A Comparative of Shakespeares Othello and Oedipus Rex

A Comparative of Shakespeare’s Othello and Oedipus Rex In Shakespeare’s work Othello: The Moor of Venice, Othello’s over trusting nature was revealed when his trust in false accusations about his wife Desdemona’s unfaithfulness causes him to kill her and himself, conveying Othello as a tragic hero. Oedipus, the main character in Oedipus Rex, is characterized as a tragic hero when he tries to run away from his fate and finds out that the cause of his fate was his attempt to escape it. Oedipus Rex and Othello share a common thematic link in fact that both main characters meet the qualifications of a tragic hero at some point, the differences in how they meet Aristotle’s definition of a tragic hero also create themes unique to each. Othello and Oedipus are similar in the requirements to be tragic heroes of having a high position. After Othello discovers that Brabantio, who is his wife’s dad, is unhappy about Othello marrying Desdemona, he reveals that he is not worried about the Duke and Senate following through with Brabantio request to punish him by saying to Iago, â€Å"Which when I know that boasting is an honor,/ I shall promulgate – I fetch my life and being / From men of royal siege,† (1.2 20 – 22). Evidence shows that, Othello is of royal ancestry, has power and a title in a land predominantly white people is a big accomplishment in Shakespeare’s time. Oedipus is a great king. In the prologue of the play Oedipus Rex, Oedipus is discussing with the Priest who is of high

Key Teamwork and Leadership Theories Essay - 1984 Words

Teamwork is a vital aspect of the public and community services. These services consist of groups of people working together to achieve a mutual goal/aim. Teamwork is a key element for having a successful and efficient team. The way a team works together influences how successful they are and how efficient and effective they can be in achieving their common goals/aims. This essay will evaluate various teamwork theories, that explain the stages of forming a group and how it develops into a well established team. Examples of these theories include: Tuckmans theory of team development, Belbins team roles, conflict theory, pluralism, trait theory and social learning theory. This essay will consider Tuckmans theory of team development, trait†¦show more content†¦This leadership style bases itself on McGregor’s Theory X, that regards team members to be careless and disliking work, assumes they attempt to avoid work as much as possible, and are in need of guidance from their leader. There are two definite strengths of authoritarian leadership: efficiency and productiveness. These both impact the team positively, as team members will feel satisfied - having completed a task/accomplished a goal successfully. Generally, the more efficient and productive a team, the more likely they are to be successful. Authoritarian leaders are proficient at motivating others. This leadership style allows for fast decisions which can be a lengthy process in other leadership styles such as bureaucratic. This essentially allows the team to begin a project and complete it promptly. An example of where this leadership is most effective is in the Armed forces. There is a clear defined structure of ranks and roles within the regiment. There is one leader in charge (the general) who instructs lower ranks and gives orders. The sergeant does this without any input from lower ranks. 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History of a merge Free Essays

In November 2004, Jim Kilts called A. G. Lafley at PG’s Cincinnati headquarters. We will write a custom essay sample on History of a merge or any similar topic only for you Order Now Kilts, who had been Chairman and CEO of Gillette for 4 years, was seeking a buyer of the global Boston-based company. Lafley, who had been Chairman and CEO of PG for over 4 years, was out of the office and had to call him back, unaware of what Kilts was about to propose. Lafley questioned Kilts on three topics. First, what was Gillette’s price? Kilts said he wanted a fair offer. Not $60 per share, but not $50. †Jim,† Lafley responded, â€Å"I can do the math. Are you thinking Gillette holdings into PG stock and options and hold them for an agreed period of time. He would also consider staying with PG for a year after official merger. Finally, Lafley asked about the description of the new culture he helped forge during his turnaround of PG. â€Å"The PG culture is more collaborative, open, and competitive than you may know it to be,† he said. Three days later, Lafley met Kilts’s personal office in Rye, New York. They spoke the entire afternoon and agreed to expand negotiations to include select senior managers. At one points , Kilts asked Lafley why he didn’t bring any bankers or lawyers. Lafley said they won’t necessary. Kilts, Gillette CFO Chuck Cramb, and vice chairman Ed DeGRaan met with Lafley and his CFO, Clayt Daley, to work out the merger teams. Culture and tone were major issues for Lafley. we were looking for a collaborative culture,â€Å" he said. â€Å"In fact, I decided that we were going to be collaborative in the negotiations. We had a friendly deal here, and there was no reason not to have the cards on the table. † Lafley called someone that both he and Kilts respected, Rajat Gupta, former managing director of McKinsey, who urged Kilts to give Lafley an open look at potential cost synergies and a peek at Gillette’s planned technological innovations. Kilts agreed. But come December 2005, they halted negotiations, realizing that they couldn’t strike an agreement before the upcoming analyst meetings and holidays. Lafley called Kilts back after Christmas. From a strategy standpoint, Lafley considered the acquisition a â€Å"no-brainer. † Both companies would obtain the scale needed to drive the global expansion of its products PG’s developing market size was five times Gillette’s $11 billion in annual sales versus $2. 2 billion. Together, the combined entity would include 21 billion dollar brands, 16 from PG and 5 from Gillette. Gillette’s brands further migrated PG’s products portfolio toward high-margin beauty, health and personal care categories. The merger would fortify retail customer relationship, especially through the combined knowledge of male consumers, from Gillette, and female buyers, from PG. And they could leverage respective business strengths, such as Gillette’s trade-up practices and PG’s go-to-market expertise, to improve growth. How to cite History of a merge, Essay examples

