Decentralized And Strategic Business Unit Of Nestle Management Essay

Decentralized And Strategic Business Unit Of Nestle Management Essay Based in Switzerland, Nestle operates in 86 countries across the globe. The company has products that cross more borders than a professional diplomat, including Nescafe coffee, Purina and Friskies pet food, Kit Kat candy, Buitoni pastas and its flagship chocolate. Although there are many exceptions, food tends to be inherently local, both because of its perishable nature and because of the regional nature of many food preferences. For Nestle, success has meant finding the right balance between localization and globalization. Packaging has played a key role in this successful balancing act, which is why Nestle is Food Drug Packagings 2004 Food/Beverage Packager of the Year. Nestle can earn greater return from its distinctive competencies, like unique strengths that allow a company to achieve superior efficiency, quality, innovation and customer responsiveness. By applying those competencies, and the products they produce, to foreign markets where indigenous competitors lack similar competencies and products, Nestle can realize enormous returns. Furthermore, Nestle can take advantage of location economies. Location economies arise from performing a value creation activity in the optimal location for that activity, anywhere in the world. The optimal location for a value creating activity lowers the costs of value creation therefore helping the company achieve a low-cost position. 4.1 International strategy Nestlà © is a global organization. Their competitive strategies are associated mainly with foreign direct investment in dairy and other food businesses. Nestlà © aims to balance sales between low risk but low growth countries of the developed world and high risk and potentially high growth markets of Africa and Latin America. Nestlà © recognizes the profitability possibilities in these high-risk countries, but pledges not to take unnecessary risks for the sake of growth. This process of hedging keeps growth steady and shareholders happy. When operating in a developed market, Nestlà © strives to grow and gain economies of scale through foreign direct investment in big companies. Recently, Nestlà © licensed the LC1 brand to Mà ¼ller (a large German dairy producer) in Germany and Austria. In the developing markets, Nestlà © grows by manipulating ingredients or processing technology for local conditions, and employ the appropriate brand. For example, in many European countries most chilled dairy products contain sometimes two to three times the fat content of American Nestlà © products and are released under the Sveltesse brand name. Another strategy that has been successful for Nestlà © involves striking strategic partnerships with other large companies. In the early 1990s, Nestlà © entered into an alliance with Coca Cola in ready-to-drink teas and coffees in order to benefit from Coca Colas worldwide bottling system and expertise in prepared beverages. European and American food markets are seen by Nestlà © to be flat and fiercely competitive. Therefore, Nestlà © is setting its sights on new markets and new business for growth. 4.1.1 Asia market Nestlà ©s strategy has been to acquire local companies in order to form a group of autonomous regional managers who know more about the culture of the local markets than Americans or Europeans. Nestlà ©s strong cash flow and comfortable debt-equity ratio leave it with ample muscle for takeovers. Recently, Nestlà © acquired Indofood, Indonesias largest noodle producer. Their focus will be primarily on expanding sales in the Indonesian market, and in time will look to export Indonesian food products to other countries. Nestlà © has employed a wide-area strategy for Asia that involves producing different products in each country to supply the region with a given product from one country. For example, Nestlà © produces soy milk in Indonesia, coffee creamers in Thailand, soybean flour in Singapore, candy in Malaysia, and cereal in the Philippines, all for regional distribution. Nestlà ©s overall strategic postures make sense because the company has developed a consistent strategic direction and vision. The company has determined its strategic direction in advance and then implemented it on a global scale. Knowing that innovation and quality were key determinants, Nestle transferred these distinctive competencies to foreign markets. 4.2 Decentralized and Strategic Business Unit Nestle is a decentralized organization where responsibility for operating decisions is delegated to local units, which have a high degree of autonomy concerning pricing, distribution, marketing, etc. Nestle is one of the worlds largest food company and has successfully grown and increased its market share since its foundation in 1866. This already indicates that Nestlà ©s overall strategic posture makes sense given the markets and countries Nestle participates in. Nestle is organized into seven different worldwide strategic business units (SBUs). These have responsibility for high-level strategic decisions and engage in overall strategic business development, including acquisitions and market entry strategy. Parallel to this structure, there is a regional organization that divides the world into five major geographical zones, such as Europe, North America, etc. The regional organizations are responsible for developing regional strategies and assist in the overall strategy development