Swot Analysis for Coke

Strengths Weaknesses/Limitations, Opportunities, and  Threats involved in the business Coca Cola SWOT ANALYSIS The Coca-Cola Company (Coca-Cola) is a leading  manufacturer, distributor and marketer of  Non-alcoholic beverage concentrates and syrups, in the world. Coca-Cola has a strong brandname and brand  portfolio. Business-Week and Interbrand, a branding consultancy, recognizeCoca-Cola as one of the leading brands in their top 100  global brands ranking in 2006. TheBusiness Week-Interbred valued Coca-Cola at $67,000 million in 2006.Coca-Cola ranks wellahead of its close competitor Pepsi which has a ranking of 22  having a brand value of $12,690million The Company’s strong brand value facilitates customer recall and allows  Coca-Cola topenetrate markets. However, the company  is threatened by intense competition which could  havean adverse impact on the company’s market share. Strengths Weaknesses World’s leading brand Large scale of operation s Robust revenue growth in three segment Negative publicity Sluggish performance in  North America Decline in cash from operating  activities Opportunities ThreatsAcquisitions Intense competition Growing bottled water market Growing Hispanic population in USIntense competition. Dependence on bottling partners Sluggish growth of carbonated beverages Strengths World’s leading brand Coca-Cola has strong brand recognition across the globe. The company has a leading brand value and a  strong brand portfolio. Business-Week and Interbrand, a branding  consultancy, recognize. Coca-Cola as one of the leading brands in their top 100  global brands ranking in2006. The Business Week-Interbrand valued Coca-Cola at $67,000 million in 2006.Coca-Colaranks well ahead of its close competitor Pepsi which has a ranking of 22  having a brand value of  $12,690 million Furthermore, Coca-Cola owns a large portfolio of  product brands. The company owns four of the top five soft drink brands in the  world: Coca-Cola, Diet Coke, Sprite and Fanta. Strong brands allow the company  to introduce brand extensions such  as Vanilla Coke, CherryCoke and Coke with Lemon. Over the years, the company has  made large investments in brand promotions. Consequently, Coca-cola is one  of the best recognized  global brands.The company’s strong brand value facilitates customer recall and  allows Coca-Cola to penetrate new markets and consolidate existing ones. Strengths World’s leading brand Coca-Cola has strong brand recognition across the globe. The company has a leading brandvalue and a  strong brand portfolio. Business-Week and Interbrand, a branding  consultancy,recognize. Coca-Cola as one of the leading brands in their top 100  global brands ranking in2006. The Business Week-Interbrand valued Coca-Cola at $67,000 million in 2006.Coca-Colaranks well ahead of its close competitor Pepsi which has a ranking of 22  having a brand value of  $12 ,690 million Furthermore, Coca-Cola owns a large portfolio of  product brands. The companyowns four of the top five soft drink brands in the  world: Coca-Cola, Diet Coke, Sprite and Fanta. Strong brands allow the company  to introduce brand extensions such  as Vanilla Coke, CherryCoke and Coke with Lemon. Over the years, the company has  made large investments in brandpromotions. Consequently, Coca-cola is one  of the best recognized  global brands.Thecompany’s strong brand value facilitates customer recall and  allows Coca-Cola to penetrate newmarkets and consolidate existing ones. Coca-Cola Company, The SWOT Analysis Large scale of  operations With revenues in excess of $24 billion Coca-Cola has a large scale of  operation. Coca-Cola is the largest manufacturer, distributor and marketer of  nonalcoholic beverage concentrates and syrups in the world. Coco-Cola is selling trademarked beverage products since the year 1886 in the US. The company currently sells its products in more than 200 countries.Of the approximately 52billion  beverage  servings  of  all  types  consumed  worldwide  every  day,  beverages  bearingtrademarks owned by or licensed to Coca-Cola account for more than 1. 4 billion. The company’s operations are supported by  a strong infrastructure across the world. Coca-Cola owns and  operates  32  principal beverage concentrates  and/or  syrup manufacturing plantslocatedthroughout the world. In addition, it owns or has interest in 37 operations with 95 principalbeverage bottling and  canning  plants  located outside the  US.The  company  also owns bottledwater  production  and  still  beverage  facilities  as  well  as  a  facility  that  manufactures  juiceconcentrates. The  company’s large  scale  of operation allows it  to  feed upcoming  markets withrelative ease and enhances  its revenue generation capacity. Robus t revenue growth in three segments Coca-cola’s revenues recorded a double digit  growth, in three operating segments. These threesegments are Latin America, ‘East, South Asia, and  Pacific Rim’ and Bottling investments. Revenues from Latin America grew by 20. % during fiscal 2006,  over 2005. During the  sameperiod, revenues from ‘East, South Asia, and Pacific Rim’ grew by 10. 6% while revenues from  thebottling investments segment by  19. 9%. Together, the  three segments of  Latin America, ‘East,South Asia, and Pacific Rim’ and bottling investments, accounted for 34. 8% of total revenuesduring fiscal 2006. Robust revenues growth rates in these segments  contributed to top-linegrowth for Coca-Cola during 2006. Weaknesses Negative  publicity The company  received negative publicity  in  India  during  September 2006.The  company  wasaccused  by  the  Center  for  Science  and  Environment  (CSE)  of  selling  products  containingpesticide residues. Coca-Cola products sold in and around the Indian national capital regioncontained  a  hazardous  pesticide  residue. These  pesticides included chemicals which  couldcause cancers, damage the nervous  and reproductive systems and reduce bone  mineral density. Such negative publicity could adversely impact the company’s brand image and the demand for  Coca-Cola products. This could also have an  adverse impact on the company’s growth prospectsin the international markets.Sluggish performance in North America Coca-Cola’s performance in North America was far from robust. North America is Coca-Cola’score market generating  about 30%  of total  revenues during  fiscal  2006. Therefore, a  strongperformance in North America is important for the company. Coca-Cola Company, The SWOT AnalysisIn North America the sale of unit cases did not record any growth. Unit c ase retail volume inNorth America decreased 1% primarily due to weak sparkling beverage trends in the second half  of  2006 and  decline  in the  warehouse-delivered water and  juice  businesses.Moreover,  thecompany also expects performance in  North America to be  weak during 2007. Sluggish performance in North America could impact the company’s future growth prospects andprevent Coca-Cola from recording a more  robust top-line growth. Decline in cash from  operating activities The company’s cash flow from operating activities declined during fiscal 2006. Cash flows fromoperating activities decreased 7% in 2006 compared to 2005. Net cash provided by  operatingactivities reached $5,957 million in 2006, from $6,423 million in 2005.Coca-Cola’s cash flowsfrom operating activities in 2006 also decreased compared with 2005 as a result of a contributionof  approximately $216  million to  a  tax-qualified trust  to  fund retiree m edical benefits. Thedecrease was also the result of certain marketing accruals recorded in 2005. Decline in cash from operating  activities reduces availability of funds for the company’s investingand financing activities, which, in turn, increases the  company’s exposure to debt markets andfluctuating interest rates. Opportunities AcquisitionsFor the last one year, Coca-Cola has been aggressively adopting the inorganic growth path. During  2006,  its  acquisitions  included  Kerry  Beverages,  (KBL),  which  was  subsequently,reappointed Coca-Cola China Industries (CCCIL). Coca-Cola acquired a controlling shareholdingin KBL, its bottling joint venture with the Kerry Group, in Hong Kong. The acquisition extendedCoca-Cola’s control over manufacturing and distribution joint ventures in nine Chinese provinces. In Germany the company acquired Apollinaris which sells sparkling and still mineral water inGermany.Coca-Cola has also acquired a 100 % interest in TJC Holdings, a bottling company inSouth Africa. Coca-Cola also made acquisitions in Australia and New Zealand during 2006. These acquisitions strengthened Coca-Cola’s international operations. These also give Coca-Cola an opportunity for growth, through new product launch or greater penetration of existingmarkets. Stronger  international  operations  increase  the  company’s  capacity  to  penetrate  internationalmarkets and also gives it an opportunity to diversity its revenue stream.Coca-Cola Company, The SWOT Analysis Growing bottled water market Bottled water is one of the fastest-growing segments in the world’s food and beverage marketowing to increasing health concerns. The market for bottled water in the US generated revenuesof about $15. 6 billion in 2006. Market consumption volumes were estimated to be 30 billion litersin 2006. The market's consumption volume is expected to rise to 38. 6 billion units by the end of  20 10. This represents a CAGR of 6. 9% during 2005-2010.In terms of value, the bottled water  market is forecast to reach $19. 3 billion by the end of 2010. In the bottled water market, therevenue  of  flavored  water  (water-based, slightly sweetened  refreshment  drink)  segment  isgrowing by about  $10 billion annually. The company’s Dasani brand water is  the third best-sellingbottled water in the US. Coca-Cola could leverage its strong position in the bottled water segment to take advantage of  growing demand for  flavored water. Growing Hispanic population in US

