A play written by J. B. Priestly Essay Example for Free

A play written by J. B. Priestly Essay An Inspector Calls, a play written by J. B. Priestly in 1945. He set his play in 1912 just before the First World War. It is a story of the visit by an Inspector to an apparently normal family, the Birlings. The Birlings are celebrating their daughter Shelias engagement to Gerald Croft. Mr. Birling a successful factory owner gets the ball rolling with a speech, which he gives to his son Eric, and Gerald Croft. J. B Priestly makes good use of dramatic irony in this speech because many events took place after 1912, which we the modern audience, know about but Mr. Birling doesnt. Mr. Birling mentioned that the miners came out on a strike and there would be possible labour trouble in the near future. He said that there wouldnt be any more worries about the strikes. But in 1926 we know that there was a General Strike in Britain. He talks about the Titanic being a spectacular ship with every luxury and it is absolutely unsinkable. But as we know in 1912 the Titanic sunk on maiden voyage and 1,513 lives were lost. He also mentioned about the wars not happening. He said that the Germans dont want war. But in 1914 the First World War broke out. He said that there would peace and prosperity and rapid progress everywhere but in 1917 there was revolution in Russia. In 1939 the Second World War broke out and in 1945 the atomic bombs were dropped on Japan. This makes the audience doubt Mr Birling early on in the play. When Mr. Birling finishes his speech the Inspector enters into the scene. The Inspector is at the Birlings because there was a death of a woman Eva Smith and he had come to ask questions about her. Mr. Birling was the first person that we were led to believe started off the train of events that ultimately led to the death of Eva Smith. Mr. Birling had sacked Eva Smith from his factory after she started to cause trouble demanding higher wages. Mr Birling says that any man in his position would have done the same. She was making trouble as Mr. Birling said, She had a lot to say far too much so she had to goi. But the only thing that Mr. Birling cared about was his family and the progress of his business. He didnt care about his workers and he didnt know them. As he says in Act 1 I have a couple of hundred workers under me, who keep changing. So there wasnt a personal relationship between these two until after the workers came back from their holidays that they were asking for a pay rise. As Mr. Birling wouldnt, he sacked the ringleaders and one of them was Eva Smith. Now that Eva was sacked she was out of work for two months. She had no money and she was half starved. She had no one to help her. Her parents had died so they couldnt offer any help and her friends had nothing to offer her. But then again it wasnt the end of the world and she was capable of getting another job as we find out.

Narrative style of the novel Essay Example for Free

Narrative style of the novel Essay Comment on how the language contributes to the understanding of the character, plots, theme and narrative style of the novel Chapter 6 is presented to the audience entirely in the past with no hindsight. Once again it develops the plot showing the children developing closer to adulthood, yet still not quite there, not understanding the consequences of their actions : was it you two? , I look away. The language from the passage in the hard back page 111 to 113 contributes to the understanding of the characters, plots, themes and narrative style of the novel. The section about the hierarchy in trees only further reinforces the naivety and stupidity to the character Stephen. Stephen has an obvious sense of hierarchy and in this case the sour smell of the elders and its humiliating position at the very bottom of the hierarchy of trees. This continues into the familiar world out here at the end of the Lanes, ie: the hierarchy of humans where the levels convey Stephens actual opinion of the concept of hierarchy and social status. This shows how immature Stephen is and however evident is his naivety. See more: what is a narrative essay In hindsight Frayn exposes the audience to the intentional irony of the sliver framed heroes at the highest to the lowest an old derelict taking refuge who are the same person. Frayn has emphasised this hierarchy from the beginning. Stephen feels in triumph that for once he perceives himself higher than someone else in the human precedence and the language emphatically robusts this. This only reinforces that younger is obsessed with hierarchy only after the discussion of hierarchy is there a sense of realisation. The language in this passage contributes the understanding in the theme of mystery and adventure. Stephen relies on this adventure to prove himself to Keith and in doing so show Keith that hes not the only one who can think of plans and projects. The use of personal pronoun I used more frequently