process. However, neither SBU nor regional managers get involved in local operating decisions. http://articles.castelarhost.com/nestle_competitive_strategy.htm 4.3 Challenges As a global company, Nestle faces many challenges. They are varied in nature, spanning social, environmental and economic issues, and range from local to global in scale. Some of the challenges as below: 4.3.1 The double burden of malnutrition While nutrition has largely improved worldwide over the past 50 years, new nutrition-related problems have emerged, ranging from under-nutrition in developing countries through to increasing rates of obesity in both developing and developed countries. Both contribute to increasing rates of chronic disease around the world.18 4.3.2 The global water crisis In recent years, water has been increasingly recognized as equal to climate change as a pressing environmental issue. With approximately two-thirds of all water being withdrawn by agriculture, the future of agriculture and food security is at stake if we are not able to solve the world water crisis. We have adopted rigorous standards to reduce water consumption at our plants and facilities, and help farmers to become better stewards of water, support water resource awareness and education programmes, and participates in global dialogue with leading experts and policymakers.19 4.3.3 Renewable energy In addition to operational efficiency improvements and energy-saving equipment, we continue to explore the industrial feasibility of switching to more renewable energy sources to reduce our reliance on fossil fuels. A number of projects have come on-stream in 2009 which will increase our overall proportion of energy derived from renewable resources, including a landfill gas project in Ohio, USA that recovers methane, the generation of energy from spent coffee grounds at a factory in Colombia and solar panels on the roof of our Purina factory in Denver.20 4.3.4 Sustainable palm oil We share the concern about the serious environmental threat to rainforests and peat fields caused by palm oil plantations, and participate in multi-stakeholder solutions to this complex problem. We only buy processed palm oil and processed oil mixes, we do not use crude palm oil and we have no direct link with plantations. We have also undertaken an in-depth review of our supply chain and committed to using only Certified Sustainable Palm Oil (CSPO) by 2015. Nestle recently joined the Round table on Sustainable Palm Oil (RSPO) and has repeatedly spoken out against the production of palm oil for a bio-fuel.21 4.3.5 Child labour in the agricultural sector As a founding participant in the International Cocoa Initiative, set up specifically to eradicate the worst forms of child labour, Nestle and other industry players are improving access to education and addressing all forms of exploitation of children, forced labour and its causes.22 http://www2.nestle.com/CSV/CreatingSharedValueAtNestle/Challenges/Pages/Challenges.aspx

Analytical study of the artwork by Anupam Sud Essay

The art of printmaking, as we know it today, is an artistic method appreciated for its unique technical qualities and its immense vocabulary as a specialized field of fine art. Printmaking is the process with which a wide range of materials and diversity of techniques are associated, which offers the artist varied possibilities for experimentation. Anupam Sud was born in 1944 at Hoshiarpur in Punjab. She passed her Diploma in Fine Art from the College of Art, Delhi and an advanced course in printmaking from the Slade School of Art in London on a British Council scholarship. She headed the printmaking department at the Delhi College of Art for several years. She has been a teacher and a mentor to many young artists of today. She is also known for her fine drawings and paintings. Her work breathes a unique freshness- with traces of sculptural contours in some and hints of warmth of oils in others. Though her work features both men and women and often in the nude, her sympathies are fem inist and the oeuvre introspective and somewhat brooding or haunting, concerning itself with common human predicaments of ambiguity and hypocrisy. As an educationist and founding member of the printmakers guild and subsequently the mini prints exhibition that she had curated which toured several Indian cities, she has been able to win for graphics a place within the folds of recognized art forms. Anupam works at her home-studio in village Mandi, isolated by verdure and green fields, several miles away from the churning of Delhi’s streets. When we compare the work of Anupam sud with the great printmaker of the past, like Albert Durer, Daumier, Kathe kollowitz who used print-making for its monochromatic power of statement, Anupam, on the contrary, uses its language of metaphor. Sud’s art consolidates her humanistic leanings over her feminist ones, reflecting upon the nature of humanity in all its forms. She works, one might say, with a social and political consciousness that may not be radical, but affects a subtle intervention by speculation rather than statement. Her deep knowledge of past artistic traditions, of the cultural dynamics that prevail in the Indian context and topical events is the trigger that ignites her imagination. The sweet bitter taste of life that occurs in the wider world of everyday experience engages this artist. The themes of manipulation, the relationship of power to predicament, of powerlessness and temptation, human fallibility and trappings, the masked existence of urban people, the inertia of government structures, are some of the recurrent themes that engage Anupam’s thought process. When encountering Anupam’s work, what strikes one immediately is her ‘sensuality of seeing’. Whether humans or objects, they are represented in their full-bodied corporeality- their skin and flesh, texture and volume captured most effectively by well-delineated contours and in the black and white (light and dark) ambiance of etching. It is her eye, and an acute sense of the ‘optic’ that guides her hand in shaping the physical reality of things. Anupam remains a committed realist, even to the extent of sometimes being photographic. This sense of realism is not reduced to a sterile function of flawless copying, but refined by an intuitive vision of the perceived object in the pictorial construction. The narrative itself is packed with telling details which provide important clues to the social satire, the wit and the clever ridicule infused in the infinite oddities of human situations. Anupam, I think intentionally confounds both the subjective and objective worlds, where the obscure is sighted, the uncanny revealed and the incomprehensible called to account. Sud operates outside the narrow boundaries of ‘art for art’s sake’. The dual nature of reality fascinates her and is seen in her interest in polarized situations. Disqualifying traditional iconography as unsuitable to her expressive goals, she frequently attempts to divest the human form of all cultural markers -caste, creed, clothing and nationality, to represent a universal symbol. Reflecting her own personal nature, her figures dismiss confrontation and direct retaliation. In self-absorption, they are ‘set apart’ from the familiar daily environment to fully allow the effects of emotional and aesthetic experience. Anupam uses humorous ways of representing otherwise serious concerns. Perhaps in view of the disharmony of gender relations, Anupam juxtaposes the fragmented images of female foeticide and highlights an alternate biological choice with erotic forms and men applying lipstick, suggestive of a possible future homosexual world. In the work ‘Dialogue’, one version has two men in communion, characterized more by their gentle touching than speech. While the men are located in an open, public space, the dialogue between two women in another version takes place in a dark, domestic and private space. As it happens in life all the time, there is suspicion also when persons of the same sex become companions. Anupam expects the viewer to read or misread the relationships in multiple ways, validating their power to make meanings. In her work Anupam Sud regularly uses the strategy of literal solidness where object makes the content familiar. Her work ‘Don’t Touch My Halo’ has the overwhelming centrality of a heroic male figure in a ri gid statuesque pose, holding the fruits of his success, and the dancing apsaras with their sensual body rhythms, as glories of his life. In contrast to the powerful handsome exterior (his temporary facade), the skull under the seat is a metaphor for his hidden inner self and hollow structure. . ‘The Shifting Halo’ is antithetical to this, where with the abrupt collapse of power the halo has already shifted from the dead man towards the virility and power of youth. The cold, ice-slab architectural space, the hard rendering of the face, the cropped body and the exact nature of its placement, the strong sense of shadows and silence make for a harsh visualization of the theme. There are other works dosed with concerns for pollution, hazards of industrialization, barrack-like structures, erratic electricity nuisance- all familiar stories, but invested with personal and collective meaning. ‘Dining with the Ego’ holds mystery in spite of a material sumptuousness. A sharp contrast in image is visible, with the man hogging merrily and the woman with an empty plate. The irreconciled situation creates a kind of visual discomfort in spite of the table with its luring spread. Similarly, some of the other works represent a feminine concern, where empathy and a pained compassion pervade the imagery. Women seem to be framed, however obliquely, in a man-centered world of marriage, physical violation and invasive medical techniques. ‘The Ceremony of Unmasking(1990)’ problematizes the predicament of human relationship. There is an ambiguity about the act, whether the woman is being unmasked or masked again. Overpowered by the two men with their terrifying masks, the woman, still uncertain about her feelings flings her hands up in reflexive stance. While central panel introduces the dog as a symbol of loyalty. Locating the work in a mysterious space Anupam secludes the ritual and the characters involved, to live with the secret of the act. ‘Wee Hour’ shows a woman in a crouched position, shaped almost in human shell form that sym bolizes protection, yet she is vulnerable, not guarded from her dreams and latent desires. The incompatibility of the mind and the body is sensitively etched out in many of Anupam’s work. Her recent prints quite regularly feature the intentional visual demarcation of mental and material reality; the body and the accessories are separately juxtaposed with meanings implicit in circumstantial relationships. As an artist and as a person, Anupam is critically discerning, with a self-analytic ego secure in its self doubt. She is a thinking artist who never works with a set pattern but invites fresh challenges and seeks new discoveries with each work. Her print collages, for instance, are abstracted bits from several of her prints that make up a pictorial pseudo script. She enjoys the variety of blacks that emerge as a result of different papers used in her prints. One observes that in a rigorous medium like etching, Anupam has shown courageous preference for large formats. In fact, her zinc plates are getting larger and larger. She explains, â€Å"With drawing, the journ ey of the mind begins and webs stories around the theme that demand space to accommodate the monumental scale of the characters.† Overcoming all repressive barriers, she comfortably etches the male and female body in its stark nakedness. Technically, her attraction for the unbroken line and contour heavily compounds with her perceived human form. While shaping her narratives on the zinc plate, she indulges spiritedly in the aquatint process, often darkening the entire field and then reclaiming the whites in a most painstaking (and challenging) way. Anupam’s final print makes a ‘gradual emergence’ after a sequence of improvisations and remedial measures perceived by the artist while pausing amidst the spaced acts of executing prints. Working with the reverse image and visualizing its ‘positive’ side requires special insight. Also, drawing and scraping need the plate to be positioned flat on the table but at intervals the plate needs to be placed on the board to register distortions and incongruous working. Her hand, that transfers human touch and energy, varying in pressure, forc e and feeling, remains undoubtedly her most important tool of working, fine tuned with her entire being. If we compare the art work of Anupam Sud with her female contemporaries, like Nilima sheikh, Anjelina Ela Menon, Gogi Saroj Pal, her style is uniquely prosaic, even masculine. Her recent work. ‘All Paths Lead to Me’ was done before the passing of her father, as if etching a premonition. There are men standing visibly in memorial stones with the mythological reference to words of Lord Krishna inscribed on the stones. The lower area, a separate plate, depicts a man in (eternal) repose on the wooden cot that carries him on his final journey. Again the contradiction in Anupam, wherein the man in the centre above, though captured in a posture of certainty, expresses uncertainty – not knowing where to go (or perhaps where any of us will go). Her earlier work ‘Of Walls’ is based on recollections of childhood memories – the walls of the ancestral ‘kothi’,(home in Hoshiyarpur, now sold) covered with graffiti, that were so difficult to jump over in childhood and now seem to have shrunk. The faceless presence of time is personified in the woman’s image while the recumbent male figure, legs folded on one another, is reminiscent of the very familiar sight of her grandfather resting. More than anything, it is the mystery of time, its being there and yet not there, this loss of patrimony is most acutely felt by the women of the family who are not a legatee of this former haven of childhood pleasure. ‘In Search of Two Years from the Past through First and Second Class Mail’ is a break from Anupam’s easily recognizable works. These are large colourful silk-screens in the magnified format of a posted envelope while at the Slade. They carry the spontaneous handwritten imprint of names and addresses by many of her teachers and colleagues. The monochrome human images are symbolic of people walking through time, in some subtle way their anatomies distinguish them from one another. To her credit, without adequate infrastructure and an advanced equipped environment for printmaking, an artist like Anupam Sud has made a mark both at the national and the international level. She proudly believes this to be a unique Indian trait – â€Å"†¦to be able to strive so hard with so little in hand.† As printmakers update and go all electronic, Anupam Sud in many ways is an old-fashioned, slow but steady mover who after four decades is passionately continuing to refine her skills at etching. The long tedious hours of physical labour, studio confinement amidst chemicals, machine presses, heavy rollers, metal plates, burners and innumerable tools have become a way of life for her – with no substitute. â€Å"She believes nothing worthy can emerge in the absence of perseverance†. She is firm on her lifetime commitment to printmaking, especially etching. As a single woman who has given her life a purpose, Anupam indulges in art, sourcing it through her contact with life and its innumerable shades. She acknowledges people who influenced her on the way – her parents: her father who loved body building, read detective stories and loved Punjabi theatre; her mother who adored classical music and read the Upanishads; her mentor and teacher, Jagmohan Chopra who reinforced her strengths and determination as an artist; and the presence of Somnath Hore in Delhi, whose work she closely related to. Anupam Suds’ work has been exhibited widely with over a dozen solo shows and many more group exhibitions in various Indian cities and elsewhere including the USA, UK, Italy, Korea and Switzerland. She has won numerous national and international awards for her printmaking and conducted workshops in Canada and Japan. Her work is held in many private and public collections including NGMA Delhi. It was the subject of a major publication and a retrospective organized recently. She lives and works in Delhi.

Compare the Use of Location and the Environment in the Great Gatsby

Compare the use of location and the environment in The Great Gatsby and The Go-Between F. Scott Fitzgerald’s The Great Gatsby and L. P. Hartley’s The Go-Between are two novels set in very different places in the world, but both show how love between different classes is doomed to failure. The environment is used to depict the lives of the people around it, such as the opulence and decadence in East Egg, and a dull, lifeless place in the valley of ashes.Both Fitzgerald and Hartley use the environment and location to show how the class system and the American dream have failed. Despite, 1920’s America being seen as free, it is also seen as being morally corrupt, with parties celebrating sumptuousness. A key idea of The Great Gatsby is how despite the wonderful settings Gatsby and Myrtle (sometimes) live in; they are still no way near achieving the dream life the Buchanans have. Fitzgerald opens The Great Gatsby with his overriding point about the failure of the Ame rican dream.This is symbolized with the stark contrast between East and West Egg; East Egg represents aristocracy, and leisure with the old money, while West Egg represents ostentation, garishness, and the flashy manners of the new money. Although separated by a small expanse of water, East Egg is the glitzier one with â€Å"white palaces†, whilst Nick’s own house in West Egg is described as a â€Å"small eyesore†. The ironic description of â€Å"white palaces† is particularly important throughout the novel because the inhabitants of East Egg are anything but pure and innocent, highlighted by the Bucahnan’s and Jordan.The difference between the fictitious places in New York and real locations is also partly interesting as in the ordinary world the east end is usually the poorer side, which suggests that Fitzgerald believes that it makes no difference either way. The Maudsley residence â€Å"Brandham Hall† in The Go-Between is depicted as the upper-middle class â€Å"Georgian mansion†, however the architectural style is described as â€Å"over-plain†. This is a criticism, by Hartley of the Maudsley’s lifestyle having little substance, much like the Buchanan’s and the manner in which their life is conducted. Court Place†, the home of Leo’s is described as â€Å"ordinary†, with Marcus rather snobbishly presumes this to show grandeur, a further indication that the Maudsley’s are not a family to look up to. Leo’s home is much the same to him as Nick’s â€Å"small eyesore† is to him, loved by the inhabitant. The Valley of Ashes in The Great Gatsby is depicted as a soulless, â€Å"desolate† piece of land. Fitzgerald uses juxtaposition for irony, to depict the area as â€Å" a fantastic farm, where ashes grow like wheat. This emphasizes Fitzgerald’s point that the area is dead and will always be dead, as the crop that grows is already bu rnt out and worthless. The â€Å"ashes† are a metaphor for the people who live in the valley of ashes, as they have no hope of becoming anything, despite the hope of the American dream. †The eyes of Doctor T. J. Eckleburg† are the most haunting and resilient symbol in the novel, symbolizing the hopelessness in the novel for all the characters. Wilson’s perspective that the eyes are those of an omniscient God, could suggest that the billboard is a parody of God, as the people are still struggling to live.The colour of â€Å"Doctor T. J. Eckleburg’s† eyes are particularly poignant, with the combination of the â€Å"blue and gigantic† eyes with â€Å"enormous yellow spectacles†, with the blue highlighting the sadness of the residents and the yellow almost mocking them, showing the bright, vibrant life the upper classes have. The billboard symbolizes the fallible American dream, in that it is old and decaying and the Valley is almost forgotten by the entrepreneurs. The American dream is about discovery, individualism and the pursuit of happiness.The Great Gatsby shows that in the 1920’s the ‘old money’ and relaxed social values have corrupted the dream, especially on the east coast, making the pursuit of happiness impossible for the â€Å"gray men† of the Valley of Ashes. The Valley of Ashes is the only location in The Great Gatsby where hopelessness and decay is palpably obvious. The location of it is particularly poignant and important as it is situated between New York and both the Egg’s, which shows that the rich and the newly-rich have to pass through a place where the dream has failed and have to breath the â€Å"powdery air†.Furthermore, the metaphor evidently shows the ‘powdery’ lifestyle that the people live in, where the life is not perfect in any way, which is why the objects and people are described as â€Å"gray† a colour which is not dea d and black, but slightly lighter, suggesting that they only have a small amount of life in them. Wilson’s garage could be seen as a failure of the American dream; a location where there is nothing worth anything and the place