Chapter 18 The Weighing of the Wands

When Harry woke up on Sunday morning, it took him a moment to remember why he felt so miserable and worried. Then the memory of the previous night rolled over him. He sat up and ripped back the curtains of his own four-poster, intending to talk to Ron, to force Ron to believe him – only to find that Ron's bed was empty; he had obviously gone down to breakfast. Harry dressed and went down the spiral staircase into the common room. The moment he appeared, the people who had already finished breakfast broke into applause again. The prospect of going down into the Great Hall and facing the rest of the Gryffindors, all treating him like some sort of hero, was not inviting; it was that, however, or stay here and allow himself to be cornered by the Creevey brothers, who were both beckoning frantically to him to join them. He walked resolutely over to the portrait hole, pushed it open, climbed out of it, and found himself face-to-face with Hermione. â€Å"Hello,† she said, holding up a stack of toast, which she was carrying in a napkin. â€Å"I brought you this†¦.Want to go for a walk?† â€Å"Good idea,† said Harry gratefully. They went downstairs, crossed the entrance hall quickly without looking in at the Great Hall, and were soon striding across the lawn toward the lake, where the Durmstrang ship was moored, reflected blackly in the water. It was a chilly morning, and they kept moving, munching their toast, as Harry told Hermione exactly what had happened after he had left the Gryffindor table the night before. To his immense relief, Hermione accepted his story without question. â€Å"Well, of course I knew you hadn't entered yourself,† she said when he'd finished telling her about the scene in the chamber off the Hall. â€Å"The look on your face when Dumbledore read out your name! But the question is, who did put it in? Because Moody's right, Harry†¦I don't think any student could have done it†¦they'd never be able to fool the Goblet, or get over Dumbledore's -â€Å" â€Å"Have you seen Ron?† Harry interrupted. Hermione hesitated. â€Å"Erm†¦yes†¦he was at breakfast,† she said. â€Å"Does he still think I entered myself?† â€Å"Well†¦no, I don't think so†¦not really,† said Hermione awkwardly. â€Å"What's that supposed to mean, ‘not really'?† â€Å"Oh Harry, isn't it obvious?† Hermione said despairingly. â€Å"He's jealous!† â€Å"Jealous?† Harry said incredulously. â€Å"Jealous of what? He wants to make a prat of himself in front of the whole school, does he?† â€Å"Look,† said Hermione patiently, â€Å"it's always you who gets all the attention, you know it is. I know it's not your fault,† she added quickly, seeing Harry open his mouth furiously. â€Å"I know you don't ask for it†¦but – well – you know, Ron's got all those brothers to compete against at home, and you're his best friend, and you're really famous – he's always shunted to one side whenever people see you, and he puts up with it, and he never mentions it, but I suppose this is just one time too many†¦Ã¢â‚¬  â€Å"Great,† said Harry bitterly. â€Å"Really great. Tell him from me I'll swap any time he wants. Tell him from me he's welcome to it†¦.People gawping at my forehead everywhere I go†¦Ã¢â‚¬  â€Å"I'm not teiling him anything,† Hermione said shortly. â€Å"Tell him yourself. It's the only way to sort this out.† â€Å"I'm not running around after him trying to make him grow up!† Harry said, so loudly that several owls in a nearby tree took flight in alarm. â€Å"Maybe he'll believe I'm not enjoying myself once I've got my neck broken or -â€Å" â€Å"That's not funny,† said Hermione quietly. â€Å"That's not funny at all.† She looked extremely anxious. â€Å"Harry, I've been thinking – you know what we've got to do, don't you? Straight away, the moment we get back to the castle?† â€Å"Yeah, give Ron a good kick up the -â€Å" â€Å"Write to Sirius. You've got to tell him what's happened. He asked you to keep him posted on everything that's going on at Hogwarts†¦.It's almost as if he expected something like this to happen. I brought some parchment and a quill out with me -â€Å" â€Å"Come off it,† said Harry, looking around to check that they couldn't be overheard, but the grounds were quite deserted. â€Å"He came back to the country just because my scar twinged. He'll probably come bursting right into the castle if I tell him someone's entered me in the Triwizard Tournament -â€Å" â€Å"He'd want you to tell him,† said Hermione sternly. â€Å"He's going to find out anyway.† â€Å"How?† â€Å"Harry, this isn't going to be kept quiet,† said Hermione, very seriously. â€Å"This tournament's famous, and you're famous. I'll be really surprised if there isn't anything in the Daily Prophet about you competing†¦.You're already in half the books about You-Know-Who, you know†¦and Sirius would rather hear it from you, I know he would.† â€Å"Okay, okay, I'll write to him,† said Harry, throwing his last piece of toast into the lake. They both stood and watched it floating there for a moment, before a large tentacle rose out of the water and scooped it beneath the surface. Then they returned to the castle. â€Å"Whose owl am I going to use?† Harry said as they climbed the stairs. â€Å"He told me not to use Hedwig again.† â€Å"Ask Ron if you can borrow -â€Å" â€Å"I'm not asking Ron for anything,† Harry said flatly. â€Å"Well, borrow one of the school owls, then, anyone can use them,† said Hermione. They went up to the Owlery. Hermione gave Harry a piece of parchment, a quill, and a bottle of ink, then strolled around the long lines of perches, looking at all the different owls, while Harry sat down against a wall and wrote his letter. Dear Sirius, You told me to keep you posted on what's happening at Hogwarts, so here goes – I don't know if you've heard, but the Triwizard Tournament's happening this year and on Saturday night I got picked as a fourth champion. I don't who put my name in the Goblet of Fire, because I didn't. The other Hogwarts champion is Cedric Diggory, from Hufflepuff. He paused at this point, thinking. He had an urge to say something about the large weight of anxiety that seemed to have settled inside his chest since last night, but he couldn't think how to translate this into words, so he simply dipped his quill back into the ink bottle and wrote, Hope you're okay, and Buckbeak – Harry â€Å"Finished,† he told Hermione, getting to his feet and brushing straw off his robes. At this, Hedwig fluttered down onto his shoulder and held out her leg. â€Å"I can't use you,† Harry told her, looking around for the school owls. â€Å"I've got to use one of these.† Hedwig gave a very loud hoot and took off so suddenly that her talons cut into his shoulder. She kept her back to Harry all the time he was tying his letter to the leg of a large barn owl. When the barn owl had flown off, Harry reached out to stroke Hedwig, but she clicked her beak furiously and soared up into the rafters out of reach. â€Å"First Ron, then you,† Harry said angrily. â€Å"This isn't my fault.† If Harry had thought that matters would improve once everyone got used to the idea of him being champion, the following day showed him how mistaken he was. He could no longer avoid the rest of the school once he was back at lessons – and it was clear that the rest of the school, just like the Gryffindors, thought Harry had entered himself for the tournament. Unlike the Gryffindors, however, they did not seem impressed. The Hufflepuffs, who were usually on excellent terms with the Gryffindors, had turned remarkably cold toward the whole lot of them. One Herbology lesson was enough to demonstrate this. It was plain that the Hufflepuffs felt that Harry had stolen their champion's glory; a feeling exacerbated, perhaps, by the fact that Hufflepuff House very rarely got any glory, and that Cedric was one of the few who had ever given them any, having beaten Gryffindor once at Quidditch. Ernie Macmillan and Justin FinchFletchley, with whom Harry normally got on very well, did not talk to him even though they were repotting Bouncing Bulbs at the same tray – though they did laugh rather unpleasantly when one of the Bouncing Bulbs wriggled free from Harry's grip and smacked him hard in the face. Ron wasn't talking to Harry either. Hermione sat between them, making very forced conversation, but though both answered her normally, they avoided making eye contact with each other. Harry thought even Profes sor Sprout seemed distant with him – but then, she was Head of Hufflepuff House. He would have been looking forward to seeing Hagrid under normal circumstances, but Care of Magical Creatures meant seeing the Slytherins too – the first time he would come face-to-face with them since becoming champion. Predictably, Malfoy arrived at Hagrid's cabin with his familiar sneer firmly in place. â€Å"Ah, look, boys, it's the champion,† he said to Crabbe and Goyle the moment he got within earshot of Harry. â€Å"Got your autograph books? Better get a signature now, because I doubt he's going to be around much longer†¦.Half the Triwizard champions have died†¦how long d'you reckon you're going to last, Potter? Ten minutes into the first task's my bet.† Crabbe and Goyle guffawed sycophantically, but Malfoy had to stop there, because Hagrid emerged from the back of his cabin balancing a teetering tower of crates, each containing a very large Blast-Ended Skrewt. To the class's horror, Hagrid proceeded to explain that the reason the skrewts had been killing one another was an excess of pent-up energy, and that the solution would be for each student to fix a leash on a skrewt and take it for a short walk. The only good thing about this plan was that it distracted Malfoy completely. â€Å"Take this thing for a walk?† he repeated in disgust, staring into one of the boxes. â€Å"And where exactly are we supposed to fix the leash? Around the sting, the blasting end, or the sucker?† â€Å"Roun' the middle,† said Hagrid, demonstrating. â€Å"Er – yeh might want ter put on yer dragon-hide gloves, jus' as an extra precaution, like. Harry – you come here an' help me with this big one†¦.† Hagrid's real intention, however, was totalk to Harry away from the rest of the class. He waited until everyone else had set off with their skrewts, then turned to Harry and said, very seriously, â€Å"So – yer competin', Harry. In the tournament. School champion.† â€Å"One of the champions,† Harry corrected him. Hagrid's beetle-black eyes looked very anxious under his wild eyebrows. â€Å"No idea who put yeh in fer it, Harry?† â€Å"You believe I didn't do it, then?† said Harry, concealing with difficulty the rush of gratitude he felt at Hagrid's words. â€Å"Course I do,† Hagrid grunted. â€Å"Yeh say it wasn' you, an' I believe yeh – an' Dumbledore believes yer, an' all.† â€Å"Wish I knew who did do it,† said Harry bitterly. The pair of them looked out over the lawn; the class was widely scattered now, and all in great difficulty. The skrewts were now over three feet long, and extremely powerful. No longer shell-less and colorless, they had developed a kind of thick, grayish, shiny armor. They looked like a cross between giant scorpions and elongated crabs- but still without recognizable heads or eyes. They had become immensely strong and very hard to control. â€Å"Look like they're havin' fun, don' they?† Hagrid said happily. Harry assumed he was talking about the skrewts, because his classmates certainly weren't; every now and then, with an alarming bang, one of the skrewts' ends would explode, causing it to shoot forward several yards, and more than one person was being dragged along on their stomach, trying desperately to get back on their feet. â€Å"Ah, I don' know, Harry,† Hagrid sighed suddenly, looking back down at him with a worried expression on his face. â€Å"School champion†¦everythin' seems ter happen ter you, doesn' it?† Harry didn't answer. Yes, everything did seem to happen to him†¦that was more or less what Hermione had said as they had walked around the lake, and that was the reason, according to her, that Ron was no longer talking to him. The next few days were some of Harry's worst at Hogwarts. The closest he had ever come to feeling like this had been during those months, in his second year, when a large part of the school had suspected him of attacking his fellow students. But Ron had been on his side then. He thought he could have coped with the rest of the school's behavior if he could just have had Ron back as a friend, but he wasn't going to try and persuade Ron to talk to him if Ron didn't want to. Nevertheless, it was lonely with dislike pouring in on him from all sides. He could understand the Hufflepuffs' attitude, even if he didn't like it; they had their own champion to support. He expected nothing less than vicious insults from the Slytherins – he was highly unpopular there and always had been, because he had helped Gryffindor beat them so often, both at Quidditch and in the Inter-House Championship. But he had hoped the Ravenclaws might have found it in their hearts to support him as much as Cedric. He was wrong, however. Most Ravenclaws seemed to think that he had been desperate to earn himself a bit more fame by tricking the goblet into accepting his name. Then there was the fact that Cedric looked the part of a champion so much more than he did. Exceptionally handsome, with his straight nose, dark hair, and gray eyes, it was hard to say who was receiving more admiration these days, Cedric or Viktor Krum. Harry actually saw the same sixth-year girls who had been so keen to get Krum's autograph begging Cedric to sign their school bags one lunchtime. Meanwhile there was no reply from Sirius, Hedwig was refusing to come anywhere near him, Professor Trelawney was predicting his death with even more certainty than usual, and he did so badly at Summoning Charms in Professor Flitwick's class that he was given extra homework – the only person to get any, apart from Neville. â€Å"It's really not that difficult, Harry,† Hermione tried to reassure him as they left Flitwick's class – she had been making objects zoom across the room to her all lesson, as though she were some sort of weird magnet for board dusters, wastepaper baskets, and lunascopes. â€Å"You just weren't concentrating properly -â€Å" â€Å"Wonder why that was,† said Harry darkly as Cedric Diggory walked past, surrounded by a large group of simpering girls, all of whom looked at Harry as though he were a particularly large Blast-Ended Skrewt. â€Å"Still – never mind, eh? Double Potions to look forward to this afternoon†¦Ã¢â‚¬  Double Potions was always a horrible experience, but these days it was nothing short of torture. Being shut in a dungeon for an hour and a half with Snape and the Slytherins, all of whom seemed determined to punish Harry as much as possible for daring to become school champion, was about the most unpleasant thing Harry could imagine. He had already struggled through one Friday's worth, with Hermione sitting next to him intoning â€Å"ignore them, ignore them, ignore them† under her breath, and he couldn't see why today should be any better. When he and Hermione arrived at Snape's dungeon after lunch, they found the Slytherins waiting outside, each and every one of them wearing a large badge on the front of his or her robes. For one wild moment Harry thought they were S.P.E.W. badges – then he saw that they all bore the same message, in luminous red letters that burnt brightly in the dimly lit underground passage: SUPPORT CEDRIC DIGGORY- THE REAL HOGWARTS CHAMPION! â€Å"Like them, Potter?† said Malfoy loudly as Harry approached. â€Å"And this isn't all they do – look!† He pressed his badge into his chest, and the message upon it vanished, to be replaced by another one, which glowed green: POTTER STINKS! The Slytherins howled with laughter. Each of them pressed their badges too, until the message POTTER STINKS was shining brightly all around Harry. He felt the heat rise in his face and neck. â€Å"Oh very funny,† Hermione said sarcastically to Pansy Parkinson and her gang of Slytherin girls, who were laughing harder than anyone, â€Å"really witty.† Ron was standing against the wall with Dean and Seamus. He wasn't laughing, but he wasn't sticking up for Harry either. â€Å"Want one, Granger?† said Malfoy, holding out a badge to Hermione. â€Å"I've got loads. But don't touch my hand, now. I've just washed it, you see; don't want a Mudblood sliming it up.† Some of the anger Harry had been feeling for days and days seemed to burst through a dam in his chest. He had reached for his wand before he'd thought what he was doing. People all around them scrambled out of the way, backing down the corridor. â€Å"Harry!† Hermione said warningly. â€Å"Go on, then, Potter,† Malfoy said quietly, drawing out his own wand. â€Å"Moody's not here to look after you now – do it, if you've got the guts -â€Å" For a split second, they looked into each other's eyes, then, at exactly the same time, both acted. â€Å"Funnunculus!† Harry yelled. â€Å"Densaugeo!† screamed Malfoy. Jets of light shot from both wands, hit each other in midair, and ricocheted off at angles – Harry's hit Goyle in the face, and Malfoy's hit Hermione. Goyle bellowed and put his hands to his nose, where great ugly boils were springing up – Hermione, whimpering in panic, was clutching her mouth. â€Å"Hermione!† Ron had hurried forward to see what was wrong with her; Harry turned and saw Ron dragging Hermione's hand away from her face. It wasn't a pretty sight. Hermione's front teeth – already larger than average – were now growing at an alarming rate; she was looking more and more like a beaver as her teeth elongated, past her bottom lip, toward her chin – panic-stricken, she felt them and let out a terrified cry. â€Å"And what is all this noise about?† said a soft, deadly voice. Snape had arrived. The Slytherins clamored to give their explanations; Snape pointed a long yellow finger at Malfoy and said, â€Å"Explain.† â€Å"Potter attacked me, sir -â€Å" â€Å"We attacked each other at the same time!† Harry shouted. â€Å"- and he hit Goyle – look -â€Å" Snape examined Goyle, whose face now resembled something that would have been at home in a book on poisonous fungi. â€Å"Hospital wing, Goyle,† Snape said calmly. â€Å"Malfoy got Hermione!† Ron said. â€Å"Look!† He forced Hermione to show Snape her teeth – she was doing her best to hide them with her hands, though this was difficult as they had now grown down past her collar. Pansy Parkinson and the other Slytherin girls were doubled up with silent giggles, pointing at Hermione from behind Snape's back. Snape looked coldly at Hermione, then said, â€Å"I see no difference.† Hermione let out a whimper; her eyes filled with tears, she turned on her heel and ran, ran all the way up the corridor and out of sight. It was lucky, perhaps, that both Harry and Ron started shouting at Snape at the same time; lucky their voices echoed so much in the stone corridor, for in the confused din, it was impossible for him to hear exactly what they were calling him. He got the gist, however. â€Å"Let's see,† he said, in his silkiest voice. â€Å"Fifty points from Gryffindor and a detention each for Potter and Weasley. Now get inside, or it'll be a week's worth of detentions.