Analysis of Shelleys Ode To the West Wind Ode to Essay Example For Students

Analysis of Shelleys Ode To the West Wind Ode to Essay the West Wind EssaysAnalysis of Shelleys Ode To the West Wind In Ode to the West Wind, Percy Bysshe Shelley tries to gaintranscendence, for he shows that his thoughts, like the winged seeds (7) aretrapped. The West Wind acts as a driving force for change and rejuvenation inthe human and natural world. Shelley views winter not just as last phase ofvegetation but as the last phase of life in the individual, the imagination,civilization and religion. Being set in Autumn, Shelley observes the changingof the weather and its effects on the internal and external environment. Byexamining this poem, the reader will see that Shelley can only reach hissublime by having the wind carry his dead thoughts (63) which through anapocalyptic destruction, will lead to a rejuvenation of the imagination, theindividual and the natural world. Shelley begins his poem by addressing the Wild West Wind (1). Hequickly introduces the theme of death and compares the dead leaves to ghosts(3). The imagery of Pestilence-stricken multitudes makes the reader awarethat Shelley is addressing more than a pile of leaves. His claustrophobic moodbecomes evident when he talks of the wintry bed (6) and The winged seeds,where they lie cold and low/ Each like a corpse within its grave, until/ Thineazure sister of the Spring shall blow (7-9). In the first line, Shelley usethe phrase winged seeds which presents images of flying and freedom. Theonly problem is that they lay cold and low or unnourished or not elevated. He likens this with a feeling of being trapped. The important word is seedsfor it shows that even in death, new life will grow out of the grave. Thephrase winged seeds also brings images of religions, angels, and/or soulsthat continue to create new life. Heavenly images are confirmed by his use ofthe word azure which besides meaning sky blue, also is defined, in WebstersDictionary, as an unclouded vault of heaven. The word azure, coupled withthe word Spring, helps show Shelleys view of rejuvenation. The wordSpring besides being a literary metaphor for rebirth also means to rise up. Inline 9, Shelley uses soft sounding phrases to communicate the blowing of thewind. This tercet acts as an introduction and a foreshadow of what is to comelater. Shelley goes on to talk of the wind as a Destroyer and Preserver whichbrings to mind religious overtones of different cultures such as Hinduism andNative Indian beliefs. The poem now sees a shift of the clouds which warns ofan upcoming storm. This helps Shelley begin to work towards a final climax. He then writes of the mourning song Of the dying year, to which this closingnight/ Will be the dome of a vast sepulchre/ Vaulted with all they congregatedmight (23-25). Again, the reader feels somewhat claustrophobic. The closingnight feels as if it is surrounding the author as he writes and the reader ashe or she reads. The closing night is used also to mean the final night. Shelley shows how he cannot have a transcendence even in an open sky for eventhe sky is a dome. The sepulchre is a tomb made out of rock and hisimagination and the natural world will be locked and Vaulted tight. But infollowing lines Shelley writes how this sepulchre will burst (28). In thatsense, Vaulted takes on the meaning of a great leap and even a spring. Shelley uses the phrase congregated might not just to mean a collaborativeeffort, but to represent all types of religion. Shelley seems to use obtusephrasing to frighten the reader and to show the long breath of the wind. .u216dcf273f37283f8315e26b4ef0be3a , .u216dcf273f37283f8315e26b4ef0be3a .postImageUrl , .u216dcf273f37283f8315e26b4ef0be3a .centered-text-area { min-height: 80px; position: relative; } .u216dcf273f37283f8315e26b4ef0be3a , .u216dcf273f37283f8315e26b4ef0be3a:hover , .u216dcf273f37283f8315e26b4ef0be3a:visited , .u216dcf273f37283f8315e26b4ef0be3a:active { border:0!important; } .u216dcf273f37283f8315e26b4ef0be3a .clearfix:after { content: ""; display: table; clear: both; } .u216dcf273f37283f8315e26b4ef0be3a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u216dcf273f37283f8315e26b4ef0be3a:active , .u216dcf273f37283f8315e26b4ef0be3a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u216dcf273f37283f8315e26b4ef0be3a .centered-text-area { width: 100%; position: relative ; } .u216dcf273f37283f8315e26b4ef0be3a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u216dcf273f37283f8315e26b4ef0be3a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u216dcf273f37283f8315e26b4ef0be3a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u216dcf273f37283f8315e26b4ef0be3a:hover .ctaButton { background-color: #34495E!important; } .u216dcf273f37283f8315e26b4ef0be3a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u216dcf273f37283f8315e26b4ef0be3a .u216dcf273f37283f8315e26b4ef0be3a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u216dcf273f37283f8315e26b4ef0be3a:after { content: ""; display: block; clear: both; } READ: Reamer's Guide And The Nohse Standards EssayShelley wants the reader to visualize the dome as having a presence like avolcano. And when the dome does burst, it will act as a Destroyer andPreserver and creator. The use of the words Black rain and fire and hail(28) also helps the reader prepare for the apocalyptic climax which Shelleyintended. As the rising action continues, Shelley talks of the Mediterranean(31) and its summer dreams (30). In the dream, the reader finds the sealaying Beside a pumice isle in Baiaes bay/ And saw in sleep old palaces andtowers/ Quivering within the waves intenser day (32-34). Shelley implantsthe idea of a volcano with the word pumice. The old palaces and towers stirvivid images of ancient Rome and Greece in the readers mind. Shelley also usesthese images in the seas dream to show that the natural world and the humansocial and political world are parallel. Again, he uses soft sounding words,but this time it is used to lull the reader into the same dream-like state ofthe Mediterranean. The pumice shows destruction and creation for when thevolcano erupts it destroys. But it also creates more new land. The pumice isprobably Shelleys best example of rebirth and rejuvenation. The wordQuivering is not just used to describe the reflection of images in the water. It is also used to show a sense of fear which seems to be the most common moodand emotion in this poem. Is Shelley perhaps making a comment that at the rootof peoples faith is fear of vengeful god? Maybe, but the main focus of thispoem is not just religion, but what religion stands for which is death andrebirth. Could line 34, also be a comment on Shelley himself? In the final stanzas, Shelley has the wind transforming from the naturalworld toward human suffering. Shelley pleads with the wind: Oh! lift me as awave, a leaf, a cloud! (54). He seeks transcendence from the wind and says:I fall upon the thorns of life! I bleed (55). Shelley shows Christ not as areligion, but as a hero of sacrifice and suffering, like the poet himself. Heagain pleads for the wind: Drive my dead thought over the universetoquicken a new birth! (63-64). He asks the wind to Scatter, as from anunextinguished hearth/ Ashes and sparks, my words among mankind!/ Be throughmy lips to unawakened Earth (66-68). The wo rds unextinguished hearthrepresent the poets undying passion. The hearth is also at the centre of theearth which helps make the connection between humanity and nature. Both areconstantly trying to reinvent themselves. When one scatters ashes its atones death and that person becomes one with the earth. When one scatterssparks it is these sparks that create new fires of creation and destruction. These new sparks arise when the dome explodes and abandons old ways. Canone ever escape the roots of creation? Shelley has many Blakean overtones ofcreation and destruction in the final tercet of this poem. Shelleys says thathis lips are the trumpet of prophecy (69). And many say that Wordsworth isegotistical? Again, he uses biblical sounding words to add drama and importanceto his prophetic vision. And it definitely helps achieve Shelleys intendedclimax when he asks with hope: If Winter comes, can Spring be far behind?(70).This sentence could be rewritten substituting the word death, for the wordWinter, and the word rebirth, could take the place of spring. Shelley, like all of the Romantic poets, constantly tries to achieve atranscendence to sublime. In Ode to the West Wind, Shelley uses the wind asa power of change that flow through history, civilization, religions and humanlife itself. Does the wind help Shelley achieve his transcendence? It seemsit has in some sense, but Shelley never achieves his full sublime. In poemssuch as Stanzas written in Dejection Near Naples Shelley uses images oflightning (15) and flashing (16) which help demonstrate that he can onlyattain a partial sublime unlike a poet like William Wordsworth. Perhaps thatswhy he tries to give rebirth to his individual imagination. One can neverrestart totally new. Even the trees that will grow from the winged seeds arenot totally new, but that is the point Shelley is trying to make. He feelshimself to be part of a continuing cycle. Since Shelley is an atheist the onlyway his soul can live on is through the incantation of his words. So, if histranscendence is to live on in eternity and create inspiration and change inothers like the West Wind, then he has achieved something greater than he couldhave imagined. But whether he grasped a complete transcendence for himselfwhile he was alive remains to be answered. It seems that it is only in hisdeath that the Wild Spirit (13) could be lifted as a wav e, a leaf, a cloud to blow free in the Wild West Wind (1).