Case Study Marketing: Nyquil

Case Study Marketing: Nyquil Nyquil is a brand of over the counter drug produced by Vicks, which is a division of the Procter and Gamble Company. This drug comes in form of syrup and liquid capsules and tablets that are used to for the treatment of a wide range of cold symptoms. Marketing of Nyquil is done both in the domestic market and internationally by the Procter and gamble through it Vicks subsidiary that it bought from Richardson Vicks in 2005.Vicks is known world widely for its marketing of branded consumer health care products. Before its acquisition by PG the Vicks Company had more than thirty subsidiaries all over the world some of which were acquired by PG too. One of them is the India Richardson Hindustan Limited (RVL) Company that has greatly contributed in the manufacturing and distribution of the Nyquil drug (Richardson Vicks Inc. (RVI)).Nyquil is the number one drug recommended by pharmacists for night time relief of cold among adults and it is available in more than 70 countries within five continents where its distributed by varied PG distributors. Drug distributors in pharmacies, government and private hospital and pharmaceutical companies get their Nyquil drugs shipped to their countries with the by the manufactures and the Subsidiaries of PG pharmaceutical products. This physical distribution of the drug is done through a well organized supply chain that spreads from the manufacture to the consumer. The purchasing of this drug can either be done by physically visiting the pharmaceutical companies or by placing online bids through website like Amazon.com and Vicks.com Some pharmaceutical companies that dont produce the Nyquil drug act as the distribution centers by buying the drug in bulk from Vicks company and other pharmaceutical associated with PG and they repackage it with direction and permission from the manufacturer. Such companies employ sales agents who sell the drug either directly or through the internet. They market Nyquil to the wholesalers, private buyers, hospitals and sometimes to selected retail dealers. The wholesalers buy from such companies, break the bulk and redistribute the drug to the retail sellers in pharmacies and small private hospitals. This multi channel distribution of Nyquil has made it easy to export the drug to various markets all over the world. The marketing of the Nyquil drug has for the longest of time been assisted by its brand strength. Mention Nyquil to any American and they will understand what you are taking about. In fact it could equally qualify as the most abused cold over the counter drug since it has a sedating effect on its user. Widespread television radio and print advertisement have helped create product awareness and created ideal market exposure for the drug. The liquid variation of Nyquil was tested for the first time in 1966, and officially launched into the market in 1968 with several television and magazine advertisement and recommendation from the medical world. Consequently, Procter and Gamble used $ 17 million dollars to promote liquid Nyquil during its launch in 1980(New York Magazine 12 Vol. 24, No. 38) Further more, Nyquil has become a common name to most house holds in American households and its the mostly recommended over the counter drug for remedying cold symptoms. Its slogan that calls it The nighttime, sniffling, sneezing, coughing, aching, best-sleep-you-ever-got-with-a-cold medicine is an eye catcher for anyone displaying the mentioned symptoms of a cold. With this slogan comes a list of Nyquil variation, each tailored to the different formulations on offer. More over the Nyquil Liquid medication is available in ranges of the Soothing Original, Soothing Cherry, and Vanilla Cherry Swirl. The earliest marketing of Nyquil also created a niche market for it as the best night time relieve for cold since it has an ingredient that makes someone drowsy and help him sleep peaceful. This quality of Nyquil was previously critiqued by those who didnt want to use a cold remedy with the intention of sleeping immediately. To maintain the drugs niche and retain her customers Vicks company came up with Dayquil, a daytime counter part of Nyquil which does not contain the sedating ingredients or alcohol that is found in Nyquil. Therefore, Procter and gamble s able to satisfy both the day time and night time consumers of effective cold remedy. Another marketing method used in the marketing of Nyquil is the use of Nyquil Coupons. This coupons which are distributed by either Procter and Gamble Sunday News Circular supplement called PG Brand Saver, from the physicians and allergists, weekly circular of pharmacies like Walgreens and CVS or in third party Coupon Sites like Coupon.Com.These coupons enables to one buy Nyquil medication at a discounted rate during a repeat purchase and are working to attract and sustain repeat buyers of the product. To make it easier for customers the coupons are available in clippable and printable online form, and so any person is able to access them (Pharmacy Drug Guide.com). Another promotion strategy that was launched for this product in 2009 was the use of social media Facebook.According to the a customer review the most attractive thing about the Nyquil face book page was that the introductory language used in it did not try to get you straight to the product but first told you about the page itself detailing the growing number of its fans in order to make someone feel like he was missing out on something. During the same period it had a free Nyquil T-shirt offer for the Nyquil customers who posted the best peaceful sleeping photos purported to have been taken after one had taken Nyquil for their cold. According to another blogger, it took only 7 days for the number of Nyquil fans to grow from 30199 to 95,125 and in the next twenty four hours they had grown to a hundred thousand. This kind of marketing has created an extensive exposure to the product and interested buyers from all over the world can easily access information on it. In effect, the approach has helped in creating wide spread product knowledge and in beating the common misconceptions that competitor sometimes spread about the product. Other than face book, marketers at PG use different Websites to advertise their product. For instance, Vicks.com is a website that gives product information on all the variations of Nyquil medication and any promotions involved in its purchase and where to shop for it. For instance, on the Nyquil and Dayquil product information page there is information on the availability of Combo packages of the drug and on the promotion page there is a promotional advert that asks someone to Search Nyquil on face book to enter the Vicks Nyquil/Dayquil search for the most dedicated NFL fan. The Promotion catch line is In the NFL there are no sick days. Such promotional activities are aimed at appealing the drug to the NFL fans (Vicks.com). The marketers of Nyquil have also been known to market the product through creation of its demand. This kind of marketing plays on human psychology by using words that are attractive to the consumer. Most Nyquil advertisements Market it as a medication that that work while a person is sleeping. This is interpreted to mean that it does not interfere with a persons daytime schedule. This night time appeal combined with the fact Nyquil tablet comes in not only Tablet and capsule form but also in liquid form helped increase the demand for the product. In essence there fore Nyquil is perceived as the most potent cold medication. This is a pull approach that helps in attracting consumers to the product without the manufacturer prodding them to do so. Although NyQuil contains 25% alcohol this remedy has become the gold mark of cold medication. However, the variation of Nyquil given to children only come in syrup form and does not contain any alcohol. When it comes to customer care, PG aims at providing the best for her Nyquil customers who are spread all over the world. The task of handling so many customers can be quite a logistic burden and man power burden to one company. There fore, PG usually out-sources the customer care service from Public Relation experts on contract basis. This extra service complements and helps to build up the customer skills displayed by PG personnels. For instance on June 30th, 2003 the company outsourced the customer care expertise of Syke Enterprises Incorporated on a five year contract at a cost of 70 million. Sykes, a reknown giant in