† Harry's ears were ringing. The injustice of it made him want to curse Snape into a thousand slimy pieces. He passed Snape, walked with Ron to the back of the dungeon, and slammed his bag down onto the table. Ron was shaking with anger too – for a moment, it felt as though everything was back to normal between them, but then Ron turned and sat down with Dean and Seamus instead, leaving Harry alone at his table. On the other side of the dungeon, Malfoy turned his back on Snape and pressed his badge, smirking. POTTER STINKS flashed once more across the room. Harry sat there staring at Snape as the lesson began, picturing horrific things happening to him†¦.If only he knew how to do the Cruciatus Curse†¦he'd have Snape flat on his back like that spider, jerking and twitching†¦. â€Å"Antidotes!† said Snape, looking around at them all, his cold black eyes glittering unpleasantly. â€Å"You should all have prepared your recipes now. I want you to brew them carefully, and then, we will be selecting someone on whom to test one†¦Ã¢â‚¬  Snape's eyes met Harry's, and Harry knew what was coming. Snape was going to poison him. Harry imagined picking up his cauldron, and sprinting to the front of the class, and bringing it down on Snape's greasy head – And then a knock on the dungeon door burst in on Harry's thoughts. It was Colin Creevey; he edged into the room, beaming at Harry, and walked up to Snape's desk at the front of the room. â€Å"Yes?† said Snape curtly. â€Å"Please, sir, I'm supposed to take Harry Potter upstairs.† Snape stared down his hooked nose at Colin, whose smile faded from his eager face. â€Å"Potter has another hour of Potions to complete,† said Snape coldly. â€Å"He will come upstairs when this class is finished.† Colin went pink. â€Å"Sir – sir, Mr. Bagman wants him,† he said nervously. â€Å"All the champions have got to go, I think they want to take photographs†¦Ã¢â‚¬  Harry would have given anything he owned to have stopped Colin saying those last few words. He chanced half a glance at Ron, but Ron was staring determinedly at the ceiling. â€Å"Very well, very well,† Snape snapped. â€Å"Potter, leave your things here, I want you back down here later to test your antidote.† â€Å"Please, sir – he's got to take his things with him,† squeaked Cohn. â€Å"All the champions†¦Ã¢â‚¬  â€Å"Very well!† said Snape. â€Å"Potter – take your bag and get out of my sight!† Harry swung his bag over his shoulder, got up, and headed for the door. As he walked through the Slytherin desks, POTTER STINKS flashed at him from every direction. â€Å"It's amazing, isn't it, Harry?† said Colin, starting to speak the moment Harry had closed the dungeon door behind him. â€Å"Isn't it, though? You being champion?† â€Å"Yeah, really amazing,† said Harry heavily as they set off toward the steps into the entrance hall. â€Å"What do they want photos for, Colin?† â€Å"The Daily Prophet, I think!† â€Å"Great,† said Harry dully. â€Å"Exactly what I need. More publicity.† â€Å"Good luck!† said Colin when they had reached the right room. Harry knocked on the door and entered. He was in a fairly small classroom; most of the desks had been pushed away to the back of the room, leaving a large space in the middle; three of them, however, had been placed end-to-end in front of the blackboard and covered with a long length of velvet. Five chairs had been set behind the velvet-covered desks, and Ludo Bagman was sitting in one of them, talking to a witch Harry had never seen before, who was wearing magenta robes. Viktor Krum was standing moodily in a corner as usual and not talking to anybody. Cedric and Fheur were in conversation. Fheur looked a good deal happier than Harry had seen her so far; she kept throwing back her head so that her long silvery hair caught the light. A paunchy man, holding a large black camera that was smoking slightly, was watching Fleur out of the corner of his eye. Bagman suddenly spotted Harry, got up quickly, and bounded forward. â€Å"Ah, here he is! Champion number four! In you come, Harry, in you come†¦nothing to worry about, it's just the wand weighing ceremony, the rest of the judges will be here in a moment -â€Å" â€Å"Wand weighing?† Harry repeated nervously. â€Å"We have to check that your wands are fully functional, no problems, you know, as they're your most important tools in the tasks ahead,† said Bagman. â€Å"The expert's upstairs now with Dumbledore. And then there's going to be a little photo shoot. This is Rita Skeeter,† he added, gesturing toward the witch in magenta robes. â€Å"She's doing a small piece on the tournament for the Daily Prophet†¦.† â€Å"Maybe not that small, Ludo,† said Rita Skeeter, her eyes on Harry. Her hair was set in elaborate and curiously rigid curls that contrasted oddly with her heavy-jawed face. She wore jeweled spectacles. The thick fingers clutching her crocodile-skin handbag ended in two-inch nails, painted crimson. â€Å"I wonder if I could have a little word with Harry before we start?† she said to Bagman, but still gazing fixedly at Harry. â€Å"The youngest champion, you know†¦to add a bit of color?† â€Å"Certainly!† cried Bagman. â€Å"That is – if Harry has no objection?† â€Å"Er -† said Harry. â€Å"Lovely,† said Rita Skeeter, and in a second, her scarlet-taloned fingers had Harry's upper arm in a surprisingly strong grip, and she was steering him out of the room again and opening a nearby door. â€Å"We don't want to be in there with all that noise,† she said. â€Å"Let's see†¦ah, yes, this is nice and cozy.† It was a broom cupboard. Harry stared at her. â€Å"Come along, dear – that's right – lovely,† said Rita Skeeter again, perching herself precariously upon an upturned bucket, pushing Harry down onto a cardboard box, and closing the door, throwing them into darkness. â€Å"Let's see now†¦Ã¢â‚¬  She unsnapped her crocodile-skin handbag and pulled out a handful of candles, which she lit with a wave of her wand and magicked into midair, so that they could see what they were doing. â€Å"You won't mind, Harry, if I use a Quick-Quotes Quill? It leaves me free to talk to you normally†¦Ã¢â‚¬  â€Å"A what?† said Harry. Rita Skeeter's smile widened. Harry counted three gold teeth. She reached again into her crocodile bag and drew out a long acid-green quill and a roll of parchment, which she stretched out between them on a crate of Mrs. Skower's All-Purpose Magical Mess Remover. She put the tip of the green quill into her mouth, sucked it for a moment with apparent relish, then placed it upright on the parchment, where it stood balanced on its point, quivering slightly. â€Å"Testing†¦my name is Rita Skeeter, Daily Prophet reporter.† Harry hooked down quickly at the quill. The moment Rita Skeeter had spoken, the green quill had started to scribble, skidding across the parchment: Attractive blonde Rita Skeeter, forty-three, who's savage quill has punctured many inflated reputations – â€Å"Lovely,† said Rita Skeeter, yet again, and she ripped the top piece of parchment off, crumpled it up, and stuffed it into her handbag. Now she leaned toward Harry and said, â€Å"So, Harry†¦what made you decide to enter the Triwizard Tournament?† â€Å"Er -† said Harry again, but he was distracted by the quill. Even though he wasn't speaking, it was dashing across the parchment, and in its wake he could make out a fresh sentence: An ugly scar, souvenier of a tragic past, disfigures the otherwise charming face of Harry Potter, whose eyes – â€Å"Ignore the quill, Harry,† said Rita Skeeter firmly. Reluctantly Harry looked up at her instead. â€Å"Now – why did you decide to enter the tournament, Harry?† â€Å"I didn't,† said Harry. â€Å"I don't know how my name got into the Goblet of Fire. I didn't put it in there.† Rita Skeeter raised one heavily penciled eyebrow. â€Å"Come now, Harry, there's no need to be scared of getting into trouble. We all know you shouldn't really have entered at all. But don't worry about that. Our readers hove a rebel.† â€Å"But I didn't enter,† Harry repeated. â€Å"I don't know who -â€Å" â€Å"How do you feel about the tasks ahead?† said Rita Skeeter. â€Å"Excited? Nervous?† â€Å"I haven't really thought†¦yeah, nervous, I suppose,† said Harry. His insides squirmed uncomfortably as he spoke. â€Å"Champions have died in the past, haven't they?† said Rita Skeeter briskly. â€Å"Have you thought about that at all?† â€Å"Well†¦they say it's going to be a lot safer this year,† said Harry. The quill whizzed across the parchment between them, back and forward as though it were skating. â€Å"Of course, you've looked death in the face before, haven't you?† said Rita Skeeter, watching him closely. â€Å"How would you say that's affected you?† â€Å"Er,† said Harry, yet again. â€Å"Do you think that the trauma in your past might have made you keen to prove yourself? To live up to your name? Do you think that perhaps you were tempted to enter the Triwizard Tournament because -â€Å" â€Å"I didn't enter,† said Harry, starting to feel irritated. â€Å"Can you remember your parents at all?† said Rita Skeeter, talking over him. â€Å"No,† said Harry. â€Å"How do you think they'd feel if they knew you were competing in the Triwizard Tournament? Proud? Worried? Angry?† Harry was feeling really annoyed now. How on earth was he to know how his parents would feel if they were alive? He could feel Rita Skeeter watching him very intently. Frowning, he avoided her gaze and hooked down at words the quill had just written: Tears fill those startlingly green eyes as our conversation turns to the parents he can barely remember. â€Å"I have NOT got tears in my eyes!† said Harry loudly. Before Rita Skeeter could say a word, the door of the broom cupboard was pulled open. Harry looked around, blinking in the bright light. Albus Dumbledore stood there, looking down at both of them, squashed into the cupboard. â€Å"Dumbledore!† cried Rita Skeeter, with every appearance of delight – but Harry noticed that her quill and the parchment had suddenly vanished from the box of Magical Mess Remover, and Rita's clawed fingers were hastily snapping shut the clasp of her crocodile-skin bag. â€Å"How are you?† she said, standing up and holding out one of her large, mannish hands to Dumbledore. â€Å"I hope you saw my piece over the summer about the International Confederation of Wizards' Conference?† â€Å"Enchantingly nasty,† said Dumbledore, his eyes twinkling. â€Å"I particularly enjoyed your description of me as an obsolete dingbat.† Rita Skeeter didn't look remotely abashed. â€Å"I was just making the point that some of your ideas are a little old-fashioned, Dumbhedore, and that many wizards in the street -â€Å" â€Å"I will be delighted to hear the reasoning behind the rudeness, Rita,† said Dumbledore, with a courteous bow and a smile, â€Å"but I'm afraid we will have to discuss the matter later. The Weighing of the Wands is about to start, and it cannot take place if one of our champions is hidden in a broom cupboard.† Very glad to get away from Rita Skeeter, Harry hurried back into the room. The other champions were now sitting in chairs near the door, and he sat down quickly next to Cedric, hooking up at the velvet-covered table, where four of the five judges were now sitting – Professor Karkaroff, Madame Maxime, Mr. Crouch, and Ludo Bagman. Rita Skeeter settled herself down in a corner; Harry saw her slip the parchment out of her bag again, spread it on her knee, suck the end of the Quick-Quotes Quill, and place it once more on the parchment. â€Å"May I introduce Mr. Ollivander?† said Dumbledore, taking his place at the judges' table and talking to the champions. â€Å"He will be checking your wands to ensure that they are in good condition before the tournament.† Harry hooked around, and with a jolt of surprise saw an old wizard with large, pale eyes standing quietly by the window. Harry had met Mr. Ollivander before – he was the wand-maker from whom Harry had bought his own wand over three years ago in Diagon Alley. â€Å"Mademoiselle Delacour, could we have you first, please?† said Mr. Ollivander, stepping into the empty space in the middle of the room. Fleur Delacour swept over to Mr. Olhivander and handed him her wand. â€Å"Hmm†¦Ã¢â‚¬  he said. He twirled the wand between his long fingers like a baton and it emitted a number of pink and gold sparks. Then he held it chose to his eyes and examined it carefully. â€Å"Yes,† he said quietly, â€Å"nine and a half inches†¦inflexible†¦rosewood†¦and containing†¦dear me†¦Ã¢â‚¬  â€Å"An ‘air from ze ‘ead of a veela,† said Fleur. â€Å"One of my grandmuzzer's.† So Fleur was part veela, thought Harry, making a mental note to tell Ron†¦then he remembered that Ron wasn't speaking to him. â€Å"Yes,† said Mr. Ollivander, â€Å"yes, I've never used veela hair myself, of course. I find it makes for rather temperamental wands†¦however, to each his own, and if this suits you†¦Ã¢â‚¬  Mr. Ollivander ran his fingers along the wand, apparently checking for scratches or bumps; then he muttered, â€Å"Orchideous!† and a bunch of flowers burst from the wand tip. â€Å"Very well, very well, it's in fine working order,† said Mr. Ollivander, scooping up the flowers and handing them to Fleur with her wand. â€Å"Mr. Diggory, you next.† Fleur glided back to her seat, smiling at Cedric as he passed her. â€Å"Ah, now, this is one of mine, isn't it?† said Mr. Ollivander, with much more enthusiasm, as Cedric handed over his wand. â€Å"Yes, I remember it well. Containing a single hair from the tail of a particularly fine male unicorn†¦must have been seventeen hands; nearly gored me with his horn after I plucked his tail. Twelve and a quarter inches†¦ash†¦pleasantly springy. It's in fine condition†¦You treat it regularly?† â€Å"Polished it last night,† said Cedric, grinning. Harry hooked down at his own wand. He could see finger marks all over it. He gathered a fistful of robe from his knee and tried to rub it clean surreptitiously. Several gold sparks shot out of the end of it. Fleur Delacour gave him a very patronizing look, and he desisted. Mr. Ollivander sent a stream of silver smoke rings across the room from the tip of Cedric's wand, pronounced himself satisfied, and then said, â€Å"Mr. Krum, if you please.† Viktor Krum got up and slouched, round-shouldered and duck-footed, toward Mr. Ollivander. He thrust out his wand and stood scowling, with his hands in the pockets of his robes. â€Å"Hmm,† said Mr. Olhivander, â€Å"this is a Gregorovitch creation, unless I'm much mistaken? A fine wand-maker, though the styling is never quite what I†¦however†¦Ã¢â‚¬  He lifted the wand and examined it minutely, turning it over and over before his eyes. â€Å"Yes†¦hornbeam and dragon heartstring?† he shot at Krum, who nodded. â€Å"Rather thicker than one usually sees†¦quite rigid†¦ten and a quarter inches†¦Avis!† The hornbeam wand let off a blast hike a gun, and a number of small, twittering birds flew out of the end and through the open window into the watery sunlight. â€Å"Good,† said Mr. Ollivander, handing Krum back his wand. â€Å"Which leaves†¦Mr. Potter.† Harry got to his feet and walked past Krum to Mr. Ollivander. He handed over his wand. â€Å"Aaaah, yes,† said Mr. Ohlivander, his pale eyes suddenly gleaming. â€Å"Yes, yes, yes. How well I remember.† Harry could remember too. He could remember it as though it had happened yesterday†¦. Four summers ago, on his eleventh birthday, he had entered Mr. Ollivander's shop with Hagrid to buy a wand. Mr. Ollivander had taken his measurements and then started handing him wands to try. Harry had waved what felt like every wand in the shop, until at last he had found the one that suited him – this one, which was made of holly, eleven inches long, and contained a single feather from the tail of a phoenix. Mr. Ollivander had been very surprised that Harry had been so compatible with this wand. â€Å"Curious,† he had said, â€Å"curious,† and not until Harry asked what was curious had Mr. Olhivander explained that the phoenix feather in Harry's wand had come from the same bird that had supplied the core of Lord Voldemort's. Harry had never shared this piece of information with anybody. He was very fond of his wand, and as far as he was concerned its relation to Voldemort's wand was something it couldn't help – rather as he couldn't help being related to Aunt Petunia. However, he really hoped that Mr. Ollivander wasn't about to tell the room about it. He had a funny feeling Rita Skeeter's Quick-Quotes Quill might just explode with excitement if he did. Mr. Ollivander spent much longer examining Harry's wand than anyone else's. Eventually, however, he made a fountain of wine shoot out of it, and handed it back to Harry, announcing that it was still in perfect condition. â€Å"Thank you all,† said Dumbledore, standing up at the judges' table. â€Å"You may go back to your lessons now – or perhaps it would be quicker just to go down to dinner, as they are about to end -â€Å" Feeling that at last something had gone right today, Harry got up to leave, but the man with the black camera jumped up and cleared his throat. â€Å"Photos, Dumbledore, photos!† cried Bagman excitedly. â€Å"All the judges and champions, what do you think, Rita?† â€Å"Er – yes, let's do those first,† said Rita Skeeter, whose eyes were upon Harry again. â€Å"And then perhaps some individual shots.† The photographs took a long time. Madame Maxime cast everyone else into shadow wherever she stood, and the photographer couldn't stand far enough back to get her into the frame; eventually she had to sit while everyone else stood around her. Karkaroff kept twirling his goatee around his finger to give it an extra curl; Krum, whom Harry would have thought would have been used to this sort of thing, skulked, half-hidden, at the back of the group. The photographer seemed keenest to get Fleur at the front, but Rita Skeeter kept hurrying forward and dragging Harry into greater prominence. Then she insisted on separate shots of all the champions. At last, they were free to go. Harry went down to dinner. Hermione wasn't there – he supposed she was still in the hospital wing having her teeth fixed. He ate alone at the end of the table, then returned to Gryffindor Tower, thinking of all the extra work on Summoning Charms that he had to do. Up in the dormitory, he came across Ron. â€Å"You've had an owl,† said Ron brusquely the moment he walked in. He was pointing at Harry's pillow. The school barn owl was waiting for him there. â€Å"Oh – right,† said Harry. â€Å"And we've got to do our detentions tomorrow night, Snape's dungeon,† said Ron. He then walked straight out of the room, not looking at Harry. For a moment, Harry considered going after him – he wasn't sure whether he wanted to talk to him or hit him, both seemed quite appealing – but the lure of Sirius's answer was too strong. Harry strode over to the barn owl, took the letter off its leg, and unrolled it. Harry – I can't say everything I would like to in a letter, it's too risky in case the owl is intercepted – we need to talk face-to-face. Can you ensure that you are alone by the fire in Gryffindor Tower at one o'clock in the morning on the 22nd ofNovember? I know better than anyone that you can look after yourself and while you're around Dumbledore and Moody I don't think anyone will be able to hurt you. However, someone seems to be having a good try. Entering you in that tournament would have been very risky, especially right under Dumbkdore's nose. Be on the watch, Harry. I still want to hear about anything unusual. Let me know about the 22nd ofNovember as quickly as you can. Sirius