lacks hope of any sort, with Fitzgerald describing Wilson as â€Å"spiritless†.The description of the â€Å"dust-covered wreck of a Ford† is a particularly sad one, because Ford was created to have a car for everyone in America, and despite Wilson owning a car, the derelict state give the impression that perhaps the poor never had the potential to have cars and almost act like the rich, which could mean that Fitzgerald is saying the American dream is a false and unrealistic prospect for the vast majority of people. Unlike Wilson, Ted’s farm in The Go-Between is full of life with â€Å"four horses†, and the countryside â€Å"smell of manure†.The farm represents the happiness that the lower classes have in the 1900â€⠄¢s, and reappears at the end of the cricket match. Unlike, Wilson there is still life and hope left in belongings; however Ted’s suicide shows how the path reaches the same conclusion and could represent the failure of the class system, because although there is hope in areas, no inter-class marriages would be accepted. New York is a juxtaposition of the Valley, with its loud, garish, and slightly frightening demeanour. The party at Myrtle’s apartment shows the failure of the American dream, with everyone getting drunk and having fights.Fitzgerald has made Myrtle’s apartment cramped and ugly with â€Å"tapestried furniture†, which makes it easy to â€Å"stumble†¦ over scenes of ladies swinging in the gardens of Versailles. † Fitzgerald has evidently shows that Myrtle wishes to live the life of a affluent French princess, but one that lives in a materialistic way. He wants to show how Myrtle has always longed to be rich. The picture of a †Å"hen sitting on a blurred rock† shows that the lifestyle that Myrtle has in the apartment is metaphorically close to her, yet she will never fully reach it.The city of New York in The Great Gatsby is visited on many occasions in the novel and is depicted as wealthy and garish with its â€Å"movie stars†, yet it comes across as being anything, but happy. Fitzgerald describes it as â€Å"the city rising up †¦ in white heaps and sugar lumps †¦ with a wish of non-olfactory (not smelling money)†. This metaphorical quote shows that New York is a place of short pleasure that dissolves too quickly. The â€Å"white† is again used for irony, suggesting the deceit and impurity of Myrtle, Gatsby and Wolfshiem in New York.The image of the â€Å"facade of†¦a block of delicate pale light, beamed down into the park,† shows that there is actually very little hope in the city. In contrast, the â€Å"atropa belladonna† plant the Leo discovers ap pears to be beautiful, as he admits that despite being poisonous he would â€Å"have to look at it again†, but he soon realises that it is dangerous and poisonous as he destroys it, shortly before Marian and Ted’s affair becomes public. The â€Å"belladonna† is a symbol of beauty, but with an underlying poison in the Maudsley family.Gatsby’s house is similar to Myrtle’s apartment, in that everything seems out of place, as he shows off to his true love Daisy. The â€Å"pile of shirts† that Gatsby owns in â€Å"stripes †¦ in coral and apple green and†¦Ã¢â‚¬  represent the hope that Gatsby has for a life with Daisy despite really knowing that â€Å"rich girls don’t marry poor boys†, because although he has a lot of wealth gathered rather suspiciously, he is no-way near the wealth of the ‘old money’. The colours of the shirts are of great magnitude as they symbolize the innocence of Gatsby’s pursuit, as they are very pure colours.However, the â€Å"Marie Antoinette music rooms† could resemble the fate that Gatsby’s meets as despite the fact that Marie Antoinette was rich she was guillotined in the French revolution, a fate not too dissimilar to that that Gatsby meets. Outside Gatsby’s house is the most important symbol in the novel. The â€Å"green light on the dock† sums up both Gatsby’s pursuit of Daisy and the American dream: doomed to failure. The American dream is shown failing right from the first second, when the Dutch settlers, saw the ‘green breast’ and attempted, but ultimately failed to possess it.From an early age Gatsby’s perseverance and hope in the face of adversity epitomises the American dream, but one that is still very much a dream. Overall, both The Go-Between and The Great Gatsby share similar themes and have almost identical conclusions, but the location in both symbolizes many different important them es such as possessions showing how important the person is, for example the â€Å"four candles† outside at the Buchanans house representing the pointless actions that the ‘old’ money have.In the epilogue of The Go-Between Leo sees â€Å"the south-west prospect of the Hall† that was hidden from Leo’s memory could represent new hope and optimism in the future, however the scene of the â€Å"drunken woman† and the image the of â€Å"the Dutch sailors† and Gatsby on his â€Å"blue lawn† are almost ironic claiming that the American dream will never happen, despite all the life put into it. 1650 words 1588 words which mena sthat there is no more than about 60 words avialable on: 1686 words.We have now gone over the word limit by about 100 or so words, so we need to cuct some parts down (get rid of waffle). Also we may need to add a sentence or so on GB and Marie A. Finally we will probably need to have a good think about the intro and conc. /More vale of ash. Unlikely to be pursued with word limit. /Gatsby’s house Chapter 5(need study q’s). In perhaps C4, although this may not be possible Definite Possible * Perhaps the outhouses in GB. More GB stuff is needed so at least 1/3 of the word limit is likely to be on this * Epilogue in GB. Gatsby’s party * The end: likely to be moved to the Conc. * Marie Antoinette Incorporated as background for on eof ghe already done paragraphs. This will leave about 200 words for the Intro. And Conc. We may have to incorporate the end as part of the conclusion, which q. frankly isn’t a bad idea. Use sparknotes for aide One point; the GB is likely to b e the worse of the two novels, and I would like slightly more information about some for the parts before I get the wrong impression (yeah I blame it on you Debbie Houghton).AND we no longer have the GB for reference, but hopefully I will manage to cope (somehow, someway). We have about 1+1 weekends to fin ish it, therefore I hope to finish ASAP and checked as this will give me time to think over changes, but the quicker the better (and seeing as we’re only likely to add a max of 4 paragraphs, I wouldn’t panic too much. On the social class sheet the following things were put down (that I haven’t of yet done): * Buchanan’s house * Ted’s farm (will do) Gatsby’s parties (not sure if I will be able to get this in, but I will try) * Gatsby’s mansion (to some extent) Therefore I need to think about these ideas. We have approx. 13 days left, so only 2 weekends, BUT 1 Saturday we have Ding Dong and the other Orchestra Yet to complete * Getting the word limit down * Improving various phrasing (last weekend) * Perhaps improving the intro * We also have to do the summary grid for Dave for this Tuesday * Impressive vocabularyThe word count now is at 1670, which I’m reasonably pleased with 4 a 1st draft as it is (only) 20 words or so over the upper limit which is OK. Good Luck in finishing it over the next 2 weeks Yours truly, Chris J Hosking xx 2nd draft: 1711 words, I will needd to get rid of 50 at least. All the changes have now pretty much been implemented, so its up to you (me) to get the word limit down. Good Luck Aim to prnit next Tuesday after we have a FINAL check.

Salvage the Bones - 926 Words

1. Compare the portrayal of Katrina in Salvage the Bones to what you saw of the hurricane in the news. Which aspect of the storm’s devastation does this novel bring to life? What does Esch’s perspective add to your understanding of Katrina’s impact? When Hurricane Katrina occurred, I was an eleven year-old child with little to no concern about the current events happening around me. Nevertheless, I was still saddened by the hurricane that killed almost 2,000 people and left thousands homeless. The news reported daily about the damages done, and showed all of the people that were in need of help. But through the novel, you really get vivid details of what it was like†¦show more content†¦When Daddy finds out, he’s not upset but is hurt and sorry. More than likely he blames himself because of his lack of parenting. He focuses on what can be done to ensure that Esch and the baby is safe, rather than interrogating her about how it happened. Since they reacted so calm and rationally, Esch never really had to keep it a secret. 3. Explain how Daddy seems to know that a storm is coming before anyone else? How do his children and neighbors react to his early preparations? Why do Daddy’s precautions fail in the face of Katrina’s destruction? Daddy knows that a storm is coming because he relies on what the news is saying, even though most of the people around him say that the news is wrong. He backs up his claim by saying, â€Å"I can feel them coming..†. He might also be sure of it because he has witnessed very powerful hurricanes in his life as a child. Still, everyone around him takes what he is saying lightly. The people around him don’t take him serious, and it may be because he is drunk 99.9% of the time. The neighbors swear that he is wrong and that the news get facts twisted all of the time. While trying to prepare, his children do everything to try to avoid helpingShow MoreRelatedEssay Salvage the Bones977 Words   |  4 PagesDijona Brishae’ Clemons August 20, 2012 dijona1.clemons@famu.edu 2. Compare the portrayal of Katrina in Salvage the Bones to what you saw of the hurricane in the news. Which aspect of the storm’s devastation does this novel bring to life? What does Esch’s perspective add to your understanding of Katrina’s impact? 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