than other times (7) conveys Stephens awareness that at this point in the adventure, wherein he can contribute, is a way he can gain approval of others even at the exploitation of the tramp. The passage for the first time shows an all time low in the adventure and rain blows as deliberate violence. This marks a key turning point in the plot as they have to fine some reason for their expedition as they have lost Mrs Hayward. The language used to describe the old mans feelings are just some of the feelings evoked that explain exactly what the boys have been doing bullying, and in doing so, the language also introduces the theme of memory. Frayn draws attention to this key theme by making older Stephen interrupt his story to remind the audience that the Stephen who was once a victim of bullying is now the perpetrator. This narrative style is a device that suggests implausibly that older Stephen is telling the story and also draws attention to memory as a concept and theme. Not only that, but it helps the reader understand that the reason I (Stephen) throw down my iron bar, is to reflect what Stephen knew at that point in time is that what he was doing was bullying. In this passage Frayns presents the language as a way of children going on to do adult things but without adult hindsight and therefore reminds the audience that they are still developing unable to foresee the consequences of their actions. The language is deceptively simple in style, but the passage in Chapter 6 shows a subtlety in language. From the beginning of the passage Stephen shows this middle class social ranking which leads him into his so called heroism that is particularly associated with middle class values. This duty he is estranged with towards Keith was particularly powerful conception in times of war and for Stephen it shows a development in his character and what he is prepared to do out of duty for Keith. Thus, Frayn cleverly uses linguistic devices and in this case exploits the language in order to contribute to the understanding of the characters, plot, themes and narrative style of the novel.

Levi Strauss Case Study Marketing Essay

Levi Strauss Case Study Marketing Essay Levi Strauss is the worlds best-known jeans brand, but its hard to see much chance of the company regaining its former glory without a substantial overhaul. Iconic or not, what kind of future lies in store for a company which derives around 85% of its annual revenues from selling pants? And only really two sorts of pants at that, which are also sold by just about every other clothing manufacturer on the planet. Either Levi Strauss needs to diversify substantially, and bolt on other brands or more likely needs to sacrifice its long cherished but out-of-date independence and become part of someone elses larger multi-brand portfolio. These years of struggle against a vast array of competitors have merely added to the gradual erosion of the brand. The development of value line Signature has helped, but despite doubling in size during 2004, its contribution has steadily decreased ever since. In the late 1990s, Levis became a victim of their own success. Too involved in corporate restructuring, the company effectively ignore a seismic shift in the youth market. In the 1980s and early 1990s, Levis 501 jeans had managed to dominate the market for everyday clothing as a result of high quality manufacturing and smart marketing. There were many kinds of jeans, went the general perception, but Levis was the brand to which all others aspired. A brilliant marketing campaign, especially in Europe, reinforced the brands hip status. But in the late 1990s, Levis jeans suddenly became a victim of its own success. They were seen by the new generation of teenagers as the jeans my Dad wears, and that put them completely out of fashion. Fashions in cut came and went but Levis failed to respond, leaving the market wide open for competitors The companys biggest mistake, arguably, was to ignore the baggy cut, which rode in on the back of the mid-1990s grunge movement, and remained the leading fashion style for the rest of that decade. While Levis stuck rigidly with the 16-inch straight-leg cut that appealed to the now ageing market who had rediscovered the brand in the 1980s, even the least hip of US retailers began selling extreme-cut. Millers Outpost, Tommy Jeans, JNCO and even JC Penney and Sears were selling jeans with legs as wide as 23 or 40-inches. The fashion-conscious teenage market began buying their jeans from other manufacturers, while a new breed of retailers, led by The Gap, captured the middle ground. Protecting their premium status, Levis refused to chase the market and strictly adhered to their long-established policy of only selling through specialist outlets and avoiding discount stores including Wal-Mart. Although this held the brands perceived value it also restricted sales to only around half of the US retail market. Worse still, later that decade