Computer aided design package Essay

A company called Engineering ? Us have employed me to find out the cost, benefits and the drawbacks of upgrading from their current method of hand made technical drawing to using an up-to-date Computer Aided Design (CAD) package. This company designs and constructs office furniture to order; because of this work only begins on an item once the exact details of the item have been calculated and have the clients’ approval. The current method which is used to gather the information that the designers need to make the drawings for the office is to send over a person to measure the location where the item or items of furniture will be located and how they will get the item into the building. After this has happened and the measurements have been given to the designers the designers will draw the blueprints by pen and paper. After they have drawn the design they will send the blueprint via one of the company’s employee’s to the client for him/her to look at and decide if it is what they wanted. If the client decided they liked the design the blueprint would be sent down to the workshop where they would start construction of the design. If the client didn’t like the blueprint that the designers had made Engineering ? Us would find out from the client what was incorrect with the blueprints, then the designers would redesign the blueprints with the client’s inputs in mind. After this it is shown to the client again to see if it is to their liking. The reason the company is upgrading to a CAD based system from their hand drawn method is that up until now they have only had to make items on a smaller scale with a lot of time allowed for each project. Currently they allow the designer to make the drawings on the A0 paper taking their time which would take a few months, then have it sent to the manufacturing department to be constructed. Now they have managed to negotiate a contract with another company who will require Engineering ? Us to make the items faster, this means that they will need the technical drawings drawn faster so they can construct the items sooner. To allow this to happen they have decided to change from their current system to a computer based system using a CAD package appropriate to their needs. Engineering ? Us is a small company; they have one office and a workshop which are situated in separate places. The office block is where the items are designed and the workshop is where they are constructed using the designs from the office block. To transport the drawings from the office block to the workshop they walk over from the office block to the workshop with them, the reason they do this rather than any other method is that the two locations are very close together. Engineering ? Us has ten people working in the workshop where they are constructing the designs that are made and they have two designers drawing the blueprints in the office. There are also seven people who take blueprints out to clients to make sure that they like the drawing before Engineering ? Us constructs the design. These five people also take orders and measurements of the areas where the clients want the items to be placed and deliver the items to the client using a company van. The company has three supervisors, one is in charge of the technical drawing department, one is in charge of the workshop and one is in charge of the five people who communicate directly with the clients. One manager is in charge of all three of the supervisors and then the director of Engineering ? Us is above him. In total this brings the number of employees working for Engineering ? Us to twenty and two of these twenty employees will be using the system I am to justify. The company has recently won a new contract from a client and now has to construct a lot more furniture over a shorter period of time. For the company to meet these demands they have decided to upgrade their workshop to use a CAM machine that will speed up construction. The CAM machine has already been chosen by the company and the training plus everything else that is required for the CAM machine to operate. Engineering ? Us only require me to analysis the designing part of the company and make this more efficient to keep up with the new contract they have acquired. Engineering ? Us wants me to come up with a system that will run a CAD package that I justify for the company to use. This system will have to output a file format compatible with the CAM machine so that they integrate with each other easily. The contract will provide the company with i 60,000 at the end of the year once all of the items have been constructed and delivered to the client. This will be paid in instalments at the end of each month of i5,000. This contract will also be renewed with the client providing that Engineering ? Us can adequately provide the items they required within the allotted time frame. The system that I have been asked to come up with will have two users; these two users are currently working with Engineering ? Us and they will need to be trained in using the new system as they have not had any training or experience with any CAD application. They also need to have the capability to back up their drawings daily so that if something did happen to their hard drive they wouldn’t have lost everything. They also want all three computers linked up to their own network separate to any others that the company already have. It also needs to be connected to the internet so they can download updates for their CAD package as updates become available over the internet. The company has given me a budget of i 15,000 to come up with a costing to make or to buy two PCs capable of running a CAD package that I justify and anything else that is needed to run this application. With this budget I will also need to buy an A0 plotter, two graphics tablets, networking equipment and training for the employees on using the CAD package. P2 The company currently has two computers in their office block; these computers are very old and are only used for word processing for administration tasks. The current specification of their computers is shown in the table below: Component Specification Processor Intel Pentium 166 MHz (Random Access Memory) RAM 30MB Optical drive CD-ROM x8 speed Hard drive 9GB Modem 56K The computers they currently have can’t be upgraded to use any of the new CAD packages because everything in the current computers would all need to be replaced to make it compatible with any new CAD packages. This would effectively mean making a new computer rather than upgrading it, so just constructing a new computer would be a more cost effective way of proceeding. For that reason it would be better to keep these computers for administration purposes they are currently being used for, this would allow the company to still use them and not have to throw them away as they do their current task perfectly. DeltaCAD, MiniCAD, TurboCAD and AutoCAD are four different CAD packages that I have found that could do the job required by Engineering ? Us. The reason I have chosen these four is because the CAM machine in the workshop will only accept . DWG files for reading and if the CAD package didn’t output . DWG files it would not be able to integrate with the CAM machine. These files must be contained on a floppy disk as the CAM machine has only a floppy drive input and then it will read the data from it and construct to the specified design. I have chosen to further investigate three separate CAD packages out of the ones listed above; these three are DeltaCAD, TurboCAD and AutoCAD. The reason I have decided to investigate these further is that DeltaCAD is the cheapest, TurboCAD is the mid range and AutoCAD is the most expensive out of the packages. Using these three will give me a wide band of different costs for the different CAD applications which will allow me to come up with cheap systems, mid ranged and expensive an system for the company. This will help me not only stick to the budget I have been allocated but may also save the company money depending on the over all costs of the CAD package that is used. After finding out more on DeltaCAD, TurboCAD and AutoCAD I have found out that the latest versions of these three CAD packages are DeltaCAD 5. 0, TurboCAD 10 and AutoCAD 2005. DeltaCAD is made by a company called Midnight Software, TurboCAD is made by a company called IMSI and AutoCAD is made by a company called Autodesk, both IMSI and AutoCAD sell other products that are like CAD, but they will not be suitable for the tasks that Engineering ? Us require of it. Upon further investigation I have discovered one problem with TurboCAD that DeltaCAD and AutoCAD don’t have is that the CAM machine might not read the files it outputs perfectly. TurboCAD 10 outputs a different type of file but they state that this type of file is perfectly compatible with any CAM machine that reads . DWG files. Although they say this I think that from past experiences there could be problems from time to time with this type of file on Engineering ? Us’s CAM machine, when these problems arise it will slow the construction process down. P3/M2 I will have to either buy a new PC from a store or make the computers myself; whichever approach is adopted the hardware that will have to be in the machine will be the same and is listed below: Motherboard which will support all other hardware required for the computer   Video card to output a display on the monitor for the user to see what they are doing   CD-ROM drive to install the software applications which will be needed for the task the company requires of it   Floppy Drive to move the . DWG files to the CAM machine in the workshop to construct the items, this can also be very useful for fixing a broken computer or to help analyse its fault   Case for all of the components that will make up the computer to go into. RAM for the computer to open up applications and to keep data that is being used at the present times Hard drive to install the software applications on and store the CAD files created   Keyboard for the users to enter in alphanumeric data and other characters   Mouse or other pointing device for the user to move the curser on the screen   Processor to be able to process all of the data that needs to be processed   Processor heat sink to take heat off of the processor and disperse it into the air. Fans to keep the components inside the computer cool enough to work correctly, e. g. processor fan, case fans and video card fan   DVD/CD reader rewriter drive to back up the drawings that they produce during the day   Monitor for the user to view what they are doing while using the computer Other hardware that will be needed that is not part of the computer and is not needed to get the computer working, but will be required by the company to enable it to do all the work required is the A0 plotter and graphics tablets. An A0 sized plotter will be used to print off the CAD drawings on A0 paper and used to show the blueprints to the clients, they then decide if they like it or not from these blueprints. The reason that they will need to be printed out on A0 size paper is because due to the size of the items they are designing and the amount of information that needs to be shown to the clients it can only be easily displayed on an A0 sized piece of paper. One advantage of the system for the plotters is that there would only need to be one cheap plotter that prints off the drawings in low quality.

Working thesis statement Essay Example | Topics and Well Written Essays - 500 words

Working thesis statement - Essay Example In my earlier papers; one on Definition Essay which discussed fashion's negative impact on societies throughout history, and The Midterm Essay, wherein I discussed how the health and beauty industries have all along encouraged us to think of our bodies in terms of machines, I had maintained that health could not be compromised for the sake of appearance. To prove this, I quoted the names of Luisel Ramos and Ana Carolina Reston, who, seeking stardom and money, paid the supreme prize for their body abuse. Sad, but true, this is the life of models, who walk the ramps to the appeasement of a handful. In order to substantiate my argument that the two industries (Health and Beauty) in discussion have all along been more inclined to improve their personal interests, this research will take a look at what happens behind the scene. Fashion and beauty are but short-lived, life is not. Being identical to a Jane Fonda or an Arnold Schwarzenegger does not guarantee stardom or success. Every indiv idual on his or her own terms is as attractive as any other. It's all in the mind. Models have for long caught our attention as being pretty and sexy. The notion that men prefer women with a model's body is all wrong. Does this mean that women who are healthy are less attractive or pretty Definitely not! In fact, men prefer women with more flesh.

