Arg Container Terminal

CARIBBEAN MARITIME INSTITUTE Marine Terminal Operations ARJ Container Terminal Prepared by: Revalino Bennett, Andrew Gibson, Jenoir Dick, Oshane Polson, Tandra Morris, Jodian Braham For: Mr. Reyon McIntyre Due Date: November 15th, 2012 Table of Contents Section Page Section A- GeneralIntroduction IV A-2 ARG Air layout 1-2 A-3 Abbreviations A-4 Working Hrs A-5 Entry Passes A-6 General Customs Formalities Section B- Landside Operations B-1 Gate Operations B-2 Terminal Access B-3 Exit Validation B-4 Checking Activity at Gate B-5 Inter Terminal Transport B-6 Customs Inspection Section C- Vessel Operation C-1 Marine Requirements C-101 Working Hrs C-102 Vessel Arrival NoticeC-103 Documents Required C-104 Establishing Communication C-105 Pilotage C- 2 Berth and Labour Planning C-201 Pro-forma Vessel Schedules C-202 Advance Schedules C-203 Initial Vessel Call Information C-204 Detailed Vessel Call Information C-205 Communication on the â€Å"Port of Salalah Game Plan† C-206 Calls O utside Pro-forma C-207 Vessel Connections C-208 Technical Information on the Vessel C-209 Notice of Readiness Section D- Load and Discharge Operation D-1 General D-101 Gantry Crane Capacity D-102 Lashing D-103 Hatch Cover Moves and Restows D-104 Use of Special Equipment D-105 Bay Planning and Stability CalculationsD-106 Definition of Loading/Discharging of Containers D-107 Reporting D-108 Storage D-109 Data Amendment D-2 Discharge Operation D-201 Vessel Profile Information D-202 Discharge List Information D-203 Checking Activity During Discharge (Tally) D-204 Reporting D-205 Short-landed Container D-206 Over-Landed Container D-3 Load Operation D-301 Pre-Plan D-302 Load List Information D-303 Re-Nomination of Cargo D-304 Pro-Forma Cargo Deadline D-305 Checking Activity during Load (Tally) D-306 Reporting D-307 Short-Shipped Container D-308 Over-Shipped Container D-4 Yard Inventory D-5 Vessel Bunkering, Repair, and Supply of ProvisionSection E- Break Bulk and Over Dimensional Cargo E- 1 Requirements E-2 Restrictions F- Direct Deliveries G- Dangerous Cargo H- Leakage/Spillage of Cargo I- Container Freight Station Activities J- Weighbridge K- Miscellaneous Services L- Damage and Claims L-01 Damage to Line’s Equipment (Without Prejudice) L-02 Damage to Line’s Vessel (Without Prejudice) L-03 Damage Caused by Third Parties L-04 Damage to Port Facilities/Equipment/Personnel M – Longstanding Cargo N- Reefer Containers Section O- Port Safety and Security O01 Rules & Regulations O02 International Ship and Port Security (ISPS) O02. ISPS Measures by Port of Salalah O02. 2 ISPS Requirements for the Line O03 X-Ray Inspection of Containers Introduction The competition among container ports continues to increase because of di? erentiating factors such as services, location and performance. These factors make up some of the major key selection criterias international shipping companies consider when selecting a transshipment port. With that in mind we the ow ners and managers at ARJ Container Terminal will be trying to attract carriers with our automating handling equipment, the speeding up various services, and providing the most current information on the ? w of containers. At the same time, however, we will reduce costs by utilizing our resources e? ciently, including human resources, berths, container, yards, quay cranes, and various yard equipment. Our key and optimum advantage will be our location. This location in Little Bay, Little London Westmorland Jamaica West Indies will have the sufficient harbor water depth and dock space that will make it possible to facilitate docking of up to a Super-Panamax vessel.Dredging will not be required to accommodate these large draft vessels, hence no disturbance or depletion of any marine wildlife sanctuaries on the harbour floor or natural habitat will be caused. We and our management team are greatly pleased by this because outside of us wanting to create an optimal high efficiency containe r terminal, we also want to know that it is done with little or no impact on the surrounding environment and wildlife. ARJ Container Terminal location will be 25 minutes from the capital city of Savanna La Mar and 5 minutes from the A2 South Coast Highway.This will aid greatly in our multimodal transportation planning for both our clients and ourselves and also compliment positively on the domestic distribution side of our company. We are a limited liability company that specialises in container and general cargo handling for transshipment and domestic purposes. The company is owned by Shiek Revalino Bennet, Shiek Andre Gibson and Shiek Jenoir Dick and is manage by our seniors directors Oshane Polson, Tandra Morris and Jodian Braham The objective of ARJ is to provide integrated cargo service solutions for shipping companies worldwide.Due to our highly competent managers, the company will be able to substantially increase its cargo turnover and ensure regular cargo flow, and to compl iment our effectiveness we will be the only terminal on the island of Jamaica with Sea-Rail transshipment operations. This will enhance our domestic function and in turn bringing first class service to the developing nation of Jamaica. Our developed terminal infrastructure, cargo handling technologies and modern equipment will definitely ensure ARJ’s competitiveness and peak position in the transit market.We will offer value-added services including customs operations, freight forwarding and logistics solutions so this can basically be a one stop shop for our customers/clients. ARJ will employ 111 qualified specialists in different fields to ensure the company’s operational efficiency and productivity level is on par with the major terminals around the world and even exceed if possible. We are predicting from global feedback that our total container flow for 2013 will be approximately 750,000 TEU. ARJ Air Layout Infrastructure: Berth: Length – 290 m Draught â₠¬â€œ 15 m Warehouse area: 16,310 m2Open-air storage area: 120,800 m2 Technical equipment: Quay cranes at the vessel: – STS crane – Conventional quay crane – Mobile harbor crane For container transfer (horizontal transport): – SC (max. stacking capability: 1-over-3-high) – Reachstacker – Terminal tractor with trailer (so-called Tractor-Trailer Unit (TTU)) – Multi-trailer (terminal tractors with several trailers) – Empty/loaded container handler – Shuttle Carrier (ShC stacking capability: 1-over-1-high) – Automated Guided Vehicles (AGV) – Automated SC (max. stacking capability: 1-over-2-high) For container transport and stacking within the yard: SC – Rubber-Tyred Gantry crane (RTG crane) – Rail-Mounted Gantry crane (RMG crane) – Container handler (like reachstacker or top lifter) – OverHead Bridge crane (OHB crane) For the landside operation: – SC – RTG crane – RMG crane – Reachstacker – TTU At the inland navigation vessel: – STS crane – Conventional quay crane – Mobile harbor crane The STS crane drops down containers on TTU that will transport the containers to the stacking area where the boxes are stacked by reach stackers (see Figure 1. 1) or forklift trucks fitted with appropriate spreader frames for container top or side lifting.Due to their versatility in operation, reach stackers are the best choice for our multi-purpose terminal as they are easy to handle, can be used for stacking in the yard, loading and unloading of TTUs, road trucks and rail cars on first rail. Including our landside operation, an estimate of 3–4 reachstackers and 4–5 TTUs are required per STS crane. The specific number of TTUs in particular will depend on the distance between the berth and the stacking area of the respective operation. The TTUs are used for the transport of the containers between the vessel and the container yard.Figure 1. 1- Reachstackers and TTU operation A storage capacity of approx. 350 TEU per hectare for 3-high stacking and 500 TEU per hectare for 4-high stacking are common figures for our type of yard equipment. The maximum stacking height is 5, container blocks can be kept 4-deep due to second row access. In case of relocation of capacities reachstackers are easily transported to another terminal or used for other cargo handling and because of their easy transportation between terminals reachstackers can be used to cover temporary requirements. Straddle Carrier System:The STS crane will place containers onto the apron from where the SCs transport them to the stacking yard (see Figure 1. 2 and Figure 1. 3) and stack the containers. The SCs are independent from any other equipment and are able to perform all the different handling operations: transport, stacking and the loading/unloading of trucks and rail cars (see Figure 1. 3). SC systems are the optimal system for large size terminals when high flexibility in the yard and accessibility of the boxes are required and thay make it easy to alter the layout of the terminal.A storage capacity of approx. 500 TEU per hectare stacking 2-high (3-high SC) and 750 TEU per hectare stacking 3-high (4-high SC) can be achieved. The maximum stacking height is 4-high. Including landside operation, an estimate of 4–5 SCs are required per STS crane – without considering specific conditions. The system will be supported by container handlers stacking MT boxes and/or RMGs for container handling in the rail yard. Figure 1. 2 Pure SC system Figure 1. 3 SC operations: Container transport and stacking and Loading / unloading of rail cars System advantages SC’s are able to cover all kinds of horizontal and vertical transports being necessary to perform container moves from the landside terminal interfaces (including truck handling and rail operation) via the container yard to handover positions be low the STS cranes at quayside (and vice versa). †¢ the containers can be dropped on the ground so that no (or only short) waiting times for handling equipment occur. This kind of container handover enables STS cranes to operate with a high productivity while using a comparatively low number of SCs per crane. high number of concurrent container movements †¢ the breakdown of one SC has a comparatively low impact on the total handling process †¢ compared to the systems with TTUs the labor costs are lower due to the smaller number of vehicles †¢ no disturbance of the operation by trucks because these are loaded/unloaded outside the stacking yard †¢ the system is flexible to changes based on operational requirements and terminal layouts can be simply altered as SCs can be easily moved within the terminal since no pre-set routes or tracks are needed Rubber-Tyred Gantry Crane System with Tractor-Trailer UnitsThe STS gantry crane places the container on a TTU unit that transports the container to the storage area where the RTG crane stacks the containers in long blocks (see Figure 1. 4). The RTG can be used for TTUs and road trucks as well. The size and structure of the RTG crane is determined according to the requirements of the terminal operator. The system has a very high stacking density because of the high stacking capability and the block stacking. Long traveling distances on the terminal are less problematic as TTUs transport the containers.RTG cranes will also be effectively used for the handling of containers on road trucks or rail cars. According to manufacturers, up to four tracks can be covered and containers can be stored at the side of the rail tracks. They can be allocated from the yard to the landside operation and vice versa, if necessary. Including landside operation 2–3 RTGs and 4–5 TTUss (depending on the distance between berth and stacking area) are required per STS crane. They stack the container in blocks 1-over-4- to -7-high and 5 to 8 container rows plus 1 lane for container handover laneFigure 1. 4 RTG cranes and TTUs in the stacking yard, rail yard operation by RMGs System advantages †¢ low space requirement in the stacking area because of the high storage capacity in a small area (high stacking density). The containers can be stacked up to 8- high (i. e. 1-over-7-high)1 without spacing for traveling lanes between the rows. †¢ relatively high flexibility as the RTGs can be transported to other storage blocks Rail-Mounted Gantry Crane System These cranes are mounted on fixed rail tracks with a cantilever outside the portal of cranes (see Figure 1. ). Figure 1. 5 RMG cranes with TTUs System advantages †¢ RMGs generally stack higher and span wider, with up to 1-over-7-high and 12 containers wide †¢Stacking density of the yard is higher with RMG cranes and can exceed 1,000 TEU per hectare (stacking 4-high) Automated Guided Vehicles The horizontal transport of the containers will be performed with AGVs. (See Figure 1. 6). The handover positions for trucks are located at the top-end of the stacking blocks. The stacking of the containers is usually carried out by automated RMGs.The ShC is designed primarily to convey containers between the ships’s side and container stacks served by RMG cranes. As it is able to stack containers two high it will also be used for loading and unloading road trucks and rail cars. The shuttle carrier is an alternative aim at more efficiency to handle the container transport between the stacks and the quay cranes, and still maintain high density stacking by RTG or RMG yard cranes. Figure 1. 6 RMG cranes with AGVs System advantages †¢ very low labor costs because of automation high system availability †¢ very high productivity of horizontal transport The layout and choice of our equipment and their interface will depend on, amongst others, the †¢ number of containers to be handled, †¢ availa ble area †¢ type of hinterland transport. The combination of our terminal equipment to be used will depend on if they are †¢ at the vessel, †¢ for transport tasks between quay and stacking yard ( or reverse) †¢ for container stacking, †¢ for transport from stacking yard to and from the landside operation area †¢ for landside operation itselfOperational areas: 1. The area between quay wall and container yard 2. container yard 3. terminal area of landside operations example the gate, parking, office buildings, customs facilities etc The container yard will be an intermediate storage facility meaning the containers will remain from a couple of hours to some weeks. There are different possibilities for the layout of our intermediate storage area. We may have stacking area which is compact, low ground area consuming stack without spacing known as block stack (see Figure 2. 1).In cases like these, yard gantry cranes will be used for the stacking of containers being delivered by terminal equipment of horizontal transport. An alternative is the linear stack (see Figure 2. 2) where the containers are stacked by Straddle Carriers (SC). This type of stacking will have spacing between the container rows and relatively wide terminal roads. Export and import containers will be segregated within the yard area and piled up to 4 containers high and pre-sorted for the various hinterland transport modes. Figure 2. 1 block stacking Figure 2. 2 linear stackingOperational procedures applicable for the handling of containers and container vessels calling at the ARJ Container Terminal Section A – General A-1 Abbreviations COD Change of Destination EDI Electronic Data Interchange EIR Equipment Interchange Report ETC Expected Time of Completion OOG Out of Gauge POD Port of Discharge SSDR Stevedore Ship Damage Report TOS Terminal Operating System A-2 Working Hrs The terminal operates round the clock on the following schedule: Terminal Operations 24 h rs except declared public holidaysOffice Administration 07:00 hrs to 15:30 hrs Monday to Friday except declared public holidays Gate Operations 08:00 hrs to 16:00 hrs Friday except declared public holidays Overtime rates as per Tariff will apply for all activities carried out on declared public holidays. Containers can be received at or released from the gate outside the working hrs shown above at no additional charge (except on public holidays), but prior notice should be given to the Port to ensure the Gate is staffed appropriately. A-3 Entry Passes Permanent entry passes are issued at the discretion of the Sr.Manager. Application forms are available at the main reception of the Container Terminal Administration Building. Permanent entry passes are valid for one year. Monthly & Daily entry passes are issued subject to proof of legitimate business in the terminal. Vehicle entry permits are selectively issued on providing vehicle registration and registration papers. A-4 General Cus toms Formalities The shipping line bears full responsibility for all Customs clearance formalities concerning their cargo. Section B – Landside Operations B-1 Terminal AccessARJ Container Terminal controls access of truckers to the terminal. A trucker is only allowed on the terminal after full identification of the trucker and registration of the terminal visit. Containers are only allowed onto the terminal on instruction of the shipping line that has to provide an acceptance notification to ARJ Gate Department before the container arrives at the gate. Information required will be as follows: †¢ Container ID and Booking No. †¢ Equipment Size/Type †¢ Outbound Vessel / Voyage and POD †¢ IMO / Reefer / OOG When delivering the container the trucker has to provide Container No. nd Booking No. to gate staff. All full containers will be gated in subject to clearance of Customs formalities by the shipping line. B-2 Exit Validation ARJ performs exit validation. Con tainers are only allowed to leave the terminal upon release instructions received from the shipping line, provided the customs department does not restrict the container from leaving the terminal. The shipping line must provide ARJ Gate Department with a hard copy of the release instruction. Information required will be as follows: †¢ Container ID †¢ Receiving Party Identification or Reference Number Date Restrictions if any Full containers will be allowed to depart the terminal only subject to completion of all customs formalities by the shipping line and full payment of port charges. B-3 Checking Activity at Gate For any containers entering or leaving the gate, the Port will perform a visual check and any deviations from provided data or anomalies are documented and reported to the shipping line. The check includes the following: †¢ Container ID †¢ Equipment size/type †¢ Visual damage (external) †¢ Visual damage (internal – empty containers onl y) †¢ Presence of SealIf any damage to a container is noticed at the gate, then a reference to this will be made on the gate ticket issued. Any further checking required e. g. Seal number, or further action like placing of seal or placard is chargeable as per Tariff. B-5 Customs Inspection In case ROP orders customs inspection of a container, shipping line should advise the port who will move the container to the customs inspection area and unstuff the cargo as per ROP requirement and subsequently restuff the cargo in the container, such operation to be charged as per Tariff.Section C – Vessel Operation Information on vessels calling ARJ to discharge or load containers is to be provided to ARJ planning department by the shipping line or its designated representatives. The Line shall nominate a focal point that can be reached 24 hrs a day by ARJ Planning and Operations Departments in case any issues concerning Vessel Planning / Operation need to be verified. C-1 Vessel Ar rival Notice The owner, ship’s agents or the master of the ship shall send the arrival notice to the Harbour Master 48 hrs before arrival to the Port.He should also inform the Harbour Master with the details of the Ship, its cargo, any hazardous cargo, cases of illness and any defects which affects the vessel manoeuvrability. C-1. 1 Documents Required †¢ Insurance cover for third party liabilities, wreck removal and oil pollution †¢ Ship’s registration certificate †¢ Port clearance certificate from last port of call †¢ ISPS Certificate †¢ Class Certificate C-1. 2 Establishing Communication The master of the ship shall establish communication with The Port Authority and request permission to enter the port limits, at least four hrs prior to the estimated time of arrival.The Port Authority will arrange the services of Pilotage, Tugs and Mooring Gang(s), and coordinate with ARJ Terminal Operations to have the gantry cranes and labour gangs ready. Normally cargo operations start upon lowering of the gangway from the vessel. C-1. 3 Pilotage Pilotage services are available round the clock. Activation time for marine services is 30 minutes. C- 2 Berth and Labour Planning Pro-forma vessel schedules and move counts declared by the l shipping lines form the basis for berth and stevedore / labour planning in the Quay Wall Schedule.Daily berth planning will also include: †¢ Initial vessel call information †¢ Detailed vessel call information for initial and pro-forma calls †¢ Availability of quay-wall space †¢ Vessel connections Based on this information ARJ Planning Department will prepare the day plan C-2. 1 Pro-forma Vessel Schedules Vessel string pro-forma berth windows are negotiated between the shipping line and ARJ. Berth windows are related to an estimated number of container lifts and the required day and time of the week for the vessel operation.Unless otherwise agreed, vessels will be planned for arrival and departure at pro-forma berth window. Vessels arriving within pro-forma always have priority over vessels out of pro-forma or incidental vessel calls. If it concerns vessels of the same shipping line only, this shipping line may set its own priorities, provided that it does not impact the berth windows of other Shipping lines. C-2. 2 Advance Schedules The shipping line will provide to ARJ Planning Department future projected schedules every week, from current date to 30 days in advance.Information required will be as follows: †¢ Vessel Name †¢ Inbound / Outbound Voyage †¢ ETA / ETD †¢ Service C-2. 3 Initial Vessel Call Information The shipping line is responsible for providing initial vessel call information at least 7 work-days prior to the estimated vessel arrival date to ARJ Planning Department. Information required will be as follows: †¢ Vessel Name †¢ Call Sign †¢ Inbound / Outbound Voyage †¢ ETA / ETD †¢ LOA †¢ Previous Por t of Call †¢ Next Port of Call †¢ Estimated Move Count †¢ Vessel Service †¢ Vessel Operator C-2. 4 Detailed Vessel Call InformationDetailed information is to be provided to ARJ Planning Department for line haul vessels at least 48 hrs and for all other vessels at least 24 hrs prior arrival at the terminal. Information required will be as follows: †¢ Vessel Name †¢ ETA †¢ Required ETD †¢ Expected Move Count, split as: – Total number of discharge / load moves – OOG discharge / load moves – Live reefer discharge / load moves – Empty container discharge / load moves – IMO class 1 & 7 discharge / load moves – Detailed information of any Break Bulk Cargo Upon receipt of this information, ARJ will undertake the final berth and labour planning.In case of required changes in the requested ETA / ETD, ARG Planning Department will contact the shipping line to create the best workable solution. The Port has a minim um billing per vessel call for loading/discharging of containers as per Tariff. Vessels are expected to use the Port's shore gantry cranes. Any movement or use of the vessel's gear while alongside is strictly subject to prior approval from the Port. C-2. 5 Communication on the ARJ Day Plan The Line will submit daily ETA update for their vessels latest at 10:00 hrs every day. ARJ will in turn revert with a Day Plan latest at 15:00 hrs.In order to provide flexibility to our customers, the Day Plan is always considered subject to change. Any agreements that are verbal in nature or those made after office hrs need to be confirmed in writing immediately on opening of the next working day. C-2. 7 Vessel Connections Connections other than those agreed to in the pro-forma schedule, have to form part of the Day Plan negotiations and these have to be announced to ARJ Planning Department preferably 48 hrs, but at least 24 hrs before ETA to ensure proper priority setting for the quay-wall. C-2. 8 Technical Information on the VesselFor vessels calling ARJ Container Terminal for the first time or in case of changes to the previously supplied vessel information the shipping line needs to supply ARJ Planning Department with technical information on the vessel at least 72 hrs before arrival. Technical information on the vessel consists of: †¢ Vessel Name †¢ Call Sign †¢ LOA †¢ Container Layout †¢ Lashing Plan †¢ Type of Twist Locks †¢ Type of Hatch Covers †¢ Mooring Restrictions (port / starboard side) †¢ Vessel Capacity in TEU †¢ Vessel Profile / NSD file (if available) †¢ Other peculiarities relevant to the Vessel StowageFurther details subject to planning or operational needs have to be provided upon request. C-2. 9 Notice of Readiness The Port Authority will issue the vessel with a ‘Notice of Readiness' at least 2 hrs prior to the estimated completion of cargo operations, and provided vessel confirms readiness to sail upon cargo completion The Port Authority will arrange to book Pilot, Tugs and unmooring gang(s). Section D – Load and Discharge Operation D-1 General D-1. 1 Gantry Crane Capacity Port provides shore-side gantry cranes with minimum capacity of 40 tons under the spreader and there are cranes with up to 65 tons capacity.D-1. 2 Lashing The Port Tariff for loading and discharging of containers includes the cost of lashing and unlashing of containers on board the vessel. Lashing equipment is to be provided by the shipping line. The Port will maintain safe housekeeping of lashing material at all times and handle all lashing gear in a controlled manner and in accordance with accepted safety standards. The Port will also handle discharging and loading of lashing material if required at no additional charge. D-1. 3 Hatch Cover Moves and Restows Hatch Cover moves and restows are chargeable as per tariff. D-1. 4 Use of Special EquipmentUse of special equipment for loading/unloading eg slings, frames etc is chargeable as per tariff on per lift basis. D-1. 5 Bay Planning and Stability Calculations The Port will carry out Bay Planning and unloading / sequence of containers in accordance with the information provided by the shipping line as part of its normal service. Container stow plans prepared by the Port are subject to the final confirmation by the Master of the vessel. The Port is responsible for providing information to the shipping line required for stability and lashing calculations, but the Port is not responsible for making these calculations.D-1. 6 Definition of Loading/Discharging of Containers Loading / discharging of containers is the handling by the Port of the containers between the stowage position onboard the vessel and the position in the container yard of the Port. No additional shiftings made based on any change in the information or additional information provided by the shipping line are included, and such additional shiftings made are cha rgeable as per tariff. Import / export containers pay truck loading / unloading charge as per tariff. D-1. 7 ReportingThe Port makes reports as per shipping line's required format and frequency to the operator of the vessel for all containers loaded/discharged and in case of vessels loading containers belonging to more than one shipping line, to each shipping line for their containers. D-1. 8 Storage Containers are stored in the Container Yard of the Port subject to the applicable Freetime and Container Storage rates as per Tariff. D-1. 9 Data Amendment Data Amendment charges as per Tariff apply in case the discharge and / or load lists are not provided in time to the Port, or in case there is any change to the information provided.Any Data Amendment that involves containers being shifted from one stack to another will incur shifting charges in addition as per Tariff. D-2 Discharge Operation D-2. 1 Vessel Profile Information The shipping line is responsible for communicating the dis charge, re-stow and remain-on-board instructions at least 24 hrs prior to the arrival of the vessel to ARJ Planning Department. For vessels with less than 24 hrs steaming time from the previous port, these details are to be provided as soon as information becomes available. The Bay-plan of the arriving vessel is to be sent via EDI message.D-2. 2 Discharge List Information The discharge list is to be provided to ARG Planning Department 24 hrs prior arrival for mother vessels and 18 hrs prior arrival for feeder vessels. Exceptions will be made on a case to case basis for vessels with lesser time as compared to these deadlines in which case load instructions have to be made available as soon as possible. D-2. 3 Checking Activity During Discharge (Tally) During the discharge process, ARJ will perform a visual check and any deviations from provided data or anomalies are documented and reported to the Line.This check also covers any restows. The check includes the following: †¢ Conta iner ID †¢ Equipment Size / Type †¢ Visual Damage †¢ Presence of seal (On request) Any further checking required eg Seal number, CSC plate validity etc or further action like placing of seal or placard is chargeable as per Tariff. D-2. 5 Short-landed Container When a container is reported short-landed, ARJ Planning Department will contact the Line. Information will be provided as follows: †¢ Container ID †¢ Vessel / Voyage †¢ Stowage position stated for the container †¢ Reasons for Short-LandingContainer Terminal Operational Guidelines Issued 1 D-2. 6 Over-Landed Container When a container(s) is reported as over-landed, ARJ Planning Department will contact the vessel operator. Information will be provided as follows: †¢ Container ID †¢ Seal Number †¢ Status (full / empty) †¢ Equipment Type / Size †¢ Stowage Position the container was found in †¢ IMO / Reefer information as far as possible †¢ Reasons for Over-landi ng The shipping line will investigate ownership / operator of the container and decide whether the container must be re-stowed or remain discharged.The shipping line will supply full container details to ARJ Planning Department and advise further action before vessel departure. D-3. 3 Re-Nomination of Cargo In the event of rollover of cargo for whatever reason, the Line is expected, within 12 hrs of vessel departure, to communicate to ARJ Planning Department, the name of the new vessel which will load the cargo. Every such ‘renomination' incurs a charge as per Tariff. D-3. 4 Pro-Forma Cargo Deadline In principle, all containers must be in the yard upon arrival of the vessel in order to maintain vessel schedule integrity and ensure efficient stevedore operations.The following will be taken into account: †¢ Vessel schedule reliability / integrity should not be affected †¢ Berth / Crane productivity should not be unduly impacted †¢ Line, Port and Customs requiremen ts The shipping line is responsible for ensuring that all cargo is available for loading prior vessel arrival. Same applies to cargo on hold or any other cargo released by the shipping line but not ready for loading due to any particular reason. D-3. 5 Checking Activity during Load (Tally) During the load process, ARJ will perform a visual check and any discrepancies or anomalies are documented and reported to the shipping line.This check includes restows. The check includes the following: †¢ Stowage Position †¢ Visual Damage †¢ Presence of Seal Any further checking required eg Seal number, CSC plate validity etc or further action like placing of seal or placard is chargeable as per Tariff. D-3. 6 Reporting ARJ Planning Department will update the shipping line with the ETC before and after start of vessel operation and advice the vessel and The Port Authority 2 hrs notice prior to vessel departure. Once vessel planning is completed ARJ will forward a BAPLIE to the ves sel.An updated BAPLIE will be delivered minimum 1/2 hour before completion of cargo operations. ARJ is able to provide the shipping line with EDI Load Confirmation Messages (COARRI) at frequencies agreed to with the shipping line. In addition to the EDI information a recap of the final load and a confirmed load list (CLL) will be sent to the Shipping line via E-mail earliest after vessel departure. In case of EDI failure ARJ will provide the shipping line with a Bay Plan of the load condition upon request.Any urgent or critical matters relating to discrepancies in reporting are to be addressed with the ARJ Planning Department D-3. 7 Short-Shipped Container When a container is reported as short-shipped, ARJ Planning Department will contact the shipping line. Information will be provided as follows: †¢ Container ID †¢ Vessel / Voyage †¢ Port of Discharge †¢ Stowage position stated for the container †¢ Reasons for Short-Shipping D-3. 8 Over-Shipped Container Wh en a container is reported as over-shipped, ARJ Planning Department will contact the shipping line.Information will be provided as follows: †¢ Container ID †¢ Vessel / Voyage †¢ Container Operator for the over-shipped container †¢ Status (full / empty) †¢ Category (export / transhipment) †¢ Stowage Position (if available) †¢ IMO Details †¢ Reefer Details †¢ Reasons for Over-Shipping D-4 Yard Inventory ARJ Planning Department will provide the shipping line with weekly Yard Inventory Reports for all laden and empty containers. In addition ARJ will also provide on a weekly basis a list of laden containers in the yard, which do not have a nominated on carrying vessel or POD.The shipping line will verify the missing details and revert with an update within 24 hrs of having received the input from ARJ. Any re-nomination or COD is chargeable as per Tariff. D-5 Vessel Bunkering, Repair, and Supply of Provision Vessel bunkering, repair and provisi oning activities have to be communicated to ARJ Planning Department at least 48 hrs before arrival of the vessel. These activities are only allowed after approval of ARJ and are subject to safety and security procedures issued by the Port.These activities should not delay the vessel stevedoring operation and must be completed within the operational working time of the vessel unless otherwise agreed. Only in exceptional cases may the stevedoring operations be stopped or the vessel port time extended because of these activities. Section E – Break Bulk and Over Dimensional Cargo E-1 Requirements The Shipping line is expected to provide information at least 48 hrs in advance of the vessel arrival to the ARJ Planning and Operations Department on any break-bulk activity on vessels that is planned at ARJThe following Information has to be provided: †¢ Arrival / Ongoing transportation via water / via land †¢ Handling by Container Gantry Crane / External Crane †¢ Piece count †¢ Measurements †¢ Cargo Description †¢ Weight †¢ Position on Vessel †¢ Complete description including sketches, diagrams, photographs etc in jpeg / bmp format †¢ Customs Approval Confirmation For over dimensional unitised cargo, the shipping line is expected to provide a complete Out of Gauge manifest as part of the documentation submitted for a vessel call.Undeclared, wrongly declared, poorly stowed or incorrectly packaged break-bulk or over dimensional cargo is subject to a fine as per Tariff. Port has the option of measuring and/or weighing the cargo to check the measurements and/or weight. The Port will provide warehouse for storing this cargo if required at no additional charge subject to availability. Any other equipment required for yard handling will be chargeable as per Tariff. Loading or Discharging and Quay Handling will be charged as per the applicable charges of the Tariff.Free time will apply as per the tariff for over dimensional c ontainers, and storage charges will apply as per the tariff for over dimensional containers based on the length. E-2 Restrictions Waterside handling restrictions are always subject to specific approval from ARG Planning and Operations Departments but approximately are as under: Dimensions Height Length Width Weight 10 m 18 m 6 m 65 MT Shipping lines are expected to taken to take approval from the terminal prior acceptance of bookings involving break-bulk and over dimensional cargoes.Section F – Direct Deliveries For exceptional cases there exists a possibility for accepting or delivering containers under the hook for direct loading / discharging. For safety reasons this activity will have to comply with ARJ Rules and Regulations. The Port should be advised at least 24 hrs before the arrival of the vessel at the Pilot Station of any planned direct delivery containers. The following information should be provided: †¢ Container ID †¢ Time of delivery †¢ Contents o f the container †¢ Hazardous Details (IMO Class, UN No. and Manifests as required Port of Salalah will inform the Line about the expected time of loading or discharge of the container. The requested direct delivery has to be confirmed to ARJ three (3) hrs before arrival of the vessel. Section G – Dangerous Cargo The shipping line bears the full responsibility for compliance to all rules and regulations governing the handling and transportation of Dangerous Cargo. Packing, labeling, declaration, stowage and documentation have to comply with the IMDG Rules and Regulations for Sea Containers as well as local laws and any directions given by local and Port Authorities.The Dangerous Cargo Manifest has to be provided to ARJ Planning Department at least 24 hrs before vessel arrival. The Line is responsible for content and sufficiency of the manifest. ARG will stow dangerous cargo container on the vessel as per instructions from the Line. Dangerous cargo containers pay additiona l charges for loading and discharging as per Tariff. Handling dangerous goods containers belonging to IMO classes 1 and 7 require special attention and permissions from the terminal and other competent authorities.Dangerous cargoes requiring special handling will be entitled to reduced free-time as compared to normal containers and will be subject to separate storage rates as per Tariff. Section H – Leakage / Spillage of Cargo Leakage of cargo contents from a container can be reported either by the shipping line on receiving information from the vessel or by ARJ staff while they are handling it in the terminal. On being made aware of a leakage, the shipping line will immediately advise its nominated surveyor to carry out a survey of the leaking container in conjunction with ARJ Health, Safety, Security ; Environment Department.On receiving the surveyor’s report, the shipping line will be responsible for taking necessary steps to arrange for re-packing of cargo through third party contractors or alternatively for cross-stuffing of cargoes, as per the advice received from the surveyor. Onward movement of such cargo from ARJ will be strictly subject to clearance from ARJ, that the leakage has been stopped and container is cargo and sea worthy for onward transport. Spillage of cargo will be solely on account of the shipping line as will a penalty charge applied as per tariff till corrective action is taken to stop the leakage.Section I – Container Freight Station Activities ARJ has capabilities for container cargo rework, cross stuffing and CFS activities. Arrangements can be made via the CFS Co-ordinator. Section J – Weighbridge Port has a weighbridge and shipping line can issue instructions for any container to be weighed at charges as per tariff. Section K – Miscellaneous Services Port can offer various services such as sweeping containers, fitting or removing tarpaulins, knocking down ends of flatbeds, bundling flatbed contai ners, applying or removing placards, fixing seals etc, all of which are chargeable as per tariff.Section L – Damage and Claims The Damage ; Claims Section of ARJ is responsible for dealing with damages caused to the shipping line’s equipment, its vessels or to port facilities, equipment or its personnel. L-3 Damage Caused by Third Parties If damage is caused to containers or vessels by parties other than ARJ, then ARJ will undertake repairs only at the specific request of the shipping line at its risk and account. L-4 Damage to Port Facilities/Equipment/PersonnelThe shipping line will be fully responsible for all costs and consequence arising due to any damage caused by it, to port facilities, equipment or personnel. Section M – Longstanding Cargo Consignments remaining in the port in excess of the following periods will be subject to auction. Any cargo, for which the respective Port and Customs charges have not been paid will be considered frustrated and may be auctioned and sold by ARJ after the following time periods: †¢ One Month – Refrigerated Containerized Cargo and other cargo considered perishable Three Months – All other Containerized Cargo Section N – Reefer Containers Live reefers will be plugged and unplugged as a standard activity in the stevedoring operations subject to availability of connections, at the temperature setting advised by the Line. Reefer monitoring and maintenance is carried out by the Container Service section of the Maintenance Services Department, and is chargeable as per tariff (charge includes electric supply). Monitoring of reefer containers is carried out at least every 8 hrs and any faults will be immediately reported to the Line.Export reefers can be pre-cooled if required and electric supply/monitoring charges commence from the time of plug-in. The Port can arrange PTI (Pre-Trip Inspection) of reefer containers and also can retrieve temperature data from the reefer data logge r, both activities chargeable as per Tariff. Section O – Port Safety and Security O-1 Rules ; Regulations ‘The Port of Salalah Rules ; Regulations’ is issued by the Port Authorities and applies to all users of the Port. The complete document is available on the Port of Salalah Website. Container Terminal Operational Guidelines Issued 1 stMarch 2007 30 O-2 International Ship and Port Security (ISPS) The Port of Salalah is certified as fully compliant with all requirements laid down under the International Ship and Port Facility Security Code (ISPS). All vessel operators are expected to fulfil requirements pertaining to their role as specified in the ISPS Code. O-2. 1 ISPS Measures by Port of Salalah Port of Salalah has designated a Port Facility Security Officer (PFSO) and a Deputy PFSO (DPFSO) as point of contact for all issues pertaining to ISPS rules and regulations for the Port of Salalah. O-2. 2 ISPS Requirements for the Line Shipping Agents must submit ISPS vessel certification, ETA of the vessel, Crew list, estimated port stay and last 10 ports of calls to the Port Control 48 hrs prior to vessel arrival. This information is to be sent to [email  protected] com †¢ The Ships Security Officer must submit a completed Declaration of Security (DOS) of the vessel through the shipping agent to the Port Security Officer for endorsement upon berthing. †¢ Enquiries on the Port Security Level are to be directed to HSSE department. †¢ All users of port facilities must display facility passes at all times while at the facility.To apply for pass, please contact the HSSE department †¢ Port users must stop at all facility access control for Security check. Any violation will result in rejection of facility access †¢ For further information / clarification please feel free to contact the Port Facility Security Officer. Tel. 968 23219500 ext 466 / 409 / 406 O-3 X-Ray Inspection of Containers Port of Salalah has modern X-Ray sc reening facilities, and in case any container is required to be screened, the Line should advise the Port who will make the necessary arrangements, which is chargeable as per Tariff.

Smile and Smiling Specific Purpose

Preparation Outline: Informative Speech on Smiling Specific Purpose: to inform my speech class about the many things Your Smile can do. Thesis: After listening to my speech, my audience should be informed about how â€Å"Your Smile† can do many things; have an effect on you and others around you, and how it has an effect on your brain. Introduction I. Smiling is something most people enjoy. I’m a happy and very positive person, so I smile a lot. It turns out that when I smile, the world smiles back. In my research about smiling I referred to sources such as cbsnews. com, science. owstuffworks. com, bizzikid. co. uk II. Smiling can affect the way you feel. It feels good to smile and be smiled at. People like to be surrounded by others who are positive and make them feel good. III. A smile is a great way to start any conversation, and makes others more receptive to you. It adds to what you have to offer. Transition: Let’s start with how a smile can affect you and o thers around you. Body I. A smile can affect you and others around you. A. It lifts our mood as well as the moods of those around us. B. It can make us appear more attractive to others. C.It can be contagious. D. Make you look younger E. Help you build rapport F. Helps reassure the other person of your sincerity. Transition: Now that we have talked about how your smile can affect you and others around you, let’s move on to how your smile affects your brain. II. How Your Smile Affects Your Brain A. Each time you smile at a person, their brain coaxes them to return the favor. B. Facial changes involved in smiling have direct effects on certain brain activities associated with happiness. Smiling triggers your feel good chemicals in your brain.C. Just the simple act of smiling releases endorphins from the brain into the blood. In conclusion, today we have discussed how your smile can affect you and others around you. We also talked about how a smile affects your brain. Conclusion I. Smiling is a way to promote happiness within yourself and others. Smiling is a very important part of connecting and getting to know someone. II. Choosing to smile can make a difference in everything you do that day. A smile can brighten your mood, improve your outlook, and lead you to make positive choices.So when you smile not only will you make yourself feel better, you will also attract positive energy into your life. References Makes you look younger. Freeman, D. W. (2011, November 10). Smiling makes people look younger, study shows. . Retrieved from http://www. cbsnews. com/8301-504763_162-57322365-10391704/smiling-makes-people-look-younger-study-shows/ How your smile affects your brain. science. howstuffworks. com Layton, J. (n. d. ). Retrieved from http://science. howstuffworks. com/life/smilinghappy1. htm Feel good chemicals. Bizzikid . (n. d. ). Retrieved from http://www. bizzikid. co. uk/healthwellbeingsmiling. html

How do the writers present sexuality and gender in Tales Of Ovid?

Gender roles have been continually redefined throughout literary history. The evolution of sexuality and gender is presented in Behind The Scenes At The Museum, A Streetcar Named Desire and Tales Of Ovid as driven by context and in particular patriarchal society. From Hughes’ classical presentation of a ‘human passion in extremis’[1], so strong that it ‘combusts, levitates, or mutates into an experience of the supernatural’[2] to Streetcar’s ‘succes de scandale’[3], dealing with sex to an extent, and in a manner not yet encountered on the stage and then Museum’s sterile and comical view of sex, the mutability of sexuality and gender has transcended generations but has been subject to contrasting literary perspectives. The degree of fluidity of gender can be clearly seen to mirror the context of societal and historical change within which the three works were created. In the introduction of Ovid, Hughes describes the significance of the tales being written at ‘the moment of the birth of Christ within the Roman Empire. The Greek/ Roman pantheon had fallen in on men’s heads’[4] and Hughes makes a clear attempt to equate Adonis with Jesus Christ, describing him as ‘the miraculous baby’[5] and ‘perfection’[6]. For all its Augustean stability, Rome was at sea in hysteria and despair, caught in a tension between the sufferings of the gladiatorial arena and ‘a searching for spiritual transcendence’. This era of volatility is reflected in the marked fluidity of sexuality in Hughes’ Ovidian world, where men and women becomes birds and trees. As such, identity itself is problematic; gender can no longer be exclusively prescriptive. According to Leo Curran, Ovid recognised the ‘fluidity, the breaking down of boundaries, due to the uncontrollable variety of nature and the unruliness of human passion. ’[7] Hughes unsettlingly explores this in the story of Salmacis and Hermaphroditus, where the carnal nymph Salmacis rapes the bashful boy Hermaphroditus. You can read also  Similarities and Conflicts in † a Streetcar Named Desire† As he continues to struggle, she prays that ‘we never, never/ shall be separated, you and me’[8]. Her plea is hubristically answered and, ‘with a smile’, the gods look on as ‘the two bodies/ melted into a single body/ seamless as the water. ’[9] The conjunction of the two sexes seems incompatible as observed in the drowning of what a modern audience would recognise as a hermaphrodite. Hughes’ selection of this myth, with the same destructive conclusion as Ovid’s original, conveys the commingling of the two sexes as resulting in the debilitation of the male qualities, rather than their strengthening, thus presenting effeminacy pejoratively. The dissolution of gender boundaries is reiterated by Hughes in his story of Tiresias. Tiresias’ passage through femininity, ‘having lived and love in a woman’s body†¦and also in the body of a man’[10] leaves him with the unique experiences of both sexes. His knowledge about feminine pleasure, that women do, as Jupiter contends ‘end up with nine-tenths of the pleasure’, angers Jupiter and his revelation proves damaging as she blinds him. It takes only one man, formerly a woman, to destroy the reassuring view that placed wives beyond the influence of pleasure. Social upheaval was also explicit at the beginning of the 20th century. Two World Wars had, temporarily, shifted the gender power balance with women filling vacant male roles only for these to be reassumed in the 50’s. William’ Streetcar is an astute depiction of the continual metamorphosis gender roles were encountering in the struggle for supremacy, both at home and nationally between the Old South and the New America. In Streetcar, Blanche, as a manifestation of the antebellum, is taken away, leaving Stanley holding his new son. The new decedent acts as a symbol of the end of the decaying Du Bois line and a sort of victory for the new Kowalski family. As the Cambridge Companion To Tennessee Williams states ‘Theatregoers†¦ did not easily shake off lingering apprehensions that were born of the 1930’s depression and nurtured by the 1945 unleashing of nuclear weapons†¦ in this climate, the loose structure and morale ambiguities of Streetcar struck a chord of truth. ’[11] Furthermore, when Williams describes Stanley shouting ‘Sttellah! [12] in a ‘heaven splitting voice’, we see the further power of the Kowalskis, who have rocked the status quo to the same extent as Venus’ ‘doomed love’[13] in Ovid, that means she has ‘neglected even Olympus’[14]. Ted Hughes’ exploration of gender fluidity is a more progressive one, in that a 21st century audience is much more open to transgender and sexual deviance than Tennessee Williamsâ₠¬â„¢ contemporaries. Williams’ homosexuality was illegal for the greater part of his life, but he found ways, open or oblique, of speaking of them in his plays. There is, indeed, a real sense in which Williams is a product of his work. When he began to write he was plain Tom. The invention of ‘Tennessee' was not merely coterminous with the elaboration of theatrical fictions; it was of a piece with it. In that sense it is not entirely fanciful to suggest that he was the product of the discourse of his plays. Indeed he created female alter egos, such as Blanche in Streetcar, before he began, as he did in later life, to dress up as a woman[15]. Where did his work end and his life begin? The man who consigns Blanche to insanity later found himself in a straitjacket. As critic Hana Sambrook more explicitly notes ‘there are those who believe that the tragic figure of Blanche Dubois is a transsexual presentation of the promiscuity of Williams’ himself’[16]. Certainly, Blanche’s many ‘intimacies with strangers’[17], her unfeminine like licentiousness and charade of hypocrisy aligns Williams with his protagonist. For a man for whom the concealment of his true sexual identity was for long a necessity, the fragmentation of the self into multiple roles offered a possible refuge. Blanche enters the play an actress and Williams creates her character as a series of roles, by using structural techniques to focus the audience upon her even when off stage; heard bathing ‘serenely as a bell’[18] whilst singing obliviously in ‘contrapuntal’[19] contrast to the lurid revelations of her past being detailed by Stanley in the adjoining room. Blanche’s desire for disguise is a phony pretension, using the smoke and mirrors of her alcoholicism and fine clothing, to concoct an elaborate alternative reality she can abscond to, enabling her to ‘put on soft colours, the colours of butterfly wings, and glow’[20]. This indirect, dramatic language and vivid imagery is typical of her escapism and her view of herself as ‘delicate’[21] reinforces the image of Blanche as a fragile moth that pervades Williams’ stage directions. Despite this, Williams does not wholly present Blanche as a ‘faded Southern belle’[22] as some critics claim, but rather sheds a favourable light on Blanche’s attempts to protect and preserve the genteel values of the old Southern civilisation. Williams’ states that â€Å"Blanche was the most rational of all the characters [he’d] created†, evident in her contradictory wilful ignorance of the causes of the loss of Belle Reve, yet her understanding that the root cause was her family’s ‘epic fornications’. Williams also reveres Blanche as his ‘strongest character in many ways’[23] and her unique internal integrity of ‘Never inside, I didn’t lie in my heart’[24] has seen her resist the brutality and savagery of a relentless modern society. Thus, even to the very end of the play, Blanche has never yielded to any coarse violent actions and rude behaviour, crying â€Å"Fire! Fire! † during Mitch’s attempted rape and fighting Stanley to her physical limit with a broken bottle when eventually violated. When the big Matron tries to subdue her physically on the floor, she never stops resisting until the Doctor gently offers her his arm like a real gentleman. Blanche’s dignified leaving further indicates her spiritual integrity, as critic Robert James Cardullo[25] claims ‘Blanche’s ascension from crucifix pinioning on the floor and her spirited leading the way out of the hell of her sister’s home creates a moving tragic catharsis for the audience†¦ Blanche’s defeat has considerable aesthetic dignity’. Williams’ literature was strangely unmoved by the issue of gay rights and the issue of homosexuality that was so prominent in his private life, while clearly a strand in his work, was never a central theme and certainly never defended or promoted, neither publically nor politically. He seems to use Blanche as an expression of a conflict which clearly existed between his morality and sexuality, never to be resolved and never aired fully in his plays, despite its pertinence in the play’s political context. By contrast, in Behind The Scenes many aspects of life seem constant and the stability of gender roles seems to reflect this. In Museum, the past permeates the present and the present is doomed to replicate the past. The shop ghosts and objects such as the pink glass button that goes rolling down the years act as chronological touchstones and history repeats itself through the lives of successive women. Sophia, Alice, Nell and Bunty all lead lives marred by misery, disappointment and domestic drudgery. None of these women marry for love and all encounter marital strife. Alice, an impoverished widower marries Frederick in order to give up teaching, Nell marries Frank out of desperation, her two previous fiances having been killed in the war, and Bunty marries George when abandoned by her American fiance Bick. Thwarted in potential, trapped and unhappy, the women share a sense that they are ‘living the wrong life’[26]. Parallels between past and present create a sense of historical inevitability that is endorsed by a series of echoes between the lives of different women. Nell falls for Jack who has ‘high, sharp cheekbones†¦ like razor clam shells’[27] and by the end of the novel, Ruby has fallen for a strikingly similar Italian with cheeks ‘as sharp as knife blades’[28]. Bunty looks like Nell and Ruby looks like Alice. The latter pair both believe in ‘destiny’[29] and embrace it in the mistaken form of men. Alice, Bunty and Ruby have all ‘had enough’[30]. With typically perceptive narration for her tender age, Ruby accounts for this hereditarily as ‘one of those curious genetic whispers across time dictates that in moments of stress we will all (Nell, Bunty, my sisters, me) brush our hands across our foreheads in exactly the same way that Alice has just done’[31]. The reference to genes by Atkinson implies that behavioural patters are inherent and inescapable. Even Adrian, as the sole gay man in the novel, is presented in cliched terms as having an interest in hairdressing, his intimate conversation with a barman prompting a dramatically ironic exclamation of ‘that’s queer’[32] from the unwitting Uncle Clifford. Gender roles within all three texts are enforced through the sexual dominance of men over their female companions. Critic C. W. E Bigsby noted that ‘the shock of Streetcar†¦lay in the fact that this was the first American play in which sexuality was patently at the core of the lives of all its characters, a sexuality’[33]. Williams presents sex as having the power to redeem or destroy, to compound or negate the forces, which bore on those caught in a moment of great social change. The ‘gaudy seed bearer’[34] Stanley is a bestial representation of the new South and he uses his intense virility and sexual power to great effect. His sexual magnetism is exemplified by the symbolic package of meat thrown to a visibly delighted Stella in the opening scene. The connotations of his sexual proprietorship over Stella and her sexual infatuation with him are not lost on the watching Negro woman. In stark contrast, Bunty feigns deafness at the butcher’s ‘innuendo laced conversations’[35], exposing him as a ‘bluff parody of himself’[36]. Her caustic description of him as ‘a pig†¦smooth shiny skin stretched tightly over his buttery flesh’[37] is both comical and telling in her uptight rejection of his smutty behaviour. This mordant tone continues into the awkwardly comical depictions of male sexual supremacy in Behind The Scenes’ fornications. Ruby’s conception by a typically tipsy George and equally typically stoic Bunty who is ‘pretending to be asleep’[38], summarises well Atkinson’s presentation of a tired female submission to male virility in the repressed society of 40’s England. George’s demise is with his trouser round his ankles, a less than dignified ‘epileptic penguin[39]’, as the World Cup final ‘carries on regardless’[40] in another typically callous death of Behind The Scenes. This dominance leads to a trapping sexual dependence of women upon men, symbolically reflected by Williams in the eponymous streetcar, ‘bound for Desire, and then for the Cemeteries’[41]. The streetcar stands for Blanche’s headlong descent into disaster at the hands of her lust. Like the streetcar’s destination, Desire, the stop called Elysian Fields is an obvious symbol; an ironic fantasy however, as the Elysian Fields – the abode of the blessed dead in Greek mythology – turns out to be a rundown street in New Orleans. The very same symbol of the ‘rattle trap streetcar’[42] is used by both sisters in scene 4, as a euphemism for sexual experience. They speak explicitly of the ‘blunt desire’[43] that decides their choice. In answer to Stella’s question ‘haven’t you ever ridden on that street-car? [44] Blanche’s bitter riposte of ‘it brought me here’[45] displays both self-knowledge and self-condemnation of her current destitution. Ominously the matter-of-fact Stella offers no words of self-criticism prior to the only fleeting moment that she confronts her guilt; ‘oh god, what have I done to my sister? ’[46]. Moments later, in the middle of her ‘luxurious’[47] sobbing, she yields to Stanley’s lovemaking, compounding her guilt. This dependence is echoed in ‘Tiresias’ from Ted Hughes’ Ovid where women are said to take â€Å"nine tenths of the pleasure†[48] during sex. Men are vital for women to experience any sexual satisfaction and female desire ultimately renders them reliant and weakened. Their dependence is compounded by a financial reliance. Marxist feminist theory argues an economic dependence on men deprives women of the right to dominate their own fate, reducing them to existence by male affiliation. On â€Å"a teacher’s salary†¦barely sufficient for her living expenses†[49], Blanche ‘had to come [to New Orleans] for the summer’ as ‘[she] didn’t save a penny last year’[50]. In the wake of her husband’s suicide and the ‘epic fornications’[51] of her ‘grandfathers and father and uncles and brothers’[52], she is forced again to turn to men for financial support, depending, as is her mantra ‘on the kindness of strangers’[53]. Her attempted allurement of Stanley is based on the recognition that ‘maybe he is what we need to mix with our blood now that we’ve lost Belle Reve’[54]. Her spiral of desperation turns to Mitch and finally the nebulous millionaire Shep Huntleigh who comes to stand as a symbol of material strength of dependence and guarantee for women, more exactly for Blanche. Blanche recognises that Stella could be happier without her physically abusive husband, Stanley, yet her alternative of Shep still involves complete dependence on men. When Stella chooses to remain with Stanley, she chooses to rely on, love, and believe in a man instead of her sister. Williams does not necessarily criticise Stella—he makes it quite clear that Stanley represents a much more secure future than Blanche does. That Shep never materialises strongly suggests that if women place their hope and fortune on men, their oppressed and subordinate status can never be changed. Bunty, like Stella, who has to request that her husband â€Å"better give [her] some money†[55], confirms her reliance on George in having â€Å"no intention of working after her marriage†[56]. Bunty’s quest for stardom and self-discovery conflicts with a mode of motherhood that requires service, sacrifice, and selflessness. As she moves into adulthood during World War II, Bunty tries out a series of different quixotic identities in the search for selfhood; Deanna Durbin[57], Scarlett O’Hara[58] and Greer Garson[59]. However, as her family grows, her dreams diminish, and Bunty is forced to forgo a self she has not yet fully realised. The erosion of self is symbolised by the abbreviation of her name for Bernice, to Bunty, which George truncates to ‘Bunt’[60]. Ironically, George marries Bunty only because ‘he thinks she will be a big help in the shop’[61] and thus Bunty is comically presented as trapped in the role of the ‘Martyred wife’[62] despite her belief that marriage to George would free her from the graft that she imagines herself to be ‘above’. Ruby’s mock expression of pity in her narrative gives an account of Bunty’s woes in a sardonic tone; her tranquilisers are ‘Bunty’s little helpers’[63] and Atkinson’s pathetic portrayal of Bunty as put out but ultimately accepting of her role as a married woman contrasts with Williams’ poignant subdual of Blanche and Stella. Sexual and financial dominance coalesces in another tool for the subjugation of women; rape. Hughes presents his women in terms of capital value; Philomena is a ‘priceless gift’, available to ‘cash in your whole kingdom for’[64]. As a result of rape in Streetcar and Ovid, the victimised females are presented as devalued and diminished in ‘worth’ in the views of patriarchal society. Myrrha, ‘utterly disgusted with her life’[65] is described as ‘polluted’[66] and ‘contaminated’[67] in the wake of her incestuous act, which ‘removes [her] from life and death†¦ in some nerveless limbo’[68]. Male exploitation of Blanche’s sexuality has left her with an equally poor reputation. This notoriety makes Blanche an unattractive marriage prospect, but, because she is destitute, Blanche sees marriage as her only possibility for survival, trapping her in the cycle of submission to men. It is telling that Blanche’s rape is not condemned, and it can be argued that Williams portrays her violation as inevitable in patriarchal culture and also self-inflicted by her provocative behaviour, a controversial thought for a modern audience. In her ingratiation of Mitch, she uses all kinds of strategies to â€Å"deceive him enough to make him-want†[69] and conceals her true age, because â€Å"Men don’t want anything they get too easy. But men lose interest quickly†¦ when the girl is over-thirty†[70]. This represents the internalisation of patriarchal society that her behaviour has precipitated. Her trunk, symbolic of her own displaced and materialistic identity, is full of the flashy pretension of fake finery that she perceives men to desire, and the Chinese lampshade softens the glare of the Mitch’s gaze on her fading beauty and adds to the ‘magic’ Blanche desires; the dressing up of ugly reality. However, both are ultimately violated with a strong sense of dramatic irony. When first Mitch and then Stanley tear off the paper lantern, she cries out as in pain. The opening of the trunk becomes a divesture of interiority – Stanley’s question ‘what is them underneath? ’[71] becomes a central one as the trunk functions as a metonymy for some unchartered territory about to be fundamentally disrupted, but to no condemnation from the playwright. Similarly, even when the male hunter Actaeon is punished upon inadvertently offending the nakedly bathing goddess Diana with his sight, Hughes suggests that Actaeon’s crime was one of fortune: ‘Destiny, not guilt, was enough/For Actaeon. It is no crime/To lose your way in a dark wood’[72]. Hughes suggests here that Actaeon’s death is the necessary ordeal to lead him through hell to paradise. When sexual aggression or rape is exhibited by females however, the result and portrayal are markedly different. Salmacis and Blanche are remarkably alike in this respect. Salmacis is a naiad (a nymph who presided over springs and brooks) and as such is described in typically natural imagery as ‘perfect / as among damselflies’[73], ‘gathering lilies for a garland’[74]. This peaceful language of the natural world is tinged however with a more foreboding aggression in the ‘viper’[75] like elegance of her ‘sinewy otter’[76] like body, which portends her sexual experience in contrast to the innocent young boy Hermaphroditus, who blushes at the naming of love. Hughes places the emphasis on the feminine snares of the lascivious water nymph, who is aggressively sexual in a very Blanche like manner. She knows ‘she had to have [Hermaphroditus]’[77] and proceeds to unashamedly flirt, ‘checking her girdle†¦ her cleavage’[78]. Her sensual language is heightened by its inference of a taboo love with the incestuous reference of ‘what a lucky sister! As for the mother/ Who held you, and pushed her nipple between your lips/ I am already sick with envy’[79], exemplifying her sexual command over the boy, who refuses her advances without really knowing what she wants. He desires only to bathe and his obliviousness to her advances are indicative of his youth and inexperience but also his male gender precluding him from the experience of passion, as echoed in the ‘nine tenths of the pleasure’[80] that the female takes in Tiresias. Thus he becomes an easy prey and ‘Like a snake’[81] she ‘flings and locks her coils/ around him’[82], a ‘tangle of constrictors, nippled with suckers’[83] – the disturbing organic metaphors further exemplifying her atypical literary position as the female aggressor of rape. Throughout this scene however, Salmacis is never rendered as in sexual control; Hermaphroditus ‘will not surrender/ or yield the least kindness/ of the pleasure she longs for/ and rages for, and pleads for’[84]. Hughes’ implication of their demise as a result of their unnatural union is clear – the only way in which a woman can rape a man is if he is not clearly male. To conclude, in the words of an anonymous critic ‘gender roles figure so prominently in literature that they begin to take on a life of their own, whereas to become fluid in the mind of the writer and reader alike†¦ it is evident that when working with ambiguity, man and woman, whose boundaries are few and far between, become locked in a dimension of transmutation’. These words said of Ovid, offer a concise summary of the three works, applicable mainly to Hughes’ characters such as Salmacis and Tiresias, and Williams’ Blanche. Ultimately however, despite the differing time periods in which they were written the role of gender is an inextricable fibre in ancient, southern and modern literature. The three writers posit sexuality and gender contrastingly; Williams’ uncompromising ‘personally and socially powerful’[85] play, Hughes’ matter-of-fact narration and Atkinson’s comically cliched bildungsroman. A prominent similarity in the treatment of gender by all three authors is the ability of each to manipulate and intertwine not only their ideas of the gender line but also those of their contextual popular culture in order to effectively and complexly examine its role.

Human Relations Approach to Technology Essay

Organizational communication technology is seen as a tool that can free workers from mundane tasks and allow them to engage in activities that satisfy higher- order needs. Emphasis is placed on technological impacts on worker attitudes. (1) This approach has helped people learn to be more of a multitasker. This approach also helps people be able to have more one on one time with people face to face because it frees them up more so than they were once able to do. This approach also changes the world. Another side to this is that technology has done more and faster production than humans can. Technology has taken over many people’s job. What used to be an assembly line of people working to put metal together for chairs or anything else has become a one person job making sure that the robots had put the metal together like it was supposed to be. There is a plant in Hopkinsville, KY that mig welds and repairs parts and pieces of appliances. With this plant there are people only getting hired who has welding experience so that they can check what the machines do, when the machines mess up it is up to that person to fix it. The people working there are always getting laid off due to them over hiring at times. They don’t need as many people as they once did because they have technology and it has stepped up and taken over the jobs of those people who got laid off. In the medical field, there are advancements being made every day. There are always creations of different instruments like the robot advancement that allows the doctor to be able to see better and more precise cuts and less people who need to be in the person’s body at one time. Now there isn’t a whole table of nurses and doctors working there is only one nurse and a doctor who is controlling the robot. The nurse is who puts the instruments in the robot and the doctor moves the robot. Yes this robot is great with being more precise but it is also cutting more people out of their jobs. These medical advancements are being made to make things faster, easier, and more reliable than some older doctor whose hands shake from time to time. There is also the computers advancement that is being made every day. With this computer advancement it is giving me the opportunity to stay at home and work. I get to use the internet to do my job and anything else that I need to do than I simply use my phone. With out all of the advancements that are being made with technology in computers than I would not be able to do this job from home. The only form of human relations that will be from me in this job is the occasional times that I get on the camera and of course all of the times I talk to people on the phone. This does stop the face to face effect that was once a big role in life. Human relations approach to technology plays a major impact no matter which side you want to look at. It plays a role in both ways where it helps humans but it also hurts humans. I feel that to an older person looking at this would think that technology is taking away their livelihood because they are older and it is harder for them to find a different job. (2.) Somebody my age like me, I love the technology and how it plays out according to human relations. I feel that everyday I should learn something new so it doesn’t bother me if I don’t know how to do something. I feel that learning to use technology makes my life easier and faster. References (1.) Miller, K. (2012). Organizational communication: approaches and processes (6th ed.). Boston, MA: Wadsworth Cengage Learning. (2.) Subject. (n.d.). JSTOR: An Error Occurred Setting Your User Cookie. JSTOR: An Error Occurred Setting Your User Cookie. Retrieved February 19, 2013, from http://www.jstor.org/discover/10.2307/20023443?uid=2129&uid=2&uid=70&uid=4&sid=21101834177857

Dialing Our Death: A Critical Response to Stephen King’s Cell

While Stephen King’s Cell might be about zombies, the 2006 novel is also a clever commentary on America’s reliance on technology. King’s setup is that, on the afternoon of October 1, a strange â€Å"pulse† is broadcast across American cell phone networks. The pulse, when heard by people on their cells, immediately renders cell-phone users into murderous, zombie-like creatures. These people, known as â€Å"Phoners,† are no longer human. The few people unaffected by the pulse, called â€Å"Normies,† attempt to fight back for survival.King hints heavily that our dependence upon technology will be our undoing. The central characters’ struggle to survive runs secondary to King’s technophobic message. The plot is effectively more important than the narrative it supports. Most of the attention is paid to the pulse itself. The rampaging zombies are given a reason to exist: their brains have been literally â€Å"scrambled like a skillet of eggs† (43). Their violent and gory actions are symbolic of what King feels our world is becoming.Even if King’s doesn’t think using cell phones and visiting websites will lead to apocalypse or rampages, perhaps he is (at the very least) suggesting that we are becoming just as mindless. When the pulse strikes, the â€Å"Phoners† were connected via network. Everyone affected has been linked together. The danger, King suggests, is that our shrinking world is not necessarily a good thing. To King, cell phones and the Internet have ceased to be modes of transmitting information. Sharing information is less important than swapping videos and songs with friends now, or having conversations while walking through a park.People look like they are talking to themselves. King feels that technology has left us vulnerable. We might not be vulnerable to a zombie-creating â€Å"pulse,† but we are certainly vulnerable to losing our sense of identity and humanity . We are giving ourselves, little by little, over to technology. In Cell, the mindless â€Å"Phoners† are soon organized into â€Å"Flocks,† which move around in patterns very much like migrating birds. This underscores King’s central fear: the marriage of technology and biology. He seems to be calling for a world that exists offline.In his book The Soft Edge, media philosopher Paul Levinson agrees that the fundamental nature of technology closely recalls mankind. There are legitimate concerns to consider as we move toward an ever-increasing dependence upon the technologies available to us. Levinson states that â€Å"the wisdom of nature is not always good for us, insofar as it accommodates hurricanes, drought, famine, earthquake, and all manner of destructive occurrences† (150). Nature’s tendency toward destruction and collapse, also known as entropy, is mirrored in technology and, very clearly, in Cell.Like nature itself, destruction is part of t he nature of technology, King believes. Levinson questions whether technology can have things similar to â€Å"ugly ragweed,† which must be monitored and controlled. He asks â€Å"whether ragweed can be controlled without suppressing the beauty and value that emerges right next to it, untended† (Levinson 151). His vision is aligned with King’s—technology has the capacity to destroy—but he feels that it can be controlled. Technological systems will not revolt against us, as they do in Cell, but they must be actively watched.Cell paints a stark portrait of society on the brink of collapse—one that people have willingly bought into. In King’s mind, we are ushering ourselves to our own demise, if not our loss of humanity. Something as simple and ubiquitous as a cell phone is turned into a tool of terror. With Cell, King makes us question whether we have established systems for ourselves that are not so much helpful as they are corruptive. His novel is a cautionary tale about where we are heading as a civilization. When we next answer the phone, King suggests the fate of our own humanity may be calling.

Mythology the Past and Present Essay

Nike is the winged goddess of victory according to Greek mythology. She sat at the side of Zeus, the ruler of the Olympic pantheon, in Olympus. A mystical presence, symbolizing victorious encounters, Nike presided over history’s earliest battlefields. A Greek would say, â€Å"When we go to battle and win, we say it is Nike. † Synonymous with honored conquest, Nike is the twentieth century footwear that lifts the world’s greatest athletes to new levels of mastery and achievement. The Nike ‘swoosh’ embodies the spirit of the winged goddess who inspired the most courageous and chivalrous warriors at the dawn of civilization. In Greek mythology, Nike was a goddess who personified victory, also known as the Winged Goddess of Victory. The Roman equivalent was Victoria. Depending upon the time of various myths, she was described as the daughter of Pallas (Titan) and Styx (Water), and the sister of Kratos (Strength), Bia (Force), and Zelus (Zeal). Nike and her siblings were close companions of Zeus, the dominant deity of the Greek pantheon. According to classical (later) myth, Styx brought them to Zeus when the god was assembling allies for the Titan War against the older deities. Nike assumed the role of the divine charioteer, a role in which she often is portrayed in Classical Greek art. Nike flew around battlefields rewarding the victors with glory and fame. Nike is seen with wings in most statues and paintings. Most other winged deities in the Greek pantheon had shed their wings by Classical times. Nike is the goddess of strength, speed, and victory. Nike was a very close acquaintance of Athena, and is thought to have stood in Athena’s outstretched hand in the statue of Athena located in the Parthenon. Nike is one of the most commonly portrayed figures on Greek coins. Nike has a legacy that lives on today, not through the field of battle but through clothing, shoes, and apparel. Nike paints the perfect portrait of what the goddess set out to do, and that was to turn out victorious in the end no matter how grueling the battle may be. When people hear the word Mercury they might think of a nice care or even the planet. Hear I will explain the origin of this Greek god. Mercury was a messenger, and a god of trade, the son of Maia Maiestas and Jupiter in Roman mythology. His name is related to the Latin word merx (â€Å"merchandise†; compare merchant, commerce, etc. ), mercari (to trade), and merces (wages). In his earliest forms, he appears to have been related to the Etruscan deity Turms, but most of his characteristics and mythology were borrowed from the analogous Greek deity, Hermes. Latin writers rewrote Hermes’ myths and substituted his name with that of Mercury. However there are at least two myths that involve Mercury that are Roman in origin. In Virgil’s Aeneid, Mercury reminds Aeneas of his mission to found the city of Rome. In Ovid’s Fasti, Mercury is assigned to escort the nymph Larunda to the underworld. Mercury, however, fell in love with Larunda and made love to her on the way; this act has also been interpreted as a rape. Lara thereby became mother to two children, referred to as the Lares, invisible household gods. Mercury has influenced the name of many things in a variety of scientific fields, such as the planet Mercury, and the element mercury, which it was formally associated. The word mercurial is commonly used to refer to something or someone erratic, volatile or unstable, derived from Mercury’s swift flights from place to place. Zeus is probably one of the most well know mythological god out there. People may not know but he inspired a very interesting logo that we all know today as Gatorade. It works out good because Gatorade is often used in competition, and Zeus was a competitive and powerful god. In Greek mythology Zeus is the â€Å"Father of Gods and men†, according to Hesiod’s Theogony, who ruled the Olympians of Mount Olympus as a father ruled the family; he was the god of sky and thunder in Greek mythology. As Walter Burkert points out in his book, Greek Religion, â€Å"Even the gods who are not his natural children address him as Father, and all the gods rise in his presence. † For the Greeks, he was the King of the Gods, who oversaw the universe. As Pausanias observed, â€Å"That Zeus is king in heaven is a saying common to all men†. In Hesiod’s Theogony, Zeus assigns the various gods their roles. In the Homeric Hymns he is referred to as the chieftain of the gods. His symbols are the thunderbolt, eagle, bull, and oak. In addition to his Indo-European inheritance, the classical â€Å"cloud-gatherer† also derives certain iconographic traits from the cultures of the Ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses: standing, striding forward, with a thunderbolt leveled in his raised right hand, or seated in majesty. His Roman counterpart was Jupiter and his Etruscan counterpart Tinia. Zeus was the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he was married to Hera, although, at the oracle of Dodona, his consort was Dione: according to the Iliad, he is the father of Aphrodite by Dione. He is known for his erotic escapades. These resulted in many godly and heroic offspring, including Athena, Apollo and Artemis, Hermes, Persephone (by Demeter), Dionysus, Perseus, Heracles, Helen, Minos, and the Muses (by Mnemosyne); by Hera, he is usually said to have fathered Ares, Hebe and Hephaestus.

Financial Statement Analysis Essay Example | Topics and Well Written Essays - 2250 words

Financial Statement Analysis - Essay Example The apperal industry is a generated $276 billion in sales in the year 2005 (Plunkett Research). Competition in this industry is fierce and the production of low end products is being cannibilized by the Asian markets which includes India, The People’s Republic of China and Pakistan among other nations. In order to apperal companies to suceed in develop nation they must use a branding strategy to differentiate their products. The two apperal companies analyzed in this report are Wolverine World Wide Inc. and The Timberland Company. Wolverine World Wide Inc (WWW) is company with a rich history dating back to the year 1883 when it was founded by G.A Krause. The company is dedicated to producing and selling branded footwear, apperal and accessories products. Some of the licenced brands the company owns include Bates, Cat Footwear, Harley-Davidson Footwear, Hush Puppies, Merrell, Pantagonia Footwear, Sebago, and Wolverine; a portfolio of product which help generate 47 million pairs of shoe sales in 2006 (Annual Report: Wolverine 2006). The company is a global player with a physical precense in over 180 countries worldwide. The company’s target market is North America which represents the majority of the company sales (43%). Emerging markets such as Europe were growth drivers in 2006, the European region had a 10% sales growth during that fiscal year. The company has expanded its product offerign to move beyond being a shoe manufacturer. The firm offerrs many apperal and accessories products, a strategy that takes advantage of the branded image recognition of lines such as Sebago which are known for their quality, great designs and durability. In 2006 Wolverine generated $1141.9 in revenues. Appendix A shows the 2006 Income Statement of Wolverine. The year’s total sales was a significant improvement over the results of the last few years. The 2006 sales total represent an 8% sales

Metropolis 1927 Movie Essay Example | Topics and Well Written Essays - 1500 words

Metropolis 1927 Movie - Essay Example The story of ‘Metropolis’ was co- written with Lang’s wife Thea Von Harbou. Throughout the movie, one is entertained in observing the innovativeness of imageries used by cinematographer Karl Freund. Otto Hunte handled the art designing department. Its lead actors include Alfred Abel as Joh Frederson, Gustav Frohlich as Freder, Rudolf K. Rogge as Rotwang, Theodor Loos as Josaphat, Fritz Rasp as the Thin Man, Brigitte Helm as Maria and Heinrich George as the Guardian of the Heart Machine, Grot. Besides the ill impacts of industrial revolution, the movie was also inspired by ‘Gas’, ax expressionist play by Georg Kaiser (Huyssen, 223). Background: Chaos In the 1920’s, the city of Los Angeles represented the whole condition of America in a nutshell. The city dwellers were clearly divided into two sections. While the former was bright, full of fun and frolic the other was embedded deep into darkness. However, this division was unplanned and never sta tic (Sitton, 1-3). Darkness was in the lives of people belonging to the latter group, who inhabited the city’s dark underworld. They were restless and aimless, struggling for identities within dingy working conditions. It was quite impossible to unnotice the vigorous potential of energy or force soaring among the masses. As more and more immigrants poured in during 1920’s America began to transform. Big Red Cars of Pacific Electric began to flood the streets of Los Angeles downtown. Expansion came hand in hand. It was immediately followed by oil discoveries and subsequent effects of industrial revolution. While one section of society fully reaped the benefits of this revolution, the other section got plunged into darkness. The business leaders became synonymous with exploiters and the terms like â€Å"industrial employment†, â€Å"industrial capitalism†, etc. were defined in a new way (Sitton, 15). Practically, with the huge inflow of labors, number of fa ctories increased but the quality and quantity of facilities remained the same. This resulted in congestion, less availability of basic human requirements, and an increase of crime and sickness. It was this abhorrence and horror that inspired making of ‘Metropolis’ in 1927. Industrial revolution: theme of Metropolis According to Parker, â€Å"Metropolis was all about movement, crowds, noise, smoke and a constant atmosphere of menace and danger† (Parker 155). Being a silent film, it successfully brings out the unforgiving nature of city life, without using any dialogue. It is not a film that inspires hope. It rather focuses on the destitution and hopelessness prevails. At the same time, it also highlights the notion of Proletarian women, of which Maria is the chef spokesperson. Along with oppression, the movie also shows the lessening of family values with the advent of industrial revolution. However, in the latter half of the movie the maternal instinct is shown to be growing stronger and ends up in the form of a rebellion. Mass dynamism and force is the only remedy for escaping the tyrannies of capitalism- is the only note of hope that this movie offers. (Gabriela, 30). To emphasize the theme of industrial revolution, several scenes represent use of technology. Such scenes, not only increases the emotional effect of the picture, but also directs the flow of narrative. Some of these memorable scenes are- the beginning of the movie

Web-Based Distance Learning Project Assignment Example | Topics and Well Written Essays - 1000 words

Web-Based Distance Learning Project - Assignment Example 29 Oct 2007 A Business Model with ERD and normalization. 5 November 2007 Design logical database design & development. 19 November 2007 Testing business rules and data integrity. 10 December 2007 Interim Report 8 January 2007 Interface Design and form development. 22 January 2007 Trigger design and implementation. 4 February 2007 Testing and validating the trigger codes of different units. 18 February 2007 Report requirements and design. 4 March 2007 Physical database design 18 March 2007 Final system documentation & user manual. 4 April 2007 Margin for any contingency 5 April 2007 - 15 April 2007 Final Report 24 April 2007 Live demonstration. The presentation should demonstrate the most interesting and attractive implementation features and functions of University Information System. 5 May 2007 RESOURCE REQUIREMENT: Following are the resource requirement for this project: Hardware Requirements: The hardware requirements for this project are as follows: Processor (atleast Pentium III, 733 MHz) RAM (the minimum RAM requirement is 128 MB. However, the RAM of 512 is recommended) Hard Disk (The required capacity of hard disk depends on the amount of data to be saved. But on minimum side 40 GB hard disk is required) LAN Card or Modem is also required. Besides, the general accessories of a standard PC will also be required. The university will not be required to arrange for these requirements. Software Requirements: The softwares required for this project are: MS Access - this is required for the actual development of the database. MS Visio - this is required to develop the logical diagram / model for the structure of the database MS Word - this is required for the documentation purposes Macromedia Dreamweaver - this is...The concept of distance learning was still there even before the intervention of technology in the field of education, but it gained momentum, when technology was applied to make the system of distance learning more effective. As a result of this intervention, distance learning has now become one of the most prominent areas of education and learning, where the application of the technology is at its peak. Furthermore, the more technology is applied in right direction, the more distance learning will get popular. This project would be yet another step into that progress. The outcome of this project would be an MS-Access based Tutorial database. As tutorials are major source of learning for distance learners, thus this product will be helpful to them to a great extent. The aim of this project is to develop a database of tutorials for the distant learners. This database tutorial is a web-based tutorial. The user of this database will be provided with the user interface in order to fetch the information through queries and add, edit or delete the tutorials. A reporting module will also be added into the database. Besides, there are some other technical requirements too. Such requirements include the internet connectivity, the relevant drivers required for the database and its cross platform interaction with the web based front end.

Whistleblowing Essay Example | Topics and Well Written Essays - 500 words

Whistleblowing - Essay Example Flexibility- Flexibility is another characteristic of the whistleblower that ensures the company or organization is not going against the law (Vaughn, 2013). Tenacity- The whistleblower use stubbornness as a competing curiosity that must be in due course used as a tool to make a defined and right decision for the business (Gramling, 2014). Sensitivity- Most of the large business organizations have large number of employees across the country; hence, sensitivity as a characteristic of a whistleblower is important because it acts as an eye to the business (Gramling, 2014). Within the last 12months, U.S Supreme Court has been identified to protect the employees through the voice of whistleblower. The instance to protect employees of publicly company’s contracts March 6, 2014. This was noted to be the first time in the United State of America Supreme Court protected sub-contractors and contractors under Lawson v FMRLL, 571 U.S (2014) (Gramling, 2014). Jonathan M Zang and Jackie Hosang Lawson had different case to the court, alleged retaliation unlawful under act 806 that was against the FMR LLC while the others interrelated to the private company the so-called FMR. The funds were mutually raised to provide fidelity to the family as persuaded by the contract. The two of them commenced the unlawful action in a federal district court where the private mate was moved to dismiss plaintiff’s issues. The claims supported that they were not covered as employees under the act 1514A (Vaughn, 2013). The plaintiff therefore, took forth both employees of public company and the employees of the contract and sub-contract. After complains were filed with the health administration and occupational safety, Zang and Lawson began the action of de novo in a court. The court examined the statute text and found that FMR’s interpretation was quite presentable because there was

Research essay Example | Topics and Well Written Essays - 1000 words

Research - Essay Example Indeed, the humors lie in the verbal ironies in the story. At the very beginning of the story, the readers learn about the revenge motif of Montressor (Silverman 312). So, when, in the story, they come across the verbal ironies in Montressor’s narration, they rather become aware of the follies, simplicity and hubris, of Fortunato, which inevitably push him towards the horrible death. Also the humors in the story are endowed with a two-fold meaning. On one hand, they provide brutal pleasure to Montressor; on the other hand, they reveal Fortunato’s follies and hubris. Montressor exhibits a black sense of humor. In the very beginning of the story, Montressor describes Fortunato in a jester’s outfit. He describes Fortunato as following: â€Å"[In] one evening during the supreme madness of the carnival season, that I encountered my friend†¦.The man wore motley† (Poe pars.2). In that carnival evening, Fortunato wear a â€Å"tight-fitting parti-striped dres s† (Poe pars.2). He also wears a â€Å"canonical cap and bells† (Poe pars.3). ... But when Montressor vows that â€Å"I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong† (Poe pars.3), Fortunato’s jester-like clothing and hubris make him more vulnerable and pathetic. Another humor occurs around the middle of the story. When Montressor and Fortunato enter into the cavern, he (Fortunato) begins to cough. In order to hide his intention, Montressor tries to persuade Fortunato to go back: â€Å"We will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back† (Poe pars.6). In reply, Fortunato says, â€Å"Enough†¦the cough's a mere nothing; it will not kill me. I shall not die of a cough.† (Poe pars.8) Here though his reply evokes laughter, it, at the sam e time, warns the readers about his helplessness in the face of Montressor conspiracy. Fortunato, a helpless drunkard who does not know the least of Montressor’s revenge, expresses habitual hubris that he will not die of coughing. This scene makes Montressor more pernicious and venomous, whereas this same reply exposes Fortunato more as a helpless man who simply believes Montressor and who is going to face his death soon (Silverman 312). At the second reading of the story, the perception that Fortunato is going to be buried alive behind the vault wall reveals the darkness and blackness of Montressor’s sense of humor. The blackest humorous scene occurs around the end of the story. Here, Fortunato starts to laugh after