the market as a whole began moving away from denim altogether as combat and cargo pants became the new fashion Question 2) How could a sensitive and informative Marketing Information System (MIS) have helped Levis to identify these environmental variable and form future strategies ? THE NEED FOR MARKETING SUPPORT In 1986, Levis relaunched the 501 with the Launderette and Bath commercials. The tremendous success of these executions and the campaign that developed from them has been well documented. All of the commercials featured the 501 jean and most stated 501 specifically in the end frame. The advertising success was not restricted to the 501 alone. There was a halo effect on the whole Levis range. But naturally the 501 took on a dominant share of Levis business. This dominance was intended. The 501 was positioned as definitive. It is an anti-fit jean which is right for most people, and, in a sense, 501 for most people took fit out of the purchasing equation. Despite this, there were (and still are) a significant number of people who, for reasons of personal physique or style, did not consider the 501 as the right fit for them. For this significant minority Levis developed a range of other Red Tab fits. The range includes: Historically the strategy had been to sell these non-501 Red Tab fits in-store, via POS and retailer advice. Levis own retailer and consumer research indicated, however, that the non-501 Red Tab fits had been underperforming in the market. There were a number of reasons. l Many consumers were under the impression that Levis was really just about 501. They were unaware of the availability of other Red Tab fits. So if they tried on 501 and were not completely happy, they would try on another brand, rather than another Levis fit. Or if they knew from the start that they wanted a fit other than 501, they would go directly to another brand. 517: Regular Fit 518: Loose Fit 511: Zip Fly 536: Girls Fit l Many retailers were not directing failed 501 traffic onto other Red Tab fits. l Some retailers, in the absence of specific consumer demand for non-501 Red Tab fits, were deciding not to stock these fits at all. The above factors created a problem that reproduced itself Levis was losing out to competitive brands in this significant minority of the premium jeans market. And there was a risk that if no action was taken, the scale of the problem would spiral. Clearly the Red Tab range required marketing support, and advertising was deemed necessary. THE BRIEF We determined that there was a very specific role for advertising: to raise awareness of the multiplicity of Levis Red Tab fits. Advertising should make people understand that if they want something other than 501, it will be there in the store for them. They can discover exactly the right fit in-store. And we drafted a very simple proposition to address this task: Levis Red Tab jeans come in as many different styles as the people that wear them. THE ADVERTISING MINEFIELD This seems relatively straightforward. But in fact, in identifying these as the role for advertising and proposition, we had also identified what advertising could not do or say. Examination of previous competitive advertising relating to product ranges and fits indicated to us a series of problems and misconceptions both strategically and creatively. It was important that we map out for the creative team where these perils and pitfalls lay, in order that they could steer a clear path through the minefield. The 501 issue We were concerned that above-the-line support for fit numbers other than 501 would confuse people and dilute the definitive status of 501. We realised that we could not expect people to memorise a series of fit numbers and their definitions. It had taken a great deal of time and money to establish one fit number in public consciousness. Indeed, we did not want non-501 fit numbers to develop their own identify to the extent that they became sub-brands. The non-501 Red Tab fits could not approach the wealth of heritage and associated imagery commanded by 501. They could not really aspire to being brands in the same sense. More importantly we did not want to compromise in any way the definitive status of 501. Thus we specified in the brief that executions should avoid discussion of or comparison with 501s. Moreover, we determined that we could keep the Red Tab communication separate from 501 communication by adopting an entirely new medium for Levis: posters. More specifically, Adshels offered a street level impact, in keeping with our youthful target and within sight of most retailers. Since advertisings role was not to raise awareness of individual fit numbers, we decided its effectiveness should not be judged by peoples ability to recollect specific numbers, but by their awareness that Levis have a range of Red Tab fits. Range advertising Advertising a range of products is often strategically unsound and creatively uninspiring. People generally