Reading Assingment and Answer the Questions Article

Reading Assingment and Answer the Questions - Article Example Please include in your discussion the effects of the following: the lifting of interest rate caps; the permitting of bank investments in commercial real estate; the role played by net worth (owners’ equity), or capital- especially the inclusion of "goodwill" as part of a banks net worth. It was a situation of too little, too late. The restrictions of commodities were let loose but too late. By this time almost 50% of banks were insolvent and were having a net worth that was negative. There was duration of risk in the rising interest rates that led to both income and balance sheet problems. During the time of deregulation, banks did not make profits as a result of excess regulation as deregulation process was slow. Banks resorted to riskier high returning loans to reinstate profitability. In most cases, this worsened the situation. S and Ls ultimately had up to forty percent of its assets in real estate, 10% in direct investments and junk bonds and 30% in lending consumers. After excessive regulation, it got itself into problems by expanding finance and credit areas where there were no background, experience or expertise. What effect did government insurance of deposits for up to $100,000 have on depositors and banks? Does it seem fair to you that banks making risky, speculative investments paid the same deposit insurance premiums as those making safer, more conservative loans? Moreover, brokers and depositors exploited how to manipulate the 100000 dollars limit using brokered deposits. If one had 10 million for investments in banks, he would be insured to an optimum of 100000 dollars. Therefore, a broker would break the amount into a hundred investments if hundred thousand dollars each and will buy $100000 100 CDs with 100 banks. This limit would be 100000 dollars for each account and not each depositor. Consequently, very rich individuals get insured using the tax payers’ money. Riskier speculations in

Individual Behavior and Communication Paper Essay

Individual Behavior and Communication Paper - Essay Example The behavioral culture of any organization is fashioned in large part by the commonality of the separate individuality of each separate employee as well as each division. Organizational behavior engage the study of how these employees operate and perform, concentrating on practices that can create a distinction in the way employees adjust to and execute their mission. Organizational behavior changes the focus of management towards job satisfaction and involvement, commitment to the organization, and actual task performance measures. Ethics is an important element as it is vital for organizations to exhibit a commitment to instilling ethical behavior. Ethical behavior in the arena of decision-making can be complex, and so it is important that a code of ethics be strictly defined, as well as the establishment of a fair disciplinary system for those who violate the ethical standards. It is just as vital that leadership also develop a procedure to reward employees when they have been recognized for exhibiting positive ethical behaviors. It is also essential that employees be involved in the process of identifying ethical issues and creating a means of ad dressing them when they are both violated and followed. In the arena of ethical decision making, the criteria used to classify the values that motivate the concept of ethics must also be considered. Moral behavior is involved in choosing problems as well as choosing who should be involved, approximating the impact of substitution. It is paramount that everyone in the organization understands that ethical conduct does not arrive as a result of being revealed as a violator of the already-in-place code. Organizational culture is made up of the values and beliefs that manipulate and persuade employee behavior. Diversity is the individual disparities that exist within members of an organization and is most readily based on external factor such as gender,

Layers of Physical Security Essay Example | Topics and Well Written Essays - 2250 words

Layers of Physical Security - Essay Example The traditional security system is continuously being improved by technology and civilization. Further, the rise of new threats, for example, the risk of fear assaults and terrorism, raises the issue of upgrading existing frameworks of physical security. In the meantime, viable physical security ought to be in view of central standards which minimize the risk of dangers to physical security (Modi, Patel, Borisaniya, Patel, & Rajarajan, 2012). Since the traditional means of securing territories no longer hold, there must be an advancement in the forms of security with the utilization of technology. Since physical security takes various layers, the advancement of cutting-edge physical security ought to incorporate these layers which entail building security, grounds security, access control frameworks, and border security (Newman, 2001). The present-day physical security is inconceivable without the wide usage of technological advancements, which has been found to increase significantly the dependability of advanced security frameworks and minimize threats to the physical security framework. Then again, innovations frequently confront new dangers that fortify the more extensive implementation of new technologies, but the primary point in the advancement of a powerful physical security framework is the improvement of numerous layers of physical security (Modi et al., 2012).

Immigration reform Research Paper Example | Topics and Well Written Essays - 500 words

Immigration reform - Research Paper Example The United States Immigration Reform is focused on the population of immigrants currently resident in America, legal and illegal, aimed at managing the impacts of immigration, especially illegal immigration and overstaying of visas. Immigration Reform originated from the view that immigration has and still is, impacting the United States negatively and began with the 1986 Act. The large numbers of immigrants into the country who come seeking employment have resulted in a reduction of wages for American natives who have lesser skills while the costs incurred in providing such services as education, healthcare among others bear unforeseen negative impacts on the economy. However, the high immigration rate has helped to compensate the low birth-rate and large aging population, helping to expand America’s workforce and their contribution to taxes and government programs for the aging like Medicare and Social Security have helped increase America’s help support (Schmidt, She lley and Bardes 575). The 2012 Immigration Reform is influenced by the Republican and Democratic leaders’ positions that support a STEM immigration bill, and the IEEE-USA’s fight for a high-skill visa reform. This 2012 Immigration Reform package includes such propositions as the issuing of 45,000 to 55,000 new green cards for international; graduate students, putting an end to country-cap restrictions within the EB visa program for skilled workers, a provision to extradite the family-visa immigrants’ process, and a new entrepreneur’s visa program for immigrants with plans to set up businesses upon immigration (Harrison). The proponents of the Immigration Reform believe that it presents an opportunity for legalization of undocumented immigrants and shall help to end workplace immigration raids. The proponents of the Reform propose securing of the United States which they view as a chance to stem cross-border violence. Their proposal

Cash Flows Analysis and Financial Statements Assignment

Cash Flows Analysis and Financial Statements - Assignment Example Since the employees require stability of tenure, they would not want a situation whereby the company doesn’t guarantee their jobs. The management is interested in this information since it would want to know its performance and review the weak points which need to be improved. The information is important to the management since it needs to provide periodic reports on the company’s performance. The potential investors need to evaluate whether the company is a good investment opportunity. Without proper information, the company could not be an attractive investment opportunity since it would lack transparency. Eventually creditors and suppliers need to evaluate the financial information in order to find out whether this company is credit worth. They would want to find out whether they could extend credit facilities in terms of money or goods. Question 2: Most of the financial information is usually published in journals, magazines and annual reports. Some of these report s are usually given during the annual general meeting to the shareholders and potential investors. Other sources which can be utilized could include online sources such as the company websites or online journals and magazines such as www.businessweekly.com. This information evaluates in a snapshot the riskiness of the company and whether it is advisable to invest in it. other analysts normally obtain this information in order to try and predict the future performance of the company either in the short or in the long term. Question 7: Ratio analysis was formulated to basically try and provide a synopsis of the company’s performance. Ratio analysis is obtained through dividing very important to the organization since it basically evaluates the company’s financial statements and provides recommendations. Ratio analysis also tries to judge a company’s efficiency while locating the weaknesses and coming up with action plans. Ratios form a very important tool in terms of comparing different companies and their performance in the industry. Question 15: Managers tend to utilize the market value ratios in different manners such as in instances of potential mergers and acquisitions. These market value ratios such as price earnings ratio and book value ratio normally impact on the performance of management. When these ratios are high, it indicates that the management is doing a good job while if they are low then the converse is true. The managers could affect these ratios in an indirect manner since these ratios depend on the perception of investors. Much of the impact on these ratios is usually from the outside world hence the impact of managers could be curtailed and limited. Question 16: This is not usually possible since the management usually have the ability to manipulate financial information to portray the company’s image in good light. The seriousness of this practice usually ranges from interpreting accounting rules favorably to a s ituation of fraud. The function of auditors is to try as much as possible to prevent this practice leading to mis stated financial information. In some circumstances, the auditors are the ones who perpetrate this practice by deceiving the public in order to gain fame with the management of the client firm. QUESTION 25 (A) PROTEK COMPANY LIMITED COMMON SIZE INCOME

Critical Analysis Paper Research Example | Topics and Well Written Essays - 1000 words

Critical Analysis - Research Paper Example The first casualty accident that killed the hugest number of people since the invention of the first aircraft occurred in December 1910. A historic twenty-seven people perished in this accident. Since then, several other upsets, mostly connected to the military aircrafts have occurred. This triggered the world community to rethink and evaluate their airline safety rules and regulations. In the United States, for instance the first law regulating the industry was passed in the 1920s. A definite case was the Air Commerce Act 1926 (Diab 79). This law required the examination and licensing of all aircrafts and pilots. It also provided for the proper investigation of all accidents that occur in the aviation industry. Besides, this Act set out rules and aids of navigation under the â€Å"Aeronautics Branch of the Commerce Department† (Diab 79). Since then, many countries in the world have developed their own rules on safety as well as being parties to the international aviation rule s (Diab 79). Personal perspective Statistics show that the stages of a flight that are more to accidents include during landing, take off, descent and climbing. This is a cause for alarm on the basic areas neglected within aircrafts. Therefore, the aircrafts that land and take off frequently have a higher probability of being involved in accidents as compared to those that have few stopovers. Based on these statistics, it will be important to choose the aircrafts that operate on nonstop flights. The laws and regulations across the land are always keen on aircrafts whose seats exceed thirty. Smaller aircrafts do not have regulations as stringent as their larger counterparts do. This makes the larger aircrafts safer to use for travel. In as much as the enforcers and implementers of policy decisions are the aircraft staff, it is equally important for passengers to take care of their own safety. Passengers should neglect a definite airline that is notorious for safety neglects, financia l constraints and persistent complains from customers. Additionally, passengers must be keen on instructions and take stringent precautionary measures to help avert emergencies. Regional perspective The issue of airline safety must be addresses by people who use airlines and state governments. The US is a victim of airline terrorism and must practice extreme vigilance on all the passengers including those who appear innocent. It is necessary to vet before boarding airplanes. This is in cognizance to the fact that most terrorism activities are conducted by people who pose as passengers. In the year 1996, a Boeing Jumbo 747 jet crashed while en route to Paris from New York, killing all the two hundred and thirty people (Been-Yosef 182). Amidst this confusion, the rescue team could not fix the electrical wires to prevent short-circuiting the fuel tanks and minimize sparks. This incident brought to the fore, not only the preparedness of security and rescue team but also the actual mater ial to be used while making some parts of the plane. Consequently, rules were made that established provisions for the installation of nitrogen generating equipment to safeguard the protection of the fuel tank (Been-Yosef 182). National perspective The US is a target for terrorism activities. This means that it needs stringent rules and regulations to address this phenomenon. The general rules of flight and operations are executable within Part 91 of the Federal

Case Briefs Essay Example | Topics and Well Written Essays - 3000 words

Case Briefs - Essay Example ision in the Court of Appeals and stated â€Å"commercial nature of the parody rendered it presumptively unfair under the first of four factors† (LII p.4). However, the Supreme Court ruled that the Appeals Court had error in its judgment. Therefore, case the case went from district court, to Appeals court and eventually to the Supreme Court. The Supreme Court reasoned that the decision ought to be reached upon consideration of several factors. One, the character and even the purpose of that use; two, the amount of the work used in the creation of a parody. Finally, the effects and the nature of the copyrighted material. This case was filed at the district court in Texas involving two firms where mascot characters were the center of the issue. Barney was a character associated with the Lyons partnership while Ted Giannoulas had a chicken as its mascot. The plaintiff complained that the defendant had false association trademark-dilution as well as unfair competition (Texas paralegal Journal p.2). In the first hearing, the district judge rule that the plaintiff was not able to proof beyond reasonable doubts how the defendant had infringed on trademark. The plaintiff’s concern was that the defendant’s portrayal of Barney as weak and relied on the chicken for dancing lessons was tantamount to unfair competition. When the judgment was delivered, the plaintiff was dissatisfied and appealed the ruling (Texas paralegal Journal p.4). The issues raised by the plaintiff at the district court included by using a Barney-like mascot, there would be consumer confusion hence unfair competition. Additionally, the firm complained of portraying it in bad light by misusing a barney-like mascot on the stage. Apparently, the mascot would be slapped, kicked and even stood on. The district court ruled that there was no evidence sufficient to sustain a consumer-confusion case. This was reached after it was ruled that the defendant’s use of barney-like mascot was a parody. In

Violent character Essay Example for Free

Violent character Essay Abigail starts off in the play all innocent, but as the play progresses she becomes a more violent character. Shes had an affair with John Proctor and wants him, but he wants to stop the affair altogether, she accuses him of being cowardly Oh, I marvel how such a strong man may let such a sickly wife be. She really doenst want John to stay with Elizabeth so later on she tries to blame her for witchery. She makes the scene really dramatic, and grabbes the audiences attention more in a way of what they think of her now, to what they thaught of her at the start of the play. This man is a newcomer to Salem, an outsider who the people are not very accepting of him. One of the reasons maybe that hes no were near as religious as the people of Salem, for example I have trouble enough without I come five mile to hear him preach only hellfire and bloody damnation. Take it to heart Mr Parris, there are many others who stay away from church these days because you hardily ever mension God anymore. This makes Parris angry, and aroused, he replies with Why, thats a drastic charge!  As the play goes on, in act 1 we learn that Parris is an important man, but also a man with enemies. The Putnams are always trying to find ways of sending him down, they get a great chance when his daughter is accused of being a witch. From this mans language in the play, the audience think of him more as being a respected man, but also one who doesnt want his authority questioned. Reverrand Hale comes into the play towrads the end of act one, he plays a very straight forward man, hes infact a man who knows a lot about witches, thats why Rev. Parris sends for him when Betty is taken ill.  He rises the tension in the play by shouting at the suspected girls who were dancing in the woods, shouting at them to confess about Lucifer.  In The Crucible there has been quite a lot of emotionaly charged scenes , like when Abigail and Proctor were discussing their affair behind the barn building, also theres been a lot of violence and arguments, for example when Tituba was being wipped for being accused of conjuring spirits in the woods, then Abigail was shouting all the bad things what Tituba was ment to have done. There was arguments like when Parris was arguing with Abigail, do you look for wipping, I thaught I saw someone running naked through the trees! and when Abigail says its not true he replies in anger I saw it!. I think the most dramatic scene was when the girls were dancing in the woods because they were all screaming with someone naked, with a chamber pot in the middle where a innocent chicken was sacrificed for the sake of the girls sportin as it were.  There were lots of interrogation scenes like when Rev. Hale was asking the girls who were dancing in the woods, who conjured spirits, he had them all in a line until one of them spoke out and accused Abigail. Abigail replied in anger and strongly denied the accusation. This builds up tension in the scene. Another thing that the audience want to know is if Abigail and Proctor are still sleeping together, further on in the play we find they dont, Its mostly based on Proctor and whether he is to save his life and lie, or go with his concience and suffer the consiquences.  I think what makes the plot dramatic is all the happenings comming at once, like the witchcraft, Abigail and Proctors affair, Betty being ill, Parriss disputes with the Putnams and Tituba being accused and beaten all packed into the opening scene of the play. Another small factor is Abigails dialogue being more and more violent as she gets more annoyed, first she was quiet later shes loud and violent. I think Arthur Miller chose to set the play in Salem simply because it was a very religious community with strong views on witchcraft and the supernatural, so if anything of the sort was to happen, serious problems would occur.  The play is also set in the spring time, which is ironic, and also it maybe a new start for the people, it almost looks like nothing bad would ever happen there, as if its a fairy tale land in a childrens book. Salem was a place where the community was divided between people who done good or bad thing in their life, for example Rev Parris has a faction within the church to drive him out. Sale is also a community split by religious disputes.  Another place is scene 1 which creates dramatic tension is when Rev. Parris in the small room where hes arguing with Abigail, hes almost in prisoned in the small dark room, where outside its bright and sunny. Almost making the audience think that Parris is a harsh, cruel man with something about him. If it started were he where outside, the audiences may have a different view on him. The stage directions help to build the tension in ways which build up towards the heat of the argument (the explosive force crucible), for example when Abigail keeps coming on stage and critisising Goody Putnam. When people come in and out of the play all the time, its not as boring for the audience which makes them want to see whats going to happen next, therefore building up dramatic tension all the way through. Characters appearing in and out of the play at specific times helps the audience build up a picture of what is happening and whats going to happen, they may mension or give clues on where theyre going then return when whether the audience expects it or not, most of the time if the writer of the play wants to create dramatic tension the characters will pop up when the audience leasts expects it. This helps give false expectations of the characters where abouts building up the tension bit by bit. To concude this essay I think think scene one in The Crucible is dramatic because of all the major happenings occur all together in one, action-packed scene, as I have explained earlier on in this essay. I think its a very effective first act because it grabs the audiences attention straight away, even in the first few minutes of the play. Scene one leaves you where you desperately want to see what is going to happen to the characters later on in the play. I think the audiences would have reacted in different ways, when the girls were dancing at the start of the play and Abigail smashed the chiken on the ground getting blood all over her face the audiences would have been quite shocked and even more shocked when they saw a naked woman all this was very dramatic, I think Miller deliberatley wanted the girl to be naked because of this.  Another audience catching scene was when Abigail and Proctor were behind the barn discussing their affair and Abigail said you sweated like a stalion when I ever came near, the audience must have been enthrolled at the thaught they were taking risks on having an affair in such a strict community.

Das ist das verlangen der sterblichen

Das ist das verlangen der sterblichen 3. Resà ¼mee Die bedingungslose Liebe gilt aus unerklà ¤rliches Phà ¤nomen „Der Eros, das ist das Verlangen der Sterblichen nach Unsterblichkeit.[1] und auch in der Weltliteratur befassen sich zahlreiche Werke mit der Verbindung von Liebeslust und Liebesleid. Die Liebe ist wahrscheinlich das am hà ¤ufigsten bearbeitete Thema, denn auch wenn man das Gefà ¼hl nicht ausdrà ¼cken kann, bildet es das Zentrum des menschlichen Lebens. Liebe ist mà ¤chtig, und eine Schwà ¤che zugleich, nimmt einem alle Waffen und wer von ihr getrieben wird, ist oftmals bereit fà ¼r sie bis à ¼ber das Ende seines Lebens hinaus zu kà ¤mpfen. Sie resultiert in den Verlust des Realità ¤tsbewusstseins der Menschen, sie werden „blind und sehen nur noch das Positive und Entschuldbare wà ¤hrend sie dem Gà ¶ttlichen und Mà ¤chtigen nà ¤her kommen, welches die Liebe durch die Reproduzierbarkeit des Leben mit sich bringt. Anders ergeht es einem, wenn der Tod thematisiert wird, sofort à ¤ndert sich die Atmosphà ¤re, die Menschen leiden unter ihm und eine passende Reaktion ist schwer auszumachen. „Niemand kennt den Tod, und niemand weiß, ob er fà ¼r den Menschen nicht das allergrà ¶ÃƒÅ¸te Glà ¼ck ist.[2] Der Tod verbindet bis in die Ewigkeit und bereitet der Existenz ein Ende, man entkommt dem Leben zerstà ¶rt es zugleich. Die Liebe kann zu dem unklugem Handeln fà ¼hren, welches im Tod endet und zeitgleich ist sie der Hà ¶hepunkt des Lebens, der nicht mehr à ¼bertroffen werden kann und soll. Dies veranlagt von den Liebenden eine autonome Entscheidung zu treffen, indem sie sterben damit dieser Hà ¶hepunkt bestehen bleibt. Doch fà ¼r den Liebestod gilt auch die Sinnlosigkeit des eigenen Lebens, die man ohne den Partner befà ¼rchtet, als Motiv, wà ¤hrend die Leidenschaft gegen die Konvention kà ¤mpft und die Liebe à ¼ber den Verstand des Menschen triumphiert. Nun begegnen sich diese abstrakten Dinge, doch kann man sagen, dass die Liebe stà ¤rker ist als der Tod? Es muss einen Gewinner geben, denn „Liebestrieb (Eros) und „Todestrieb (Thanatos) sind gegensà ¤tzliche Triebe[3]. Wà ¤hrend der Liebestrieb Einheiten schaffen mà ¶chte, will der Todestrieb diese zerstà ¶ren. Hinfà ¼hrung zum Thema Die Verbindung zwischen Liebe und Tod ist nichts Neues: „Nichts kann außer dem Tod Ziel geben und Ruhe der Liebe.[4] und noch heute wird der Liebestod stetig diskutiert ist in vielen Kunstwerken verschiedener Epochen erkennbar, wie auch in Der Tod in Venedig (1912) von Thomas Mann und in Romeo und Julia auf dem Dorfe (1855) von Gottfried Keller. Beide Schriftsteller lebten in Deutschland, nur eine Generation auseinander und dennoch sind unterschiedlichere Schreibstile kaum anderweitig auffindbar. wà ¤hrend sie beide den Liebestod behandeln und trotz sehr verschiedener Inhalte, ein à ¤hnliches Ende aufweisen, denn der Tod wird der letzte Ausweg fà ¼r die verbotene Liebe. Der Tod ist etwas Geheimnisvolles und auch die Liebe, die etwas Schà ¶nes, Gutes und Genussvolles ist, bleibt unerklà ¤rlich, doch die Liebenden wà ¤hlen fà ¼r das à ¼berdauern der Liebe den geheimnisvollen Tod zu gehen. Doch die Verbindung zwischen Thanatos und Eros tritt nicht plà ¶tzlich auf, es gibt einen Zeitpunkt an dem entschieden wird, dass der der Tod die kompromisslose Entscheidung fà ¼r die Liebe ist. An diesem Zeitpunkt angekommen, à ¤ndert sich denken und handeln der Charaktere und auch der Schreibstil wandelt sich. Auch in anderen Kà ¼nsten, scheuen sich Kà ¼nstler lange nicht mehr davor, eine Beziehung zwischen einem Lebenden und einem Toten darzustellen, wie Der Tod Hyazinths, von J. Broc im 19. Jahrhundert gezeichnet, zeigt, oder auch die Oper Orpheus und Eurydike von Haydn, die er, inspiriert von Erzà ¤hlungen Ovids und Vergils, bereits 1791 komponierte. Liebe und Tod vereinigt, trotz dem sie auf den ersten Blick gegensà ¤tzlicher nicht sein kà ¶nnten. Es muss ein Auslà ¶ser findbar sein der die Liebenden den Weg von der Liebe zum Tod einschlagen là ¤sst, ich befasse mich in diesem Essay mit dieser Fà ¼hrung von der Liebe zum Tod, und wie diese inhaltlich und stilistisch in den Werken dargestellt wird. Begrà ¼ndung des Themas Auswahl der Werke Boccaocio schrieb 1358 „Das Dekameron, heute, 650 Jahre spà ¤ter, beschà ¤ftigen sich Menschen noch immer mit Todesliebe, einer unerklà ¤rbaren Besonderheit. Ich habe diese Werke ausgewà ¤hlt, da sie zwar beide das Thema Todesliebe beinhalten, aber dennoch, sowohl inhaltlich als auch stilistisch, sehr verschieden verfasst wurden. Wà ¤hrend die Liebe oftmals als etwas Gutes gilt, benennt man den Tod „das Loch. Es wirkt so abwegig, diese beiden Dinge immer wieder in Zusammenhang miteinander zu bringen. Genau dieser Mysterie, wie und wann das Zusammenschmelzen von Liebe und Tod geschieht, mà ¶chte ich anhand dieser hochinteressanten deutschen Werke belegen. Ich habe recherchiert, dokumentiert und getestet, wie der Zustand der Liebe und der des Todes zusammenhà ¤ngen und wieso die Menschen so fasziniert davon sind. Es ist so oft thematisiert, „Tristan und Isolde, „Hymne an die Nacht und „Romeo und Julia, dies sind nur drei von unzà ¤hligen Werken, die sich inhaltlich mit dem Zusammenhang zwischen Liebe und Tod beschà ¤ftigen. Doch auch im Alltag ist das Phà ¤nomen Todesliebe aufzufinden, die Liebenden verlieren beinahe ihre Angst vor dem Tod, wà ¼rden ihn fà ¼r den Geliebten in Kauf nehmen. Da sich viele Kà ¼nstler mit Liebestod befasst haben, gibt es eine Vielfalt an Sekundà ¤rliteratur. Der Tod in Venedig beinhaltet zudem auch Psychologie und eine Analyse der Situationen, dies ist hilfreich, um die anfangs gestellte Frage von einem weiteren Blickwinkel zu betrachten, denn die heutige leistungsorienterte Gesellschaft hat ganz andere Sorgen. Die Liebe fà ¼hrt hier zu einem verhà ¤nglichen Tod und dieses fiktionale Werk weist zudem einige à ¼bereinstimmungen zwischen dem fiktionalem und dem realen Autor auf, so erlaubt diese Novelle also zeitgleich eine Analyse des weltbekannten Thomas Mann, der zwar eine Frau heiratete, aber stets an Mà ¤nnern interessiert war. Romeo und Julia auf dem Dorfe ist zugleich Aufklà ¤rung und Unterhaltung, die Novelle kritisiert ironisch und durchdacht die damalige Gesellschaft und wurde auf einem wahren Zeitungsartikel basiert. Durch die Liebe der beiden Protagonisten verliert der Tod an Bedeutung und es scheint fast natà ¼rlich und rational, diesen Weg des Lebensende zu wà ¤hlen. Die Kinder beenden jedoch nicht nur ihr Leben, sondern zeitgleich auch ihre Abhà ¤ngigkeit und ihr schlechtes Gewissen. Problemfragen Wer ist Schuld am Tod? (Ist es das Schicksal das sie dazu verleitet? Ist es gar die Intention anderer Menschen, dass dieser Weg eingeschlagen wird?) Musste es so enden? (Gibt es keinen Ausweg? Muss der Konflikt der Liebe im Tod enden?) Ist ein solches Phà ¤nomen auch heute noch auffindbar? (Gibt es heutzutage Therapien, die Menschen von dem Liebestod erfolgreich abhalten?) Was ist letzten Endes der Gewinner des Kampfes? Ist Liebe nur eine Krankheit? (Und wenn ja, die Fà ¼rchterlichste von allen? Ist es eine mentale Krankheit?) Abgrenzung des Untersuchungsgegenstandes nach Zeit, Raum, Literaturauswahl Wie vorherig erwà ¤hnt, wird sich dieses Essay auf die beiden Werke Der Tod in Venedig und Romeo und Julia auf dem Dorfe konzentrieren. Es wird vor allem der Weg von dem Schà ¶nen, beschwinglichen Gefà ¼hl bis hin zu dem Ende der Existenz betrachtet. Der Tod in Venedig von Thomas Mann verfasste er vor Ort in Italien und Tadzio gab es wahrhaftig. Dadurch, dass der Protagonist sich auf eine Reise von Mà ¼nchen nach Venedig, was gleichzeitig sein Weg in seinen Untergang ist, begibt, erlebt der Leser viele aufregende Situationen, der Untergang selbst jedoch ereignet sich in einem kurzen Zeitraum, innerhalb etwa eines Monats, verfà ¤llt der gefeierte Kà ¼nstler. Die Anwendung von Leitmotiven en masse kreiert eine Spannung, die den Leser animiert das Ende zu erahnen, aber sich stets zu fragen, ob dies ein „Happy End sein wird. Das Werk ist sehr provokant, da Homosexualità ¤t, oder auch nur die Anziehung zwischen dem gleichen Geschlecht ein Tabu-Thema der damaligen Gesellschaft darstellte. Dennoch gelingt es dem Autoren, Schà ¶nheit und Romantik so mit dem Tod zu verbinden, dass dieses Werk eines der meist verkauften Werke Manns wurde. à ¼ber Der Tod in Venedig sagte Thomas Mann selbst: „Es scheint mir, dass mir hier etwas vollkommen geglà ¼ckt ist.[5] Eine à ¼berraschende à ¤ußerung, wenn man bedenkt, dass der sonst kritische Autor kaum ein Selbstlob à ¼ber seine Lippen brachte. Die Erwartungen des Lesers an dieses Werk sind dementsprechend groß, schon lange vor dem eigentlichen Leseerlebnis. Es beinhaltet den à ¤sthetizismus und Nihilismus des Hauptcharakters und diese sind es, die das Werk so aufregend und neuartig machen. Die Pà ¤derastie oder „laxe wie Mann es nannte in diesem Werk ist ironisch, da Mà ¤nner ab 54 Jahren, laut Philosophen, seit 390 v. Chr. diesen Akt ausfà ¼hren, nicht aber jà ¼ngere Herren. Es ist die Velleità ¤t des 53-jà ¤hrigen nobilitierten Schriftstellers die ihn letztendlich in seinen Tod fà ¼hrt. Er schwankt zwischen Leugnung und Bekenntnis diese Wechsel sind es auch, die die Ereignisse zeitweise ernsthaft und zeitweise ironisch darstellen. Romeo und Julia auf dem Dorfe spielt in einem Dorf und die Liebe ist zwischen Kleinbà ¼rgern, die Konflikte des Werkes konzentrieren sich nicht nur auf die Liebe und den Tod, sondern auch auf den Konflikt zwischen der Gesellschaft und dem Einzelnen. Die Dramatik der Dorfgeschichte resultiert aus dem Streit der Và ¤ter, der nicht beglichen werden kann, und diese Feindschaft letztendlich zum Freitod der beiden Liebenden fà ¼hrt. Es ist ein moralischer Appell an die gesamte Gesellschaft, denn hier wird der Ruin dargestellt, der durch den Streit à ¼ber eine Generation hinaus geht. Die Tragà ¶die basiert auf einem Zeitungsartikel, den der Autor 1847 las. Keller nutzt dieses Werk als Kritik und vereint Stil und Inhalt zu einem noch immer aktuellem Werk. Ebenso weist dieses Werk besondere Zeit- und Raumstrukturen auf. Praktische Probleme bei der Forschung Wà ¤hrend der Recherche bin ich immer wieder an meine Grenzen gestoßen, vor allem gestaltete sich das Auswà ¤hlen der Referenzen als schwierig, da verschiedene Informationen von vielen verschiedenen Quellen aufzufinden waren, und ich musste entscheiden, welche nun die serià ¶seren waren. Viel der Sekundà ¤rliteratur war hilfreich, aber auch im Internet waren viele Informationen zu Liebe und Tod auffindbar, allerdings erwies sich besonders im Worldwideweb die Ausfilterung der nichtbrauchbaren Informationen als schwierig. 5.Teil Aufbau der Analyse Die Analyse ist so aufgebaut, dass zunà ¤chst der Inhalt und Stil der beiden Werke im Detail analysiert werden und spà ¤ter werden Themen und Stilmittel gegenà ¼ber gestellt, damit eine Generalisierung so wie ein Vergleich mà ¶glich ist. Sitlistisch und inhaltlich là ¤sst sich erkennen, dass die Werke einen bestimmten Moment haben, in denen die Protagonisten sich fà ¼r den Tod entscheiden, anstelle von Kompromisse einzugehen, der Vernunftverlust là ¤sst sie diese aber außer Acht lassen. Ich beginne mit Der Tod in Venedig deshalb, da er auf die Antike zurà ¼ckgreift und so, auch wenn es spà ¤ter verfasst wurde, frà ¼here Wurzeln hat. Teil B Analyse 1. Der Tod in Venedig inhaltlich stilistisch Inhalt: Der Tod in Venedig Refklektion des Einfluss der grierischen Gà ¶tter auf Schà ¶nheit Die Fà ¼hrung von der Liebe zum Tod wird in diesem Werk ist erst mit dem letzten Satz vollendet. Die Novelle beginnt mit einem prologartigem Kapitel, in dem die Reiselust Aschenbachs, ein an Schreibhemmungen leidender Schriftsteller, bei einem Spaziergang entfacht wird, als er einen Wanderer am Friedhof entdeckt. Durch diesen beginnt er von einem fernen dionysischem, tropischem Sumpfgebiet zu trà ¤umen. Er wird von Gedanken fortgetragen, die ihm eine Flucht aus seinem Alltag ermà ¶glichen. Als er aus seiner Trance wiedererwacht, ist der Wanderer verschwunden, doch die Reiselust bleibt bestehen. Lediglich der entstandene Konflikt innerhalb dem Charakter selbst zwischen Vernunft und Befreiung deutet auf eine Tragà ¶die hin. Das darauf folgende Kapitel trà ¤gt die Exposition nach, in der der Charakter nà ¤her erlà ¤utert wird indem sein Lebenswerk und seine Familie vorgestellt werden. Man bekommt so Einblick in seine Vergangenheit und erfà ¤hrt von Aschenbachs Ruhm und seinen Problemen damit, beispielsweise ist er sehr ehrgeizig „[..] sein Lieblingswort war „Durchhalten- (S.21). und nimmt gerne eine Vorbildfunktion ein, die ihm Ehre und Ruhm aber auch viele Arbeitsstunden bescherte.Erst spà ¤ter erbarmt sich Thomas Mann und beschreibt das Aussehen des Schriftstellers „Diese Augen, mà ¼de und tief durch die Glà ¤ser blickend. (S. 30) welches eine deutliche Schlaffheit aufweist und wieder ist ein interner Konflikt erkennbar, denn die weit entfernte Vergangenheit war von wenig Glà ¼ck geprà ¤gt, die nahe aber um so mehr, doch anscheinend fehlt dem Erfolgreichen noch immer etwas zum wahrhaftig Frohsinn. Im dritten Kapitel bricht Aschenbach fluchtartig vor sich selbst und dem Gewohnten auf, zunà ¤chst auf die Adria-Insel wo er nicht lang verweilt, denn das Schicksal hat etwas Anderes fà ¼r ihn bestimmt. So folgt die Fahrt nach Venedig, die ein, wegen der zahlreichen Todesmotive, ein sehr wichtiger und eindrucksvoller Teil der Novelle ist. Beginnend mit dem alten, dà ¼steren Schiff, dann ein unsauberer Matrose; ein Greis, der den klà ¤glichen Versuch wagt jà ¼nger zu erscheinen als er ist, weisen klare satanistische Attribute auf, und spà ¤ter auch die schwarze Gondel, die einem Sarg gleicht. Wiederholt spielt das Schicksal Aschenbach einen Streich, als der Gondelfahrer das große, offene Meer ansteuert und auf mysterià ¶se Weise verschwunden ist, als Aschenbach ihn nach der Fahrt bezahlen will, vergleichbar mit dem Wanderer im ersten Kapitel. Der Wendepunkt der Novelle ereignet sich, als Gustav sein Hotel erreicht, das Vollkommene wird vorgestellt, die Liebe in Aschenbach wird entfacht. Tadzio wird beschrieben als „vollkommen schà ¶n. (S. 50) „Sein Antlitz, bleich und anmutig verschlossen, von honigfarbenem Haar umringelt, mit der gerade abfallenden Nase, dem lieblichen Munde, dem Ausdruck von holdem und gà ¶ttlichen Ernst, erinnerte an griechische Bildwerke aus edelster Zeit. Allerdings wirkt alles an ihm krà ¤nklich, ein Zeichen des Todes, das selbst Aschenbach auffà ¤llt, jedoch ist er zu ergriffen, um vor ihm zurà ¼ckzuschrecken. Seine homoerotischen Gefà ¼hle und Besessenheit sind unleugbar; denn in der detaillierte Beschreibung des Jungen, wird auf jede Besonderheit, aber auch auf jede Normalità ¤t hingewiesen. Dazu kommen die eher unattraktiven Betrachtungen des weiblichen Publikums „eine kleine und korpulente Halbdame mit rotem Gesicht. (s.52) Bald darauf entstehen externe Konflikte, denn Aschenbach gedenkt mehrmals aufgrund der schwà ¼len Witterung, vor der er schon in Deutschland versuchte zu fliehen, abzureisen. Allerdings hà ¤lt seine Begeisterung fà ¼r den Polen ihn zurà ¼ck und er beginnt fà ¼r den Jungen zu atmen. Er beobachtet ihn, redet in Gedanken mit ihm und scheut sich nicht, sein Verhalten zu analysieren. Aschenbachs Erfolg zeigt sich, als er den Namen des Jà ¼ngling erfà ¤hrt. Spà ¤ter will der Autor nochmals abreisen, doch sein Gepà ¤ck gelangt nicht an den Bahnhof, sondern nach Cosmo. Doch anstelle von Wut ist der Hauptprotagonist erleichtert, denn so muss er den Knaben nicht verlassen. Nun folgt eine Art Verlà ¤ngerung des vorherigen Kapitels, ein retardierender Moment, in dem Tadzio weiterhin nah ist und gehuldigt wird. Die verzà ¶gerte Handlung steigert die Erwartung des Lesers, da der Kà ¼nstler den Jungen nie anspricht, sondern stattdessen verwirrt seinen wilden Gedanken nachgeht. Jede Distanz wird aufgehoben „War er nicht ihm, dem Kà ¼nstler bekannt und vertraut? Wirkte er nicht auch in ihm? (S.83), alles wirkt intim beinahe zu intim „seine Achselhà ¶hlen waren noch glatt wie bei einer Statue (S. 83) und der Schriftsteller ist „verzaubert (S. 81), gesteht es sich jedoch nicht ein. Am Ende des Kapitels schlagen die Wà ¼nsche des Schriftstellers in Sorgen um, doch dann là ¤chelt der Bursche ihm zu und dieses „Geschenk là ¤sst den Vernarrten „die stehende Formel der Sehnsucht, unmà ¶glich hier, absurd, verworfen, là ¤cherlich und heilig doch, ehrwà ¼rdig hier noch „Ich liebe dich! (S. 97) flà ¼stern. Im finalen Kapitel bemerkt der Verliebte zwar Verà ¤nderungen der Stimmung, des Geruchs hin zu einem „Opferduft (S. 101) und im Verhalten, aber von der Liebe getrieben, fà ¼hlt er sich durch seine heimliche Liebe so geheimnisvoll wie die Stadt selbst und sieht die dramatische Situation eher als Abenteuer. Viel gefà ¤hrlicher stuft er hingegen die Mà ¶glichkeit ein, dass der Schà ¶nling abreisen kà ¶nnte und somit seine Hoffnung ihn endlich lieben zu dà ¼rfen sterben wà ¼rde. Die Sehnsucht nach seiner Nà ¤he steigert sich weiterhin und à ¼berlà ¤sst nichts mehr dem Zufall. Sein Fall geht rapide vor sich, bald wird er im Vorgarten des Hotels von Straßensà ¤ngern unterhalten, welche auch Todesmotive darstellen. Der Tod des Fà ¼hlenden ist folglich in unmittelbarer Nà ¤he. Endlich erfà ¤hrt der Getriebene um was fà ¼r ein à ¼bel der Stadt es sich handelt: Die indische Cholera Durchfall und Erbrechen die schon einer Menge von Menschen das Leben gekostet hat. Der Verrà ¼ckte beginnt, sich anders zu benehmen: er verliert sein Niveau, auf das er einst so viel Wert legte, indem er versucht dem Alter davon zu laufen, doch es missglà ¼ckt. Er ist weiterhin erschà ¶pft und geleitet von seiner Gier nach dem 14-Jà ¤hrigen. Das unwohle Gefà ¼hl in ihm wird stà ¤rker und er zitiert einen Dialog zwischen Sokrates und Phaidros der mit den Worten endet „Und nun gehe ich, Phaidros, bleibe du hier; und erst wenn du mich nicht mehr siehst, so gehe auch du.(S.135) Er erkennt, dass seine Liebe ihn in den Tod fà ¼hren wird, doch er ist weder im Stande, noch im Willen dies zu à ¤ndern, da es aussichtslos ist. Als Tadzio, gekrà ¤nkt von einem Freund, ins Meer flieht, will Aschenbach nachkommen, doch dazu kommt es schon nicht mehr, er sinkt stattdessen schlaff neben seinem Stuhl zusammen. Der Nekrolog zeigt deutlich, wie weit Aschenbach gesunken ist. Das finale Kapitel ist der Niedergang und der Konflikt zwischen Liebe und Tod endet und ein klarer Sieger ist: Die Liebe. Stil Kritisch-ironisch Gerundium-Stil Austritt aus Realità ¤t (Prà ¤sens der Gà ¶tter) Stilistisch là ¤sst sich eine Verà ¤nderung wà ¤hrend dem Fortlaufen des Geschehens feststellen. Allgemein findet man naturalistische Einflà ¼sse wie die Cholera und die prà ¤zise Beschreibung von Orten und Menschen trà ¤gt zu einem modernen Werk bei. Die Hauptperson ist der Kritik des Autors ausgesetzt, nicht zuletzt wegen seiner dekadenten Lebenshaltung, doch gleichzeitig ist ein romantisches Werk erschaffen, denn Tod und Liebe werden miteinander verknà ¼pft und der Schauplatz ist die romantische Stadt Venedig. Apollo und Dinoysos werden gegeneinander aufgespielt und der Tod nimmt verschiedenste Gestalten an, die stetig gesteigert werden. So wurde eine Novelle kreiert, die den Leser in die Zeit des fiktionalen Geschehens transferiert. Die klassische Struktur und die kompensierte Sprache und der auktoriale Erzà ¤hler vermittelt der Autor die Meinung des Erzà ¤hlers und der Charaktere. Das Wissen des Erzà ¤hlers ist beinahe unbegrenzt und zeitweise ist der Leser den Charakteren voraus und so gelangt eine spritzige Ironie in das Werk. Vor allem der Gebrauch von mitteralterlichen und antiken Todessymbolen verleiht dem Werk einen mysterià ¶sen Hauch. Die Ausgangsposition des Werkes ist Trauer, Demut und Krisenstimmung. Im Anfangskapitel erfà ¤hrt man in extrem komplexen Sà ¤tzen zunà ¤chst die Ironie der Erzà ¤hlung, man ist sofort in der Seele des Helds. Sein Tagtraum, in ein dynoisisches Sumpfgebiet zu reisen, là ¤sst den Leser ein bà ¶ses Ende vorahnen und auch das Wetter spiegelt die unglà ¼ckliche, ausgelaugte Stimmung des Protagonisten wider. Dass die erste Seite schon ein Zitat „motus animi continuus beinhaltet, zeigt, dass Thomas Mann belesen und intelligent ist, doch er ehrt fà ¤lschlich Cicero anstelle von Colet. Das eigentliche Zitat aber unterstreicht nochmals die Anspannung des Helds und die Kreuze und Gedà ¤chtnistafeln des Friedhofs sind weitere Todesmotive. Der fremde Wanderer, der Hermes, der Leiter der Menschen in die Unterwelt, offensichtlich gleicht, ist das Schicksal Gustavs und die erste, aber nicht einzige, Leitfigur dieses Werkes. Dieser Zufall ist der Einzige dieses Werkes, und es war nà ¶tig, um das Schicksal anzukurbeln, denn hier beginnt die Tragà ¶die. Weiterhin wird das Geschehen kommentiert, aber der Erzà ¤hler neigt zu Untertreibungen und Unprà ¤zisionen, denn innerhalb dieser komplexen Sà ¤tze findet man keine Jahreszahl, sondern zeitliche und rà ¤umliche Ausweitung, die viel Platz fà ¼r Imagination lassen. In dem zweiten Kapitel ist weiterhin ein Vokabular das von Archaismen Gebrauch macht auffindbar, doch auch eine Kongurenz zwischen Inhalt und Ton ist erkennbar, als der Erfolg des Helds beschrieben wird. Die Wortwahl ist pompà ¶s und à ¼berzeugend, wodurch Mann einen leistungsstarken Schriftsteller kreiert, dessen Verlangen nach Ruhm unstillbar ist und somit in die Kritik Manns gelangt. Dennoch ist die Offenbarung Aschenbachs Vergangenheit eine Erlà ¶sung fà ¼r den Leser, endlich muss er nicht mehr rà ¤tseln, sondern erfà ¤hrt, was fà ¼r eine Persà ¶nlichkeit der Held ist. Seine feste Faust unterstreicht seinen Willen und die Stà ¤rke, die schon zuvor zum Ausdruck gebracht wurde, rhetorische Fragen, Substanzivierungen und Antonomasien verhelfen Thomas Mann zu einem Stil, der vor Selbstsicherheit und Wissen strotzt, dennoch scheint manche Wortwahl à ¼bertrieben und nur zum Zwecke der Anspielung gedacht. Das dritte Kapitel unterscheidet sich strukturell von den vorherigen, da es deutlich là ¤nger ist. Venedig als Reiseziel passt zu dem Geschehen, denn in dieser mà ¤rchenhaften Stadt trifft der Hauptcharakter auf den mà ¤rchenhaft, à ¼bermenschlichen Tadzio. Die Beschreibungen werden noch prà ¤ziser und eine exquisite Wortwahl ist auffindbar, dies beinhaltet den Gebrauch von ausgefallenen Adjektiven und Widersprà ¼chen, die auf das Oberflà ¤chliche fixiert sind und beim Vorlesen singen die gewà ¤hlten Worte. Doch auch das Verbotene ist im Stil auffindbar, statt versteckter Hinweise findet man nun deutliche Todessymbole, wie die schwarze Gondel und Todesboten, die die Attribute des Satans aufweisen und oft tritt die gefà ¤hrliche Farbe Rot in den Vordergrund. Durch die Synà ¤sthesie gelangt das Schreckliche immer weiter in den Mittelpunkt. Die Anwendung von wà ¶rtlicher Rede, Selbstgesprà ¤chen und direkten Gedanken zeigt nun ein konkretes Anwesensein des Erzà ¤hlers, doch er kommentiert weiterhin und ist stets distanziert gegenà ¼ber dem Protagonisten. Generell là ¤sst sich aber der weitere Gebrauch von Fremdwà ¶rtern und Substanzivierungen feststellen, aber nun wird sogar Eros erwà ¤hnt, man merkt, wie die Spannung steigt. Thomas Mann nutzt rhetorische Stilmittel, um die Stimmung von Gefahr zu vermitteln, und dies gelingt ihm, trotz oder grade wegen der langen Sà ¤tze, die einen schnellen Lesefluss ermà ¶glichen.Mit Tadzio kreiert Mann ein à ¼bermenschliches Kunstwerk, dass genau das Fehlende in Aschenbachs Leben zu sein schien. Das folgende Kapitel hat einen Handlungsverlust, der auch im Stil merkbar ist, zunà ¤chst kommentiert der Erzà ¤hler wie zuvor und Mann greift auf die Odyssee Homers zurà ¼ck um die Natur zu beschreiben und eine falsche Idylle zu kreieren. Die Liebe zu dem Jà ¼ngling wird wiederholt dramatisch dargestellt, die Gesamtsituation Aschenbachs wird mit Partizipien, Alliterationen und Antonomasien auf eine à ¼berdurchschnittliche Ebene gehoben. Doch hier ist eine Ironie durch den Erzà ¤hler bemerkbar, die diese Dramatik beinahe falsch erscheinen là ¤sst, der Leser wird zwar aufgefordert ein Bild vor Augen zu kreieren, mit Hilfe von Synà ¤sthesie und Vergleichen, doch man merkt deutlich, wie das Ende der Novelle und des Helds naht. Die rhetorischen Fragen fordern den Leser zum Nachdenken auf, denn hier geht es nicht nur um Aschenbach, der Liebesverrà ¼ckt ist, sondern jeden Einzelnen, der versucht, sich selbst zu entkommen, man befindet sich hier auf eine Metaebene, die zuvor nicht vorhanden war. Das letzte Kapitel beinhaltet viele Imaginationen des Hauptcharakters und weiterhin zitiert der Erzà ¤hler, allerdings um Dramatik zu kreieren. Der Monolog Aschenbach unterstreicht dessen Verrà ¼cktheit, er ist getrieben von der Liebe und sein Fall wird letzten Endes vollendet. Von dem einst bekannten und beliebten Schriftsteller ist nichts mehr à ¼brig, stattdessen hilft das Oxymeron Liebe und Tod ironisch sinnvoll zu vereinigen. Die erlebte Rede, die Ausrufezeichen, all dies sind dramatische Effekte, der Leser wird eingespannt in die Spannung. Die komplexen Sà ¤tze beinhalten grauenvolle und ekelhafte Beschreibungen, als Unterstreichung des Falls von Aschenbach. 2. Romeo und Julia inhaltlich stilistisch Inhalt: Romeo und Julia auf dem Dorfe In dieser Novelle sind keine Kapitel, aber dennoch lineare Abschnitte auffindbar. Sie beginnt zunà ¤chst mit der Exposition, darauf folgt der Aufbau des Konflikts, dann der Gewissenskonflikt der Liebenden, daraufhin wird die Handlung verzà ¶gert und darauf folgt die romantische Katastrophe. Die Exposition belà ¤uft sich auf wenige Seiten, in denen die Charaktere gezeigt werden wie sie im idyllischen Seldwyla leben und arbeiten. Die Ortschaft wird beschrieben und zwei Bauernfamilien stehen im Mittelpunkt, die Kinder sind befreundet und teilen viele Geheimnisse. Der Schein trà ¼gt jedoch, denn die jungen Kinder weisen schon ein grausames Verhalten auf, als sie „ihn [den Kopf] sorgfà ¤ltig los von dem ausgequetschten Leichnam (S. 9) trennten. Außerdem liegt zwischen den Anwesen der Familien ein unzuordbares Acker. Dann folgt der Aufbau der Streithandlung zwischen den Bauern, Manz erwirbt nun rechtlich fà ¼r viel Geld den Acker, behauptet aber, dass Marti ihm Land geklaut habe. Die ganze Konzentration ist auf den eskalierenden Streit gerichtet, anstelle auf ihre à ¤cker, „[..]und ruhten nicht, ehe sie beide zugrunde gerichtet waren. (S.17) so leiden sie bald unter Geldmangel und die Kinder unter Kontaktlosigkeit. Vrenches Mutter stirbt daraufhin an Kummer, wà ¤hrend Vrenchen versucht aus der miserablen Lage das Beste zu machen. Salis Mutter aber verwà ¶hnt ihren Sohn, wann immer sie kann, damit er zumindest ansehnlich scheint. Bald darauf erreicht die Armut einen Hà ¶hepunkt, denn Manz Familie muss den Acker aufgeben und in die Stadt migrieren, um ihrer Not zu entkommen und erwerben eine schà ¤bige Gastronomie. Sie werden von den Stadtbà ¼rgern nicht ernst genommen und leiden weiterhin an Geldnot und Hunger. Auch Marti orientiert sich nun neu: am Fischen. So kommt es zu einem Treffen mit den Kindern, Manz und Marti, als beide im selben Fluss fischen. Der Streit eskaliert und es kommt zum Kampf zwischen den Bauern, wà ¤hrenddessen die beiden Kinder das Verhalten ihrer Và ¤ter unwà ¼rdig finden, sich aber nach langer Zeit wieder nà ¤her kommen. Ab hier beginnt der zweite Handlungsstrang der Geschichte, die Liebeshandlung. „[..]indem er voll Liebe in Nacht und Wetter hinein und das liebe Gesicht anlachte.. (S.33) Die beiden habe die Liebe wieder entdeckt und Sali verliert dadruch seine Umwelt aus den Augen, sein einziges Ziel wird nun, sich der Geliebten zu nà ¤hern. Auch Vrenchen versucht, den Burschen zu beeindrucken, in dem sie vorgibt eine perfekte Hausfrau zu sein. Als Sali sie besucht, entscheiden sie, sich vor den Và ¤tern zu verstecken und verabreden ein geheimes Treffen an dem Ort, an dem sie schon als Kind zusammen spielten und bald darauf spazieren sie gemeinsam à ¼ber die à ¤cker. Plà ¶tzlich tritt der „schwarze Geiger(s.40) auf und berichtet den Kindern, dass die Và ¤ter selbst Schuld an ihrem Unglà ¼ck seien, denn sie waren es, die ihm sein Habe nicht anerkannt haben, daraufhin verschwindet er in Richtung des Dorfes, die Liebenden sind verà ¤ngstigt und verwirrt, doch Vrenchen findet bald ihre Heiterkeit wieder, sie scherzen à ¼ber eine Heirat, auch wenn sie bemerkt, dass sie keine gemeinsame Zukunft haben. Dann taucht Marti „mit bà ¶sen Blicken (S. 47) auf und bestraft seine Tochter fà ¼r das geheime Treffen mit dem Sohn seines Feindes, Sali reagiert, indem er Marti mit einem Stein auf den Kopf schlà ¤gt, was in Verstandsverlust resulitert. Wiederholt stellen die beiden Kinder fest, dass ihre Liebe nicht sein darf und kann. Darauf folgt die Handlungsverzà ¶gerung, Marti muss in eine Anstalt und sein Haus und Hof werden verkauft, sodass auch Vrenchen fortgehen muss. Beide Liebenden sind sich unschlà ¼ssig à ¼ber ihre Zukunft, beschließen aber, gemeinsam fortzulaufen. Am Tage der Flucht sind beide herausgeputzt und Sali bringt Vrenchen Sonntagsschuhe, Vrenchen genießt die Mà ¶glichkeit, sich bei der Kà ¤uferin des Bettes als Braut auszugeben „Seht, Sali ist mein Hochzeiter. (S. 60) wodurch sie den Respekt der Kà ¤uferin erlangt. Bald machen sie und Sali sich auf den Weg ins nà ¤chste Dorf, um sich dort in einer Gaststà ¤tte niederzulassen, wo Vrenchen wiederholt die Brautrolle à ¼bernimmt und auch Sali genießt die Zeit mit ihr sehr. „Denn die armen Leute mussten an diesem einen Tage, der ihnen vergà ¶nnt war, alle Manieren und Stimmungen durchleben. (S. 67) So wandern sie ins nà ¤chste Dorf und dann zum Kirchweih, wo sie sich gegenseitig Lebkuchengebà ¤ck schenken und unwissendlich voneinander Ringe kaufen, das Glà ¼ck der beiden wird aber bald von den neugierigen Blicken anderer Seldwylaner getrà ¼bt und fliehen abermals, nun in ein Wirtshaus, „Paradiesgà ¤rtlein. Der Zufall will es, dass sie den schwarzen Geiger dor