provision of customer care services was to provide customer care management services and help provide solution to the P G consumer problem and help save cost. Part 2 Although the above marketing methods have helped open the sales gates for Nyquil some of them have achieved decreasing sustainability. For instance, in some cases PG has been accused of engaging in illegal marketing strategies in the promotion of Nyquil. Example was in the late 2009 when PG got itself under the scrutiny of the Federal Drug Administration (FDA) for illegally touting two Vicks branded over-the -counter drugs, Vicks Nyquil plus vitamin C and its day time counterpart Vicks daytime plus vitamin C as both a medication for cold as well as a dietary supplements. The marketing language used on this drugs said that they worked by combining the powerful multi symptom relief of Dayquil with more than 150% of the recommended value of vitamin. This was done as a marketing strategy during the time of a swine flu epidemic but FDA claimed that there isnt well researched and verified material that shows vitamin C helps in prevention of colds. Consequently, the company was given 15 day s to amend the violation (Straczynski). Market competitors of Nyquil have also critiqued the use of alcohol as an ingredient to the drug. This has led to the rampant abuse of the drug is search for the high that is derived from its overdose. Although its manufacturers tried remedying this problem by changing the formulation of this medication it realized that the sedating quality of the medicine was still needed by those suffering from cold. This made customers abandon the New Nyquil in search for a drug with the qualities of the original Nyquil. Vicks was forced to revert back to the old formulation but the Combat Methamphetamine Epidemic Act of 2005 only allows regulated over the counter purchase of this drug. Another critique is in the use of social media where one is only able to access the Nyquil page through series of applications that asks for private information that may drive away potential customers. The Nyquil wall does not allow interactive participation of the fans and it fails on not engaging customers enough. Consequently, Instead of using the platform to engage their user they have reverted to the traditional marketing tactic where you are only allowed to see the product but you cannot comment on it. They forget that the number of fans on a social website page does not always translate to potential customers since some people just like them for nostalgic reasons. Lastly although the drug has become a brand in America, it may have corresponding competition from other cold remedy manufacturers when it goes to outside markets. Never the less most of the advertisement and promotional activities have been concentrated in America where there is already saturation of information. In consequence there the following remedial measures should be taken in marketing of Nyquil. Instead of the manufacturer constantly changing the drug formulation due to its controversial sedating characteristics caused by the alcohol ingredient(Green 60), its marketers should be confident with the original Nyquil and market it as it is, since market research has shown that most initial consumers of this drug prefer it in its original form. Different formulation of the same medication erodes the consumer confidence in the product. Second, if the marketers of Nyquil plan to use social media network for marketing and advertisement purposes they should do it in a way that allows for consumer feed back. Lack of interaction creates disinterest and most potential consumers are likely to dislike the Nyquil page. 3. Illegal marketing strategy that gives lying information to consumers a marketing no-no that should be discouraged at any chance. Nyquil marketers should only advertise the truth about the product because customers may abandon the product when they find out that someone has been lying about it (Straczynski).This will happen due to reduced confidence in a product. 4. Finally, if PG want to increase it sale of Nyquil to the market outside America, is should increase, it advertising and promotional activities in these countries through its subsidiaries and distributors. This will accentuate the sales volumes especially from the largely untapped market. Research study: factors that enable depression Research study: factors that enable depression Introduction Research studies are essential to the practice of Social Work. Social Work practice is extremely complex and research studies allow social workers to develop theories and hypotheses that will help them understand the root of the issues that their clients are experiencing. Academic evidence is vital for backing up the practices, policies and values that underpin Social Work practice. Academic research not only benefits the social worker through the expansion of their knowledge but can also benefit clients and society at a policy level. In this essay I will be evaluating the research carried out by Brown and Harris (1984) in their book â€Å"Social origins of depression: a study of psychiatric disorder in women†, specifically on chapter 10, â€Å"Social class, provoking agents and depression†. Brown and Harris carried out this research to find out how life events and social and cultural factors may lead to the development of depression amongst women. I will briefly descri be their study and their findings and then discuss the methodology they used and the advantages and disadvantages of their methodology. I will also discuss how Brown and Harris’ research is extremely important and influential for the practice of Social Work and how the study is still used today to show how social and cultural factors can lead to depression. Description of study and findings The study aimed to find out how social factors and life events lead to women’s depression. They sampled 458 women in the south London area of Camberwell and surveyed them using â€Å"clinical based interviews† (Brown Harris 1984) on their daily lives and depression. Brown and Harris aim to contest the wide spread belief that depression is more common amongst women of higher social classes, as asserted by previous studies carried out by sociologist Pauline Bart, psychiatrist Ernest Becker and psychologist Charles Costello. Brown and Harris’ study contests this idea that middle class women are more likely to develop depression as they found in their study of 458 women that it was much more common for those who were working class to develop a psychiatric disorder, depression in particular. They found that 23% of working class women were â€Å"considered cases† as opposed to only 6% of middle class women. They measured the social class of the women by the occ upations of the women’s husbands and when this wasn’t available they used the occupation of the women’s father to determine their social class. In addition to class differences, Brown and Harris also looked at the â€Å"five life stages† which consisted of, three stages where women has a child at home with the youngest child being less than 6, between 6 and 14 and 15 and over. The remaining two life stages consisted of women younger than 35 where there was no child at home and women over 35 where there was no child at home. They found that in all life stages, working class women had a higher rate of depression than middle class women. Most notably, the highest percentage was of 31% for working class women with a child of less than 6 compared to 5% of middle class women. Brown and Harris found that depression was more prevalent amongst women of working class because there is greater vulnerability attached to working class. Vulnerability factors included lack of a confiding relationship, loss of mother before age of 11, unemployment, poor housing and low finances. These vulnerability factors, which were more common amongst those women who were working class, were found to increase the chance of developing depression. Vulnerability factors, when combined with stressful life events, like divorce, illness and death, which Brown and Harris called â€Å"provoking agents† further increased the chances of developing depression amongst working class women as they are more vulnerable with less support, financial and familial. These provoking agents or life events were ranked in severity by Brown and Harris, ranging from the most severe being â€Å"death† to the least â€Å"residence change†. â€Å"When social class is considered it is onl y severe events that show a class difference and then only among women with children† (Brown Harris 1984) , for both working and middle class women without children 1 in 3 experience at least one severe life event in the year, however when considering those with children the number stays the same for working class women, 1 in 3 whereas it drops to 1 in 5 for middle class women with children, implying that middle class women with children are more protected from provoking agents that lead to depression. The study concluded that social factors and life events are linked to depression. Working class women were more likely to develop depression than middle class women in all instances showing that the risk of developing depression is linked to social class. Brown and Harris found that being from a lower class meant increased vulnerability and greater chance of being exposed to provoking agents than middle class women. Importance to Social Work The study by Brown and Harris has been marked for many years by a combination of imaginative flair and commitment to the rigorous testing of their ideas (Tennant and Bebbington 1978). This study is extremely important to social work practice as it providing a turning point in looking at depression amongst women. The study provided an awareness of women’s mental health. Before this study, most research focused on personality traits and experiences in childhood that linked women to depression, however Brown and Harris’ study was different in that it investigated the social and cultural factors related to women’s mental health. It’s a very important study as it recognized that depression could be linked to social class and that life events or difficulties relating to social class could provoke the development of depression. Brown and Harris’ study is very important to the practice of social work as it provided a theory of the relationship between socia l class or status and depression amongst women and a clear understanding that poverty is linked to depression. In addition to finding a link between class and depression, this study is also very significant to social work as it allowed for the broadening of perspectives. Before, there was a medicalised model or way of looking at depression and mental illnesses however this study allowed social workers to develop the social model of depression, a thinking which challenged the medical model and looked for a much broader understanding of the reasons for depression. Furthermore, this study was connected to the growing awareness of women’s unequal position in society and in the family, so whilst it did not originate from feminist enquiry the study helped the evolving feminist movement which began to give women a voice in society. It also led to the development in the understanding of the demands of caring for children and the impact of the reduction in the extended family at this time. This study is very important to Social Work practice as it strengthened the role of social work with families and individuals who are in distress through community based practice. It also allowed women and mothers’ networks to strengthen as the study helped shine a light on the difficulties of being a mother, of experiencing different life events and the difficulties related to being working class. The study highlights the importance of social work values like anti-oppressive practice that strive towards equality for women and the recognition that wha t women feel should be understand. Furthermore, this study is extremely important to social work practice as it allows social workers to understand the roots of depression in women. This study shines a light on the social factors that lead to depression, social workers can use this study to identify what social factors lead to depression and target these factors and implement prevention techniques for those women who are most likely to develop depression. Advantages and Disadvantages of methodology Brown and Harris used a mixed methodology in their research. Statistical data was gathered and analysed by Brown and Harris, alongside the qualitative data obtained by individual narrative and stories. They used a mixture of qualitative and quantitative methods which increases validity and reliability. Reliable data means that the research could be repeated and the same results would occur and valid data means it’s a true picture of what the researcher is trying to measure. Brown and Harris used random sampling in their research and they used the sample of 458 women to represent the target population – middle class and working class women. Random sampling means their research is representative of the target population and they can therefore make generalisations about depression suffered by middle class women in contrast to working class women. Brown and Harris carried out semi-structured interviews meaning that the women could be asked open-ended questions which would give qualitative data, increasing validity by obtaining an in-depth understanding of the women’s situations. Interviews mean that the conversation developed naturally and so is a good method for researching sensitive issues like depression as the natural conversation allows the interviewee to feel relaxed and able to open up more to their interviewer. Interviews also allow a relationship to build between researcher and respondents. Brown and Harris continued their research over a long period of time (1969/71 and again in 1974/75) which would also strengthen their relationship with the women, allowing their evidence to be more valid and paint a true picture. However, there have been criticisms made of the methodology used by Brown and Harris. Tennant and Bebbington (1978) criticise Brown and Harris’ methodology on the basis of their random sampling. They argue that 15% of households in the sample had 2 or more age-eligible women living in them, but Brown and Harris only chose one. Tennant and Bebbington therefore argue that there is bias in the sample and that larger than average households are slightly underrepresented in their research. Tennant and Bebbington (1978) further criticise Brown and Harris on their â€Å"conceptualization and definition† of the concept of â€Å"vulnerability factors†. Tennant and Bebbington argue that the construction of the vulnerability factor â€Å"parental loss† is open to criticism. Brown and Harris argue that maternal loss influences the risk of depression whereas paternal loss doesn’t affect the risk of developing depression. They argue that Brown’s definition of loss consists of three different variables, â€Å"loss through death, separation from one parent, and marital separation of the parents† events which Tennant and Bebbington describe as â€Å"qualitatively quite different† and that the composition of â€Å"maternal† and â€Å"paternal† loss groups may be so different that they are not valid to compare their impact on mental health (1978). They argue that in the instance of separation women usually get the custod y resulting in a paternal loss and regarding death, the risk of losing fathers in childhood is greater than the risk of losing your mother (Langer and Michael 1963 cited by Tennant and Bebbington 1978) and so this comparison in relation to depression is misleading and it would be much more appropriate to compare maternal/paternal death and maternal/paternal separation for more valid results. Conclusion In conclusion, I would argue that this research study by Brown and Harris is undeniably important to Social Work practice. Through its mixed methodology, using both qualitative and quantitative methods of research, it proves a very reliable and valid picture of class differences and social factors linked to women’s mental health. This research is vital to Social Work practice as it marks a turning point in a change in attitude towards mental health, a shift away from the medical model to a social model of depression. It underpins values that are at the heart of Social Work practice like anti-oppressive practice and equality for women. Word count: 1941 Bibliography Brown, G, W. Harris, T, (1984) 10. Social class, provoking agents, and depression' from Brown, G W. Harris, T, Social origins of depression: a study of psychiatric disorder in women pp.150-169,353-358, London: Tavistock Publications Brown, G. W., Harris, T. (1978). Social origins of depression: a reply.Psychol Med,8(4), 577-88. Tennant, C., Bebbington, P. (1978). The social causation of depression: a critique of the work of Brown and his colleagues.Psychological Medicine,8(04), 565-575.

Matthew Barney: Artist Biography

Matthew Barney: Artist Biography The mythological world of Matthew Barney Matthew Barney was born on 25th March 1967, in San Francisco, California. He attended school in Boise, Idaho from 1973 to 1985. He was brought up between Idaho and New York and first encountered on visits to his mother. He went to Yale University, New Haven where he enrolled to study medicine but transferred to study Fine Art. After graduating from Yale in 1989, he made a swift impact on the art world. He has had exhibitions in San Francisco and London. He is based in the Guggenheim Museum in New York. While attending Yale he paid his way through college by modelling while studying medicine. After a couple of semesters, he transferred to the art department where his abstracts became popular. It was here that Barney began to experiment with Vaseline as a creative medium. From bursting into the art world in 1991, Barney has been able to create a distinguishing world from using multimedia, sculpture, photography, film and drawing. His work following careful study in process and the evolution of form has been informed by the human body, art history, cultural production and biological development. Early in his career he worked with sculpture fused with video and performance. His work reflects on his past as a gridiron footballer and a wrestler as well as the study of the human form and the work of many of his contemporary artists. Some of his earliest work in Yale was staged in the University’s sports complex. He is most famous for his work as producer and creator of the Cremaster (1994 – 2002) films – five visually excessive works which have been created out of sequence. Barney features in the films in a countless roles with some being as diverse as a magician, a ram, a satyr, Harry Houdini and infamous murderer – Gary Gilmore. Not only have his films included himself but have also included artist Richard Serra, writer Norman Mailer, and actress Ursula Andress. His use of imagery, narrative and dialogue weaves a unique mythology. These films are seen as a self enclosed aesthetic system. Jonathan Bepler composed and arranged the films soundtracks. These are not just a series of films, also involved are photographs, sculptures, drawings and installations which the artist produces in combination with each film. The title Cremaster refers to the muscle that raises and lowers the male reproductive system according to temperature, external stimulation or fear. The films are a mixture of autobiography, mythology and history, his universe is connected and densely layered. The film consists of anatomical allusions, with the position of the reproductive organs during the embryonic process of sexual differentiation. Cremaster 1 is the most ascended position while Cremaster 5 is the most descended. In Barney’s metaphorical universe these pieces represent a condition of pure potentiality. Over the eight years of production, Barney looked beyond biology as a way to explore form creation and took his universe to new levels and other realms indulging in biography, mythology and geology. Cremaster Cycle director/artist Matthew Barney. Matthew Barney, CREMASTER 3, 2002 Prodution Photograph,  © 2002 Matthew Barney Photo: Chris Winget, Courtesy: Barbara Gladstone Cremaster 3 was the final film in the series. It was the most elaborate of the five films. It referenced Barney’s position in the art world. This final film is set on location at Fingal’s Caves in Scotland and Giant’s Causeway in Northern Ireland. Both of these locations are symbolic. They resemble each other and are entrenched in deep mythology. These films have depicted a parallel mythological world, with rich and complex symbolism. It delves into the dilemmas and traumas that shape today’s society. This was Barney’s ambitious project which took a decade to make. It was packed with references to pagan mythology, modern architecture, popular culture, human biology and art history. The Cremaster Cycle has earned Barney much praise despite its notorious scenes of solipsism and banal masculine trials. It is a highly ambiguous piece. The Drawing Restraint series began in 1997 as a series of studio experiments, which draws upon an athletic model of development in which growth occurs only through restraint. When the muscle encounters a resistance, it breaks down and becomes engorged, but through healing the muscle becomes stronger. This series is well documented through video and photography especially 1 – 6 (1987 – 1989). Drawing Restraint 7 is marked with narrative. His concept lies in three elements – situation, condition and production. These constitute the origins of Drawing Restraint. They are illustrated in highly intricatecreative process of sexual energy divided into the three elements. This series was inspired by the condition of hypertrophy where the muscles of the body develop strength and size when they are placed under restraint. Barney has turned this from artistic production that investigates restraint as a source of creativity. It was in the project Drawing Restraint 9, a feature length film whose song track was composed by Bjork which consisted of sculptures, photographs and drawings which built upon the Shinto religion and on whaling. There are sixteen of these pieces. It’s as if his work is meant to shock. He art is a form of abstract and surrealism, with the use of aesthetic athleticism which underscores the sports iconography which is evident in his work. Through his work the audience can see his icons and who he idolizes in a cult status – Harry Houdini and Jim Otto and the system which he uses to portray these idols. He portrays them as satyrs, with athletic iconography, medical gadgets, mythological creatures etc. It leaves the audience wondering where he gets his ideas from. Once of Barney’s influences seems to be the work of Antonin Artaud and his ‘Theatre of Cruelty’ as it tends to stage events rather than men. When he broke onto the scene with his surreal sculptures and videos and form of art he was instantly successful. He is a phenomenon of his time and from his breakthrough his art has gotten strange and stranger. His is seen as the most important American artist of his generation. His unique production of films, which he also appears in, houses his sculptures and objects which he has designed especially for the use in his films. His ideas come from a host of sources – books and photographs. His work is not regarded by him or others as subsidiary to any others, they are an expression of him in different forms of the same ideas. Barney’s work is very ambiguous and it is best to accept it this way as this is his basic point. If the art is unresolved it is interesting. In the Cremaster series, he has stated that this idea is as a sexual metaphor, that the characters in his films can not be identified as being either male or female. He considers his work as abstract. He has been seen as a bad, late surrealist or because of the nature of his work as a sensationalist and that some of his critics are upset by the scope of his success. His success mirrors the success of Jasper Jones who made his debut some 40 years ago. After graduating from Yale, the word had begun to circulate about him around influential artists, dealers, editors and critics in New York. In the early 1990’s he was taken on by two galleries – Barbara Gladstone in New York and Stuart Regen in Los Angeles. At this point he was a huge phenomenon and he had not even had a solo show yet. By his absence he was present on the art scene, which is his trademark. His work was more accepted due to bad economic times as the galleries where more willing to take a risk on an artist without a track record than they had been in more prosperous times. It was through this that Barney’s work became marketable as well as his Yale connections. His early art work reflects the use of elaborate sexual and biological references and allusions to the world of fashion and sports with obvious links to those who went before him in the 1960’s and 1970’s the likes of Vito Acconci, Chris Burden and Bruce Nauman. His reviews seemed orchestrated because they were so good. Any bad reviews which he received were dismissive, like those of Hilton Kramer and through these reviews only heightened his profile. In the early 1990’s the art scene had become about conceptual art on identity politics and the body and sex which was visually meager. The peak was reached with Whitney Bienneal in 1993 and with this it seemed that the art work was doing a penance for all the excesses of the 1980’s. Critics had professed that he was a video version of Mapplethorpe and gay artists openly joked that he was the most successful young gay artist who was not gay. Barney’s idea of art is obviously meant to make the audience la ugh, it has its own strange sense of glamour and it is definitely not preachy. Formally his work was in tune with the younger generation’s priorities, where cross media and installations replaced painting as the dominant art form. His films instantly became collectables, as this medium was not traditionally used but with the advent of this technology it became hot property. This video art was making a comeback with performance art – two of his art forms, from the 1970’s when low technology videos had been used to record artist’s performance. The early 1990’s saw conceptual art be enabled by the technology which was now available and became about the story which the artist felt they had to tell. It was about gender identity and diversity politics and the more eccentric the art/ story the better. Barney’s work mirrored this image, his stories were plentiful and were all eccentric. He has even been referred to as the Wagner of the art world, as like Wagner, he has operated in a mythological language which has seemed irrational and his plan for the Cremaster series would take years to complete. His works are lavishlessly wordless, with soundtracks composed by Jonathan Bepler. They are very slow moving films with fantastic desolate settings. As the series progressed they became more visual with more saturated colours and costumes. His budgets were constantly growing but seemed non existent. He earns back the costs of his films through the limited editions of his photographs, sculptures and laserdiscs. He has, of course, sold his work through private buyers but it is the big museums which compete for his work and through this he has become somewhat of a cult figure. In the 1990’s he was American art star. He does not have any social ambition, public profile or interest in money which seems to enhance his allure. He feels that the bad reviews are more memorable to him than the good ones. He insists that he pays no attention to the critics and insists that his primary focus for art is as a sculptor and that his films reflect this. He is increasingly focused on the visual effects such as colours, shapes, and forms. He is ultimately the most important artist of his generation, in America at least, and as the audience have experienced his imagination is so big. His art is intensely visual and makes use of visual imagery. His works – performance works, sculpture and cinematic works are portraying a civilisation which is in decline. His work is full of references to freemasonry. His works are loaded with initiations and is full of symbolism. He has been proclaimed as the pioneer and saviour of video art and his work is most successful in the genre of body and performance art. He seamlessly creates dramas which are compelling with a compulsive force that are alive in a zone between the psychological and physical. He has a clear mythological vision which can be seen in his work. His practice is that of a diverse array including use of media, which includes performance art, sculpture, drawing, photography and i nstallation. He uses a varied variety of both traditional and unconventional set of materials to create this innovative work. His sculptures are the reinterpretations of his film themes for the gallery setting. Art critic, Jerry Saltz wrote of Barney: ‘One of the most interesting artists to emerge in the 1990’s, and hands-down†¦the most interesting when it comes to the way he works with video.’ Barney tries to establish narratives in which both characters and the environment are interchangeable and with the use of symbols he conveys the meaning or feelings. Matthew Barney has also been compared to the avant garde and this concept of the artist avant garde has been widely used in theories about modern art. This is a key component of modern art and has become synonymous. The terms of artistic freedom throughout the nineteenth and twentieth century through a succession of objects and practices. The modernist sense of avant garde has implied that art does not require external justification, whether it be political or ethical. Modern art critics have claimed that Barney is an advocate and paid up member of the present avant garde movement as well as being an important influence of modern art. His work definitely confirms the existence of a modern avant garde movement which he has followed on from the works of Clement Greenberg, Meyer Shapiro, Walter Benjamin and Thomas Crow. This avant garde movement emerged in the 1930’s in art but also in early socialist tradition. Once this tradition was established, work such as Barney’s has been more readily placed at the forefront of the movement. Thomas Krens, director of the Solomon R. Guggenheim Foundation has acknowledged that from Barney’s first gallery show in 1991 he has developed a uniquely aesthetic vocabulary. Barney draws his ideas from all walks, from Hollywood movies, professional sports, mythology, medical processes, biological systems, and psychological pathologies. He has also drawn from hardcore music and spiritual tendencies and mixed them all to provide a blend of allusive narrative structures which he uses the media of film, sculpture, photography and drawing to articulate to his audience. He has been recognised in the artistic community as a great American artist whose work has attracted a vast audience both nationally and internationally. Matthew Barney matches all the cri teria for being of the avant garde persuasion which is active in the present art culture. David Hopkins, in his book After Modern Art 1945 -2000 recognises Barney’s work as interpretation that could be a parody of masculine aspirations. When Barney began to create his art it was widely recognised that there had been a crisis of masculinity which was tied to the social shift which arose from the empowerment of woman in the 1990’s. There were also the issues regarding cloning and genetic engineering. Hans-Ulrich Obrist, a contributing editor of the Tate Magazine described Barney’s work as ‘dense, compacted and multi-layered.’ Obrist is interested that the Cremaster series reaches back to a time of mythology, biology and the geology of creation while jumping forward to a time of modified genetics and the mutation of identity. Culture attempts to articulate changes but finds it hard to keep pace with the changing culture. Barney is on a journey alone in his efforts to build his parallel mythological world which probes into the traumas and dilemmas experienced in modern society. Barney in an interview with Scott Foundas spoke of his desire to communicate the tension within our culture between the male and female forms and the wavering between the sexes. Barney is interested in creating a field that attempts to locate desire and eroticism in an undifferentiated way. His work aims to challenge the grounded notions of gender through making a critique of society as a whole and the insistence of society to only view gender through binary opposition. The Guggenheim Museum in New York continues to exhibit young upcoming artist’s work while their careers are still young. Barney began his relationship with the Guggenheim Museum in 1996 when he was awarded the museum’s Hugo Boss award for excellence and innovation in the visual arts. But it was five years earlier that his status was declared as great. He was honoured with a solo exhibition at the San Francisco Museum of Modern Art. Matthew Barney’s innovative work has been recognised by the contemporary art world and has won many accolades but despite these his work remains difficult to understand especially by the mainstream. And it seems to be only accessible to a subculture of artists and his supporters. Without these members he would never have received the attention or acclaim for his work. Barney once said in an interview with Michael Kimmelman (1999) Barney said ‘Art needs to be defended.’ And also ‘It’s fragile. If a work of art is shown too many times, something gets stolen from it. You come to it with preconceptions, or you get tired of it.’ Barney feels that when something becomes an image it is unrecognisable and because they are invested in the subject they cannot operate as an image. He is also worried about his work losing it authenticity due to issues of reproducing the images. Barney is able to draw his themes from issues which are relevant to modern society. Barney meets the criteria of the avant garde group in that he challenges the social conventions, he is an active member of a cohesive group, he maintains an authentic quality despite reproductions and he serves as a social mediator between social classes with drawing from themes of everyday life. His works, therefore, shows evidence that an avant garde does exist in modern and cotemporary culture and this work still remains a motivator for social advancement. Barney redefines the boundaries between the artist and the audience as he focuses on the broader theories of his medium. With his work, he is able to compartmentalise strategically the creative process w hich he then exploits the experience into one giant spectacular. He forges the different media together to create his tangible and imaginary worlds. Barney’s singular vision has created works which fuses performance and video with sculptural installations. The audience can see reflections of Barney’s past i.e. athletics but is able to tune into the new politics of the body which are evident in the work of many of the contemporary artists. His careful exploration of the body draws upon the athletic model of development which only occurs through restraint. Damien Hirst has been acknowledged as one of Matthew Barney’s contemporaries. Hirst was born in Bristol, UK in 1965 and now lives and works in London and Devon. He is the most prominent member of a group known as ‘Young British Artists’ (YBA’s). He has been dominant in the British art scene since the 1990’s and is internationally renowned. His career was closely linked to collector Charles Saatchi in the 1990’s but due to increasing frictions this relationship collapsed in 2003. Hirst was an organiser and organised an independent student exhibition while in his second at Goldsmith’s College in London where he studied Fine Art. Hirst has since admitted that he had drink and drug related problem which spanned a ten year period from the early 1990’s, during this time he was famous for his wild behaviour and extrovert acts. Hirst, too, has tried to challenge the boundaries between art, science and popular culture. He, like Barney, has a wide ranging practice of using sculptures, installations, painting and drawing. He has been praised for his work, his energy and his inventiveness. His work has made him a leading artist of his generation through his constantly visceral and visually arresting work. His work consists of the exploration of the uncertainty at the core of human experience, life, death, love, loyalty and betrayal. Hirst is best known for his work Natural History which features animals in vitrines suspended in formaldehyde. Hirst uses the vitrines to put meaning as both a window and a barrier, providing a minimalist frame but also to attract the attention of the audience. Hirst is also renowned for his paintings which includes his Butterfly Paintings which feature actual butterflies suspended in paint. Tracey Emin compared Hirst to Andy Warhol, in the mid 1990’s Virginia Bottomley descr ibed him as a pioneer of British art. Hirst sees the real creative theme as being the conception of the project not the execution. Death is a central theme in Hirst’s work and he became famous for a series in which dead animals a shark, a cow and a sheep, are preserved after sometimes been dissected in formaldehyde. The Physical Impossibility of Death in Mind of Someone Living. This piece became an iconic work of the British art world and its sale in 2004 made him the world’s second most expensive living artist after Jasper Jones. He has since eclipsed Jones when Lullaby Spring sold for  £9.65 million on 2007. Hirst has been a controversial figure not only through his art work but also on the public stage, on the eve of the first anniversary of the World Trade Centre attacks, he commented to BBC News Online (Allison, 2002): ‘ The thing about 9/11 is that it’s kind of like an artwork in it’s own right†¦Of course, it’s visually stunning and you’ve got to hand it to them on some level because they have achieved something which nobody could have ever thought possible – especially to a country as big as America. So on one level they kind of need congratulating, which a lot of people shy away from, which is a very dangerous thing.’ Following public outrage at his remark, he had to issue a statement through his company, Science Ltd (Science Photo Library Press Release, 15th March 2005): ‘I apologise unreservedly for an upset I have caused, particularly to the families of the victims of the events on that terrible day.’ In comparison, both Barney and Hirst are contemporaries in the modern art world. They are both renowned in their field. They are both out to shock and maybe this is not their intention. Barney through his use of mythological imagery and his use of the human form has been criticised but are these criticisms right. Can an artist not express themselves in this way? It seems that modern art is full of debate with regards to style and appreciation. There is plenty of shock value in both Barney’s and Hirst’s work. Critics have asked if the audience needs to see the imagery these two have produced. Barney’s work Cremaster is full of this imagery and it is based for a specific audience. He is trying to convey in his imagery the use of the body and how unstable the relationship between male and female is. He has both been praised and criticised for his work, Hirst has also been criticised for his work. It seems that the only way to grow within the art world is to prompt discussion and criticism. Both of these men are at the top of their profession through getting acclaim and winning various awards and prizes. They both use the abstract to create a surreal and almost sensationalist image. While Hirst is very public, Barney stays in the background with no public profile to speak of. Bibliography Allison, R., (2002) 9/11 wicked but a work of art, says Damien Hirst, The Guardian, 11th September 2002 Artaud, A., (1958) The Theatre of Cruelty in The Theatre and its Double, trans. Richards, M.C., Grove Press Crow, T., (1996) Modernism and Mass Culture in the Visual Arts, Yale University Press Edwards, Steve. Art and Its Histories: A Reader. New Haven: Yale University Press,  1999. Foundas, S., (2003) Self Portraiture Meets Mythology: Matthew Barney Talks about his Cremaster Cycle, IndieWire on the Web Hopkins, D., (2000) After Modern Art: 1945 – 2000, Oxford University Press Kimmelman, M., (1999) The Importance of Matthew Barney, New York Times. 10th October 1999 Obrist, H., (2006) Artist Project: Matthew Barney, Tate Magazine: Issue 2. 15th February 2006 Science Photo Library Press Release, 15 March 2005

The School Voucher Debate :: essays papers

The School Voucher Debate THE SCHOOL VOUCHER DEBATE In reading these articles, I did not understand the religious school involvement and school vouchers. There was one statement in the first article Court Discusses Vouchers, that stated that in Cleveland use school vouchers and that they can be used at fifty-one other schools, but there are nine schools that they cannot use the vouchers at, and they are all Catholic schools. To me this seems to be a religious prejudice going on in that area against the Catholic religion. I understand the purpose for vouchers and what would be involved. The money that is used to give out school vouchers comes from the public system of resources. I can see why people would be against vouchers. They worry that it will drain the resources for other public things. At the same time though, in the second article America’s boldest governor, it had stated that if the vouchers were properly designed, they would only drain the public resources at the same rate as a resource-consuming pupils. Therefore, students that are not doing well, drain more funds from the public system than other students that are doing good in school, and if vouchers are able to give those students who have been doing badly is school improve with time, the money used from the public system will balance out. Obviously, the students and parents of the lower class would benefit from vouchers. The school and public system do not benefit from vouchers. Schools for the reason that some schools will have to improve their school overall, or they will lose students to better equipped schools, since students of any background will be able to attend any school they like. I do feel that vouchers would lead to better curriculum among several schools, which would provide for educational excellence. The schools would be thriving to keep the number of students attending the school up. They would have to adjust to better themselves if vouchers were made available. Equity within schools would be achieved if vouchers were made available to students of all races, class, and status. Vouchers would allow students of several different cultural backgrounds and social class to attain and school they wish.

Soliloquy Essay - Two Soliloquies, One from Lady Macbeth and One from Macbeth :: GCSE Coursework Macbeth Essays

Analysis of Two Soliloquies - One from Lady Macbeth and another from Macbeth  Ã‚   On the level of human evil, Shakespeare's tragedy, Macbeth is about the character Macbeth's bloody rise to power, including the murder of the Scottish king, Duncan, and the guilt-ridden pathology of evil deeds generating still more evil deeds. Perhaps, the play's most memorable character is Lady Macbeth. Like her husband, Lady Macbeth's ambition for power leads her into an unnatural, phantasmagoric realm of witchcraft, insomnia and madness. But while Macbeth responds to the prophecies of the play's famous trio of witches, Lady Macbeth goes even further by figuratively transforming herself into an unnatural, desexualized evil spirit. Throughout the novel, there are moments when important characters are given the opportunity to express details of their character and reveal information that is otherwise not given, but vital to the development of the story. A soliloquy is a classical literary technique to allow a character to share his or her thoughts and feelings with the audience. I will now examine and attempt to interpret two of these soliloquies, one from Lady Macbeth and the second from Macbeth himself. As the scene opens, Lady Macbeth is reading a letter from her husband. The letter tells of the witches' prophecy for him, which is treated as a certainty, because "I have learned by the perfectest report, they have more in them than mortal knowledge". "The perfectest report" means "the most reliable information," so it appears that Macbeth has been asking people what they know about the reliability of witches. If that's the case, he has ignored the advice of Banquo, who is quite sure that witches can't be trusted. But Macbeth seems to trust the witches absolutely, because he is writing to his wife, his "dearest partner of greatness," so that she "mightst not lose the dues of rejoicing". That is, he believes that she has a right to rejoice because she will be a queen. However, Lady Macbeth doesn't rejoice. She is determined that he will be king, but she suspects that he doesn't have the right stuff to do what needs to be done. Speaking to him as though he were really there, she says: "Yet do I fear thy nature; / It is too full o' the milk of human kindness / To catch the nearest way". Her reaction to the letter shows that Lady Macbeth is a woman who knows her husband very well, perhaps because she shares some of his instincts.

Comparing the Wifes Role in A Dolls House and Death of a Salesman Ess

The Wife's Role in A Doll's House and Death of a Salesman      Ã‚  Ã‚  Ã‚  Ã‚   "A Doll's House" (1879) and "Death of a Salesman" (1949) are plays written by Henric Ibsen and Henry Miller respectively. And, although they were published in different centuries, and "A Doll's House" was written seventy years before than "Death of a Salesman" Nora's portrayal of the wife's role is much more modern, liberal and less chauvinist than Linda's. Nora and Linda's main differences are reflected in their way of acting towards their husbands, their children and them selves; how they each see life.    To her husband, Linda is the perfect wife, she loves him despite knowing he is only "a small man." She is always worried about Willy's health, and tries to protect him. She knows that many times Willy is wrong, but she is unable to face him just in case she hurts his feelings. She supports all his mad ideas knowing this will probably take him to his death. She is loyal and loving, and is always on the background defending him from their sons Biff and Happy. She expresses all this feelings in Act 1, when she says, "I don't say he's a great man. Willy Loman never made a lot of money. His name was never in the paper. He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid. He's not to be allowed to fall into his grave like an old dog." On the other hand Nora doesn't love her husband, but she doesn't become conscious of this until the end of the play when she discovers she has been living a lie all her life. As Linda, she is worried about her husband's health, but instead of just watching she confronts him, acting behind his back, knowing that she ma... ...who keeps it attached together but she is nothing without her husband. Nora is not of the family; she is more modern and independent, moreover her family is totally broken apart.    In conclusion, we can see that nor Linda, nor Nora are happy with their situation. Linda is incapable of expressing herself and confronting her husband therefore her husband ends up dead. And Nora has never had real love and has always been living a lie, but she realises this too late, and now she has to reinvent herself.    Works Consulted    Corrigan, R.W. (ed.)   Arthur Miller:   A Collection Of Critical Essays.   Prentice-Hall, NJ:   1969. Ibsen, Henrik. Four Major Plays: A Doll House, the Wild Duck, Hedda Gabler, the Master Builder. New York: New American Library, 1992. Miller, Arthur. Death of a Salesman. Gerald Weales, ed. New York: Penguin, 1996

Training :: GCSE Business Marketing Coursework

Training Informal and Formal Training and Development Informal Training and Development Informal training and development is rather casual and incidental. Typically, there are no specified training goals as such, nor are their ways to evaluate if the training actually accomplished these goals or not. This type of training and development occurs so naturally that many people probably aren't aware that they're in a training experience at all. Probably the most prominent form of informal training is learning from experience on the job. Examples are informal discussions among employees about a certain topic, book discussion groups, and reading newspaper and journal articles about a topic. A more recent approach is sending employees to hear prominent speakers, sometimes affectionately called "the parade of stars". Informal training is less effective than formal training if one should intentionally be learning a specific area of knowledge or skill in a timely fashion. Hardly any thought is put into what learning is to occur and whether that learning occurred or not. (However, this form of training often provides the deepest and richest learning because this form is what occurs naturally in life.) Formal Training and Development Formal training is based on some standard "form". Formal training might include: a) declaring certain learning objectives (or an extent of knowledge, skills or abilities that will be reached by learners at the end of the training), b) using a variety of learning methods to reach the objectives and then b) applying some kind(s) of evaluation activities at the end of the training. The methods and means of evaluation might closely associate with the learning objectives, or might not. For example, courses, seminars and workshops often have a form -- but it's arguable whether or not their training methods and evaluation methods actually assess whether the objectives have been met or not. Formal, Systematic Training and Development Systematic, formal training involves carefully proceeding through the following phases: a) Assessing what knowledge, skills and /or abilities are needed by learners; b) Designing the training, including identifying learning goals and associated objectives, training methods to reach the objectives, and means to carefully evaluate whether the objectives have been reached or not; c) Developing the training methods and materials; d) Implementing the training; and e) Evaluating whether objectives have been reached or not, in addition to the quality of the training methods and materials themselves A systematic approach is goal-oriented (hopefully, to produce results for the organization and/or learners), with the results of each phase being used by the next phase.

Setting of Eveline in James Joyces Dubliners :: Dubliners Essays

Setting of "Eveline" The setting of the short story "Eveline" by James Joyce goes far beyond the physical characteristics. The setting goes past being located in Dublin, Ireland in an old room. The setting greatly influences Eveline in many different ways. The setting entraps Eveline in this short story. The setting of the entire story is very plain. Nothing in Eveline's life ever seems to change. Most of the story takes place with Eveline sitting by the window in a very dull room. The room is filled with "the odor of dusty cretonne" from the curtains, and has a "yellowing photograph hung on the wall above the broken harmonium" (513). One would certainly not group these characteristics as exciting. Similar to the room, Eveline's life is very plain. Eveline is a product of her environment. She is trapped in this setting and does not know any other way except the way things are now for her. Her internal struggle will not allow Eveline to leave the setting that she is currently in. Eveline was brought up in a social environment of strict adherence to tradition and obedience. Eveline is forced to remain in this setting because of the promise that she made to her mother. Eveline had a chance to escape all this, but she doesn't take it because she is very conservative, and doesn't know any other way. Eveline's promise to her mother seems to cripple her in this setting. She can't move; she can't get out of it! Eveline feels that she must adhere to tradition and be obedient by living her mother's life. Eveline even says, "It was hard work-a hard life-but now that she was about to leave she did not find it a wholly undesirable life."(513) Eveline does want to get away from this setting, but she simply does not know any other way. Eveline tries to trick herself in to thinking that life isn't that bad. However, in reality she simply seems to greatly fear change because she doesn't know change. Dublin has become a part of Eveline. The setting is the only thing that gives Eveline a sense of security. She is too afraid to leave this setting; she is trapped. In Ireland, "she had those whom she had known all her life about her (512).