do not buy ranges; they buy individual products. A range campaign tends to proclaim the benefits of the range as a whole, or to highlight the differences within the range. But if people are interested in individual products, all they really want to know is what is good about that product. Moreover, a brief for range advertising can often lead to creative cul-de-sacs: a row of products and an invitation to the consumer to make his or her own choice etc. Consequently, although the objective of the advertising was not to establish individual fit identities, we did specify that each execution should feature one fit only and would talk about the benefits of that fit. Across a range of executions we aimed to establish a sense of the multiplicity of the fits, thereby addressing the key objective. Fit adverting Fit messages also pose a strategic and creative challenge. People choose different jeans fits for reasons both of personal physique and current fashion. If advertising addresses one motivation, it struggles to communicate the other. And the more obvious creative solutions tend not to be challenging or motivating. For example, a tight fit can be communicated by showing a thin person and a loose fit by showing a fatter person. But the latter expression clearly does little for loose fit. And what of the people who wear loose fit for style rather than physical reasons? Alternatively, a fit message can be conveyed by showing the overall style or fashion of the wearers of different fits. For example, a punk in tight jeans and a hip-hop fan in loose jeans. But youth fashion cannot easily be compartmentalised into discrete tribes with conveniently different jeans fits. Moreover, young people quite naturally recoil from any cynical attempt by advertisers to mirror their own street-level cultures. And, as with the above, what of the people who do not choose fits for fashion reasons? We concluded that these more literal expressions of fit were not worth exploring and we directed the team to seek out more lateral solutions. THE CREATIVE SOLUTION The creative team, conscious of the objectives of the advertising and the strategic and executional minefields to be avoided, came up with an innovative solution to the brief. They developed a range of executions each employing a black and white still from the respected photographer Bill Brandt to deal with one Red Tab fit message. They did not talk about fit in a literal way. Rather they implied the various fit messages. Moreover the images employed were not completely unrelated to fit. (They were not vegetables or fruit!) Rather all the executions focused on the human form, which is after all the basis of any fit choice. ADVERTISING EFFECT The poster campaign ran nationally for four weeks only in April 1993. Millward Brown tracking showed very high advertising recognition: over 40% of a sample of 17 to 29-year-olds recognised the posters. More importantly, spontaneous and prompted awareness of Red Tab rose from 35% to 45% and from 57% to 75% respectively. The percentage of respondents able to quote any non-501 fit number rose from 50% to 60%. We are unable to divulge actual sales data. SUMMARY The planners role does not only entail pointing the creative team in one particular direction; it can also involve illustrating to them the strategically unsound and creatively fruitless routes. In advertising non-501 Red Tab fits for the first time, Levi Strauss were entering a minefield. By identifying the best role for advertising and mapping out the geography of that minefield, the planner was able to play a part in the development of advertising which maintained Levis best standards of creativity and effectiveness. CREATIVE BRIEF Why are we advertising? To raise awareness of the range of Levis Red Tab jeans by demonstrating that Levis produce different fits to compliment different body shapes and personal styles. Who are we talking to? Boys and girls, 15 to 19 years old. They are aware of Levis advertising and recognise that 501s are the original, definitive jeans. In fact, they may already own a pair of 501s, but find certain aspects of 501s either inconvenient (ie button fly) or uncomfortable. They are at the middle end of the market (early/late adopters) and are often insecure and lack confidence. They therefore need to be reassured that they can buy into the imagery associated with 501s, while having a pair of jeans that fits comfortably and flatters their individual shape. What must the advertising say? Levis Red Tab jeans come in as many different styles as the people who wear them. And why should the consumer believe it? Levis make a range of different fits to suit your shape and tastes. What tone of voice? Confident, classic (ie timeless), cool and sexy. What practical considerations? The campaign must work as both posters and press. The campaign should avoid discussion of, or comparison with, 501s. This is not an opinion leader campaign, and is aimed at a