the cruelty that comes from a rich man's entitlement. Throughout the play, much of the class commentary derives from the behaviors people show when they don’t' realize they are being judged. Kate exploits this to try and find out what kind of person Marlow actually is. 6. In what ways are the characters of the play comic archetypes? How does Goldsmith deepen these stock characters?At the beginning of the play, it seems as though all the characters fall into traditional comic patterns. Hardcastle is the old curmudgeon who hates modern life, Mrs. Hardcastle a vain old lady, the young men are handsome heroes, Kate is the pretty young heroine, and Tony is the comic drunkard. Very quickly, Goldsmith explores the depth of class, money and human contradictions by putting those qualities in broader contexts. Hardcastle turns out to be not entirely incorrect about the impertinence of the young (which he discovers because of Tony's trick), but turns out to be forgiving.Mrs. Hardcastle is frankly never deepened, and stays who she is throughout. Hastings remains a valiant young man, but Marlow is obviously full of absurd contradictions very much connected to the very aristocratic virtue that seems to define him in the beginning. And Kate, of course, is perhaps the deepest and fullest character of all, not a simple heroine to be won by the young man. 7. Does the play's ending undercut Goldsmith's attempt to write a â€Å"low† and not â€Å"sentimental† comedy? Explain. Mrs.Hardcastle perhaps speaks to Goldsmith's own concern over the ending when she remarks that â€Å"this is all but the whining end of a modern novel. † It is clear from both the prologue and his â€Å"Essay on the Theatre† that he wishes to write a play that mocks vice rather than praises virtue. And yet the ending of the play finds not only all the characters ending up happy, but happy because of very clear-cut lessons. In a way, even the most grievous characters (like Marlow, whose contradictions lead him to some rather unsavory behavior) are forgiven for their vices.However, one can argue that Goldsmith provides an entertaining end for his audience while not diving fully into the conventions. For one, Constance and Hastings's realization about the necessity of money adds a pragmatic reality to the otherwise sentimental end. Further, the play's end does not suggest that the absurd contradictions of humanity will go away, which could lead to the belief that such problems will never go away, eve n if the play wraps up nicely within its five acts. 8. Define what â€Å"town† and â€Å"country† mean in the context of this play, using characters as examples.There is a strong conflict between town and country set up from the very opening of the play, when Mr. and Mrs. Hardcastle argue about the virtues and vices of town and country. The town is associated with several elements: wealth and pretension, education, style, and in the broadest sense, living life for itself. The country is associated with simplicity and a slower, more considered way of life. The characters who come from town are certainly to be admired, and would be by Goldsmith's audience.And yet they are shown to have serious faults, particularly in terms of their pretensions and cruelty towards Hardcastle when they think he is a landlord and not their host. Likewise, while the theatre audience at the time would probably consider the country characters to be overly simple, there is a great kindness reve aled in the way Hardcastle is willing to forgive everyone despite how he is treated. The best character overall is Kate, who shows a moderation in her way to find â€Å"refined simplicity† by embracing the best of both worlds. . Explain how much of Goldsmith's comedy relies on his ability to set-up a joke. Most of the comedy in  She Stoops to Conquer  comes from the deep dramatic irony wherein characters do not realize quite who one another are. However, for the audience to clearly understand all the complications, Goldsmith has to set up the details of the jokes to come. He does this masterfully in Act I. For instance, it is set up that the old Hardcastle home resembles an inn, important so that we believe Marlow and Hastings could believe as much.Further, the strange behavior whereby Kate dresses plainly in the evenings is important so as to understand Marlow's confusion over her class standing. Throughout the play, elements are introduced, or â€Å"set-up,† so t hat our expectations can be manipulated later. The use of the jewels, of Tony and his mother's relationship, and of who is lying to whom are all examples of set-ups that produce great comic dividends. 10. How can one make a Freudian analysis of this play?Though it is folly to suggest an explicitly Freudian intent in this play (since it was written so much earlier than Freud's day), the same could be said about  Oedipus Rex  or  Hamlet, both of which stand as seminal texts in Freud's theories. There are definitely Freudian undercurrents in the Oedipal complex suggested as existing between Tony and Mrs. Hardcastle, and more implicitly between Marlow and his mother. The former is expressed in Tony's professed hatred of his mother, though it is a hatred that makes him insistent on constantly waging war with her.If he truly despised her, he could simply blow her off, but he takes too much pleasure in wickedly tormenting her through his tricks and behavior. Many characters remark on how they spoil one another, which parallels a sort of destructive romantic relationship, all of which can be interpreted through a Freudian lens. In terms of Marlow, his strange behavior can be linked to a self-hatred, an inability to appreciate his own love of â€Å"immodest† woman and inability to speak to â€Å"modest† woman whom he feels he ought to appreciate.At one point, he mentions that his mother was the only â€Å"modest† woman he could ever speak to, which could suggest that their relationship has polluted him somewhat, led him to compare other women to her and hence to grow into a bumbler when attempting to woo them romantically. Quotes and Analysis 1. â€Å"Let school-masters puzzle their brain, With grammar, and nonsense, and learning; Good liquor, I stoutly maintain, Gives genius a better discerning. † Tony Lumpkin's song, Act I, pg. 6 This opening to Tony's song helps to establish one of Goldsmith's aims – to properly appreciate â €Å"low† behavior.Here, Tony sets two different lifestyles in opposition: proper life versus base life. While the play has a conservative streak that keeps it from entirely embracing baseness as the key to life, it does propose that moderation ought accept that a life of â€Å"good liquor† can grant us a perspective into human absurdity and folly, whereas a life solely dedicated to proper education would not provide such insight. 2. â€Å"So I find this fellow's civilities begin to grow troublesome. But who can be angry at those assiduities which are meant to please him! † Hastings, about Hardcastle, Act II, p. 8 Hastings speaks this to himself about Hardcastle, whom Hastings still thinks is the landlord. Hardcastle's attempts to speak with Hastings and Marlow are annoying the latter two. To some extent, the quote is a great indication of the dramatic irony that gives most of the weight to the play's comedy. However, it also touches on the confusion of class, be havior, and expectation that is central to the play's themes. What Hastings asks could be argued to be true of all aristocratic folk who are particular and picky about what is â€Å"acceptable† to their standard of living.Goldsmith suggests a view of humanity that is far more complex, contradictory, and nuanced, and finds amusing and absurd the nature of humankind that leads high-class folk to look down upon the fun part of life that is meant to please them. 3. â€Å"Pardon me madam. I was always willing to be amused. The folly of most people is rather an object of mirth than uneasiness. † Marlow, to Kate, Act II, pg. 20 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.This quote is very much a statement of Goldsmith's perspective on the world, and a defense of his purpose in vaulting â€Å"laughing comedy† above â€Å"sentimental comedy. † Part of what both defines Goldsmith's perspective and mark s Kate as the heroine is the ability to laugh at folly, rather than judging harshly a person's lapse from virtue. 4. â€Å"True madam; those who have most virtue in their mouths, have least of it in their bosom. † Marlow to Kate, Act II, pg. 22 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.It is a straightforward yet profound declaration about the hypocrisy and contradictions of people. While Goldsmith finds these contradictions and the absurdity engendered by them amusing (consider Marlow's different behaviors and how so much comedy comes from them), he equally finds the hypocrisy of sanctimony unattractive. It is this sanctimony that offends him about sentimental comedy, and which also infects his â€Å"high†' characters. The truth is that Marlow and Hastings love pub food over more refined fare, or that Mrs. Hardcastle's virtue hides greed for her son. . â€Å"It's very odd, I can read the outside of my l etters, where my own name is, well enough. But when I come to open it, it's all – buzz. That's hard, very hard; for the inside of the letter is always the cream of the correspondence. † Tony, about the letter that's arrived from Hastings, Act IV, pg. 45 Tony cannot read the letter that arrives from Hastings (bearing the news that Hastings is waiting for him in the garden). However, this quote produces a great symbol for one the play's themes: the absurd contradictions that truly define people.Where high-minded folks (and the sentimental comedy Goldsmith believes they prefer) tries to praise their superficial virtue, he believes that people deep down are actually full of contradictions and attractions to more â€Å"low† interests. In the same way that the outside of the letter is recognizable and suggests an easy identity, while the inside is more complicated and harder to read, so it is that the characters in Goldsmith's play are recognizable comic types at first but far more complex when investigated. 6. â€Å"Ha, ha, ha, I understand; you took them in a round, while they supposed themselves going forward.And so you have at last brought them home again. † Hasting, to Tony, Act V, pg. 53 Literally, the quote concerns the way Tony drove Mrs. Hardcastle and Constance around haphazardly so that they wouldn't be too far from the Hardcastle home. However, it is a great symbol for the structure of the play as well. At the beginning, everyone's goal is clear: Marlow and Kate are meeting to judge each other as potential mates; Hastings wants to see his beloved; and the parents are interested in securing favorable matches for their children.The one exception is Tony, whose conception of life is that fun and liveliness are the guiding principles. However, Goldsmith wishes us to see that such a philosophy is more than just hedonism, but rather can lead to greater happiness and truth. Because of Tony's tricks (the biggest of which is that which he plays on Marlow and Hastings), everyone has a crazy night of mistakes but ends up â€Å"home† again, grounded and happier than they otherwise would have been. 7. â€Å"Prudence once more comes to my relief, and I will obey its dictates. In the moment of passion, fortune may be despised, but it ever produces a lasting repentance.I'm resolved to apply to Mr. Hardcastle's compassion and justice for redress. † Constance, to Hastings, Act V, pg. 56 In Constance's idea of how she and her beloved should proceed, we get a glimpse of the pragmatism that keeps Goldsmith's play from ever veering into cliche sentimental territory even if the ending is somewhat a conventional â€Å"happy ending. † The truth is that, while in plays and entertainments lovers will happily choose one another at the expense of money, Goldsmith wishes us to see that in real life, fortune cannot be so easily written off for those who lack sufficient income.Constance cannot run off into the sunse t with Hastings – life requires money – and so she must apply to Hardcastle for help. It's a pragmatic truth that colors and deepens the play. 8. â€Å"I have lived, indeed, in the world, madam; but I have kept little company. I have been but an observer upon life, madam, while others were enjoying it. † Marlow, to Kate, Act II, pg. 20 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.Though Marlow is stammering, he touches upon one of the central questions of the play: whether it is better to stay removed from life, judging it, or to live in all of its complexity and absurdity? Obviously, Goldsmith answers with the latter option, though his full response values moderation more than a simple choice. The best option is to live life but also to be able to judge and laugh at it. Kate is able to do this because she appreciates both the country and the city way of life, whereas most other characters pay for vee ring too strongly in one or the other direction. . â€Å"Ask me no questions, and I'll tell you no fibs. I procured them by the rule of thumb. If I had not a key to every drawer in mother's bureau, how could I go to the alehouse so often as I do? An honest man may rob himself of his own at any time. † Tony, to Hastings, Act III, pg. 29 Literally, Tony is explaining to Hastings how he was able to steal the jewels he passes on to them. But this quote further illustrates his philosophy of life, which espouses a more complex idea of virtue and vice than that assumed by the high-class characters.For Tony, a man is allowed to â€Å"rob himself,† which could mean more than just taking money or jewels, but also engaging in baseness for oneself (such as he does at the alehouse). In fact, to engage in our baser nature is not only acceptable but preferable since it acknowledges a truth of who we are. He would not go so far as to harm or â€Å"rob† others, as he says, meani ng he engages in such behavior not to harm anyone else, but just to enjoy his own life. Many of the characters play around with this theme, in coming towards their acceptance of their real human, base natures.Tony stands as the central proponent of this philosophy. 10. â€Å"Pshaw, pshaw! This is all but the whining end of a modern novel. † Mrs. Hardcastle, Act V, p. 59 Mrs. Hardcastle snidely makes this observation as both couples are arranging their happiness in the play's final moments. It is a useful observation to consider, since it also serves as a bit of commentary on the play itself, perhaps sculpted by Goldsmith to provide awareness that his play is veering into the very territory he professed it would eschew: that of the sentimental comedy that praises virtue rather than mocking folly.Whether or not his play is guilty of the trespasses it seeks to condemn is open to interpretation, but the fact that Goldsmith is deliberately confronting these questions of how to cra ft an entertaining, satisfying work while trying not to undercut his message and theme is undeniable, as this quote shows. He is aware that the end could be construed that way, and is attempting to address it. Having this complaint come from the least discerning character in the play shows that Goldsmith might believe a more discerning audience would see his ending is not quite so sentimental. She Stoops to Conquer is a master piece in using dramatic irony . Explain? The play is a masterpiece of dramatic irony, which is a device where the audience has information and knowledge that the characters do not. From the moment Tony plays the practical joke on Marlow and Hastings, the audience learns secrets that will grow more complicated and hence create confusion that leads to hilarious situations. The best example is perhaps the way Marlow and Hastings treat Hardcastle, because they think him a landlord.Because we understand the details of the confusions, we understand the jokes whereas the characters only grow more offended. However, the behavior wrought by the dramatic irony reveals much of Goldsmith's view on humanity and class. The same example listed above is funny, but also shows the cruelty that comes from a rich man's entitlement. Throughout the play, much of the class commentary derives from the behaviors people show when they don’t' realize they are being judged. Kate exploits this to try and find out what kind of person Marlow actually is. 2. discuss humor in she stoops to conquer The second play of Goldsmith ‘She Stoops to Conquer' was produced in 1771. This play marks a departure from the first play and practically introduces the reign of humour in comedy. The entire play with its fun and humour, its intrigues and sparkling dialogues, its mischievous tricks and roguish attempts by Tony Lumpkin deals a direct blow on the sentimental comedy. A piquant observation, elements of ingenious and new realism, a welling froth of pleasantry that nev er dries up, bathe even the rare movements when emotion could rise all go to make this charming comedy an unalloyed source of amusement.The principal characters of this comedy are Mr. Hardcastle who loves everything that is old; old friends, old times, old manners, old books, old wine etc. Mrs Hardcastle and Miss Hardcastle their daughter; Mrs Hardcastle’s son by a former marriage, Tony Lumpkin, a frequenter of ‘The Three Pigeons’, idle and ignorant, but cunning and mischievous, and doted on by his mother; and young Marlow, one of the most bashful and reserved young fellows in the world except with barmaids and servant-girls.Marlow’s father, Sir Charles Marlow has proposed a match between young Marlow and Miss Hardcastle and the young man and his friend, Hastings accordingly travel down to pay the Hardcastles a visit. Losing their way they arrive at night at ‘The Three Pigeons’, where Tony Lumpkin decides to play a prank on them. He directs th em to a neighbouring inn, which is in reality the Hardcastle’s House. The fun of the play arises largely from the resulting misunderstanding, Marlow treating Mr Harcastle as the Landlord of the supposed inn and making violent love to Miss Hardcastle, whom he takes for on of his servants.This contrasts with his bashful attitude when presented to her in real character. The arrival of Sir Charles Marlow clears up the misconception and all ends well, including the subsidiary love affair between Hastings and Miss Hardcastle’s cousin, Miss Neville, whom Mrs Harcastle destines for Tony Lumpkin. The play is a charming one in which the rough edges of the world are ground smooth, in which faults turn out to be virtues and mistakes to be blessings. Its characters are particularly delightful. Tony Lumpkin is a genuine child of the soil and is said to be a monitor.Tony Lumpkin is loved by the readers of the comedy for his pleasant fun and nice jokes. Mr Hardcastle is another charac ter whom we all like because he loves everything that is old. Mrs Hardcastle who appears more like a sentimental mother becomes pathetic because of the way in which she is treated by her son, Tony Lumpkin. Young Marlow and Miss Hardcastle come out as fine lovers and this pair of lovers is well matched by Hastings and Miss Hardcastle’s cousin. In ‘She Stoops to Conquer’ Goldsmith succeeds in introducing the humour of the finest type.The plot also is well-knitted and the characters have everything of comedy about them. The old mawkish sentimentality is driven out and sense of pathos is supplanted by mirth and delight. Tony’s treatment of his mother, particularly when he drives her round and round the house, would have been extremely pathetic. Goldsmith drives out pathos from the scene and makes it truly comic. Thus everywhere in ‘She Stoops to Conquer’ Goldsmith introduces the qualities of a true comedy. 3. She stoops to conquer is a comedy of m anners. DiscussThough it is only explicitly referred to in the prologue, an understanding of Goldsmith's play in context shows his desire to reintroduce his audience to the â€Å"laughing comedy† that derived from a long history of comedy that mocks human vice. This type of comedy stands in contrast to the then-popular â€Å"sentimental comedy† that praised virtues and reinforced bourgeois mentality. Understanding Goldsmith's love of the former helps to clarify several elements of the play: the low scene in the Three Pigeons; the mockery of baseness in even the most high-bred characters; and the celebration of absurdity as a fact of human life. . Compare between Marlow and Hasting? Marlow is a shy young man, who has a hard time communicating with ladies. He's a gentleman and considered to be honorable, but when put to the task of proposing to a young woman of quality†¦.. he becomes tongue tied and unable to speak. Note†¦.. he has no trouble speaking to those he believes are not up to his own standards. Hasting, on the other hand, is a confidant and well-spoken young man, no matter who he speaks with. He could charm just about any woman of any class†¦Ã¢â‚¬ ¦. he might want to give marlow some lessons. Major ThemesClass While the play is not explicitly a tract on class, the theme is central to it. The decisions the characters make and their perspectives on one another, are all largely based on what class they are a part of. Where Tony openly loves low-class people like the drunks in the Three Pigeons, Marlow must hide his love of low-class women from his father and â€Å"society. † His dynamic relationship with Kate (and the way he treats her) is defined by who he thinks she is at the time – from high-class Kate to a poor barmaid to a woman from good family but with no fortune.Hastings’ and Marlow’s reaction to Hardcastle is also a great example of the importance of class—they find him impudent and absurd, because they believe him to be of low class, but his behavior would be perfectly reasonable and expected from a member of the upper class, as he truly is. Money One of the factors that keeps the play pragmatic even when it veers close to contrivance and sentiment is the unavoidable importance of money. While some of the characters, like Marlow and Hardcastle, are mostly unconcerned with questions of money, there are several characters whose lives are largely defined by a lack of access to it.Constance cannot run away with Hastings because she worries about a life without her inheritance. When Marlow thinks Kate is a poor relation of the Hardcastles, he cannot get himself to propose because of her lack of dowry. And Tony seems to live a life unconcerned with wealth, although the implicit truth is that his dalliances are facilitated by having access to wealth. Behavior/Appearance One of the elements Goldsmith most skewers in his play's satirical moments is the aristocratic emp hasis on behavior as a gauge of character.Even though we today believe that one's behavior – in terms of â€Å"low† versus â€Å"high† class behavior – does not necessarily indicate who someone is, many characters in the play are often blinded to a character's behavior because of an assumption. For instance, Marlow and Hastings treat Hardcastle cruelly because they think him the landlord of an inn, and are confused by his behavior, which seems forward. The same behavior would have seemed appropriately high-class if they hadn't been fooled by Tony.Throughout the play, characters (especially Marlow) assume they understand someone's behavior when what truly guides them is their assumption of the other character's class. Moderation Throughout the play runs a conflict between the refined attitudes of town and the simple behaviors of the country. The importance of this theme is underscored by the fact that it is the crux of the opening disagreement between Hard castle and his wife. Where country characters like Hardcastle see town manners as pretentious, town characters like Marlow see country manners as bumpkinish.The best course of action is proposed through Kate, who is praised by Marlow as having a â€Å"refined simplicity. † Having lived in town, she is able to appreciate the values of both sides of life and can find happiness in appreciating the contradictions that exist between them. Contradiction Most characters in the play want others to be simple to understand. This in many ways mirrors the expectations of an audience that Goldsmith wishes to mock. Where his characters are initially presented as comic types, he spends time throughout the play complicating them all by showing their contradictions.Most clear are the contradictions within Marlow, who is both refined and base. The final happy ending comes when the two oldest men – Hardcastle and Sir Charles – decide to accept the contradictions in their children. In a sense, this theme helps to understand Goldsmith's purpose in the play, reminding us that all people are worthy of being mocked because of their silly, base natures, and no one is above reproach. Comedy Though it is only explicitly referred to in the prologue, an understanding ofGoldsmith's play in context shows his desire to reintroduce his audience to the â€Å"laughing comedy† that derived from a long history of comedy that mocks human vice. This type of comedy stands in contrast to the then-popular â€Å"sentimental comedy† that praised virtues and reinforced bourgeois mentality. Understanding Goldsmith's love of the former helps to clarify several elements of the play: the low scene in the Three Pigeons; the mockery of baseness in even the most high-bred characters; and the celebration of absurdity as a fact of human life. Deceit/Trickery Much of this play's comedy comes from the trickery played by various characters.The most important deceits come from Tony, including his lie about Hardcastle's home and his scheme of driving his mother and Constance around in circles. However, deceit also touches to the center of the play's more major themes. In a sense, the only reason anyone learns anything about their deep assumptions about class and behavior is because they are duped into seeing characters in different ways. This truth is most clear with Marlow and his shifting perspective on Kate, but it also is true for the Hardcastles and Sir Charles, who are able to see the contradictions in others because of what trickery engenders.

Emotional Intelligence and Empathy in Leadership Essay...

Introduction Throughout the years we have seen significant changes in â€Å"Corporate America,† changes that have seriously impacted those in the workplace and consumers as well. It is a dog eat dog world out there due to the economic stresses of today. This daily struggle to survive in the workplace has affected the lives of everyone involved as interpersonal skills are declining especially among company executives. Are academic institutions to blame for this obvious lack of concern for others in the workplace? It has been suggested in the following studies that higher level education is lacking in regard to the study of emotional intelligence and empathy within their business leadership programs. Empathy is defined as, â€Å"the feeling that†¦show more content†¦Interestingly, responses were similar in that the ranking for top and bottom requirements for effective leadership were consistent among the group. The second part of this study included 35 working adult students in two MBA courses. These students were briefed on the findings from part one of the study and then were given an anonymous survey as well. This research question was posed based on the findings of part one of the study, â€Å"Why do you think empathy was considered least important among the 10 leadership qualities presented† (Marques, 2012)? Results After careful analysis and comparison the researchers organized eight motives why empathy was not important to leaders. The responders felt that having empathy would interfere with ethical and or rational decision making. They perceived this emotion as a sign of weakness and that they felt they did not have enough experience to even recognize it as a part of a leadership position. The responders also felt that there was a disassociation between humanity and business and described empathy as not a stable emotion. 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