younger, more mass-market consumer. Question 3) Analyse the importance of the various marketing mix elements in the success :failure of Levi, how important is design? Levis share of the denim market plummeted. In 1990, according to Tactical Retail Monitor, more than 48% of men chose Levis as their preferred choice of jeans. By 1998, this had tumbled to 25%, while Lee and Wrangler had risen from 22% to 32%, and private label brands including Gap from 3% to more than 20%. In sales terms the brand slipped from a 30% US market share to 14%. (Upmarket designer labels such as Tommy Hilfiger and Calvin Klein got a great deal of publicity but never achieved more than around 7% of the market). The percentage of teenage boys who thought Levis was a really cool brand had dropped from 21% in 1994 to just 7% by 1998. Levis position has, for the most part stabilised since then, but competition remains intense The Levis brand now houses several sub-brands. Chief amongst these is Levis Red Tab, which includes the legendary 501 button-fly design. (The number 501 was originally the products stock number, first adopted in 1890; the red fabric tab was first used in the back pocket from 1936). Levis Vintage features a broader range of classic retro designs. In pursuit of the youth market, the company has tried to turn back the tide with more extreme cuts, such as Levis Engineered Jeans, introduced in 2000 and supposedly designed ergonomically to fit the bodys contours. Some cuts are even pre-stained with oil. Another stylised new design launched in early 2003 as Levis Type One. These offered exaggerated versions of traditional features such as rivets, stitching and the tab, blown up in size. However sales were slow to take off, especially in the US, despite high profile marketing, including a Super Bowl ad (which the company later claimed admitted was unsatisfactory). They, along with another st ylised line known as Silvertab, were replaced by the Levis Capital E line. Levis ICD, a partnership with Philips to market workwear with integrated electronic devices such as mobile phones, MP3 players etc, was withdrawn in 2002. The group also licenses out the Levis brand to other manufacturers for branded T-shirts and accessories. Combined sales of the core brand improved in 2007, reaching almost $3.2bn. Levis is primarily a menswear brand, with just under three quarters of all pairs sold bought by men. After its many attempts to introduce more stylized or fashion-oriented designs had failed, the company agreed to abandon its premium positioning and chase the mass-market as well. A new design, Levi Strauss Signature, launched in July 2003, initially available exclusively through Wal-Mart. By the end of the year it had become apparent that the new line was the much-needed hit for which the company had been searching. The group rebranded the range as Signature by Levi Strauss, extended distribution to Target Stores and Kmart in 2004, and also introduced the range into selected mass-marketers in Australia (including Coles Myers Target and Kmart), Japan and other Asian markets. It was also launched in the UK (through Asda), France (through Carrefour), Germany (through Wal-Mart) and Switzerland (through Migros), but performed poorly and was withdrawn in 2007. Yet after a strong start, sales of the Signature line have fallen steadily since 2005, declining from a peak of around $410m that year to $260m in 2007. Dockers, first launched in the US in 1986, is the companys khaki-based casualwear line. It was launched as something of a reaction to inroads into the market by Gap and others, serving as a halfway point between jeans and smarter dress pants. Dockers Slates, a sub-brand of dressier and more expensive trousers, was discontinued in 2004. Although it has been generally successful, Dockers remains very much the second string in the groups portfolio behind its jeans line. In 2004, Levi Strauss put the Dockers brand up for sale in order to concentrate on its still struggling core business, but failed to attract a suitable buyer. Sales of the brand were reported at $1bn for 2003, but had fallen to around $775m by 2005, with sales concentrated in the US. Since then it has repositioned itself as a wider casualwear brand, diversifying into shirts, sweaters and blazers, as well as a line of womens clothing. The unit was rewarded with an increase in revenues for 2006, its first for several years . For 2007, it generated sales were around $915m. The group also generates significant income from royalties on Dockers belts, footwear and other accessories manufactured by other companies under license. Levi Strauss has production facilities and customer service centres throughout the world. Until comparatively recently the company maintained a policy of manufacturing its goods in the regions in which they are sold, but rising labour costs and declining sales made this increasingly unfeasible. Production in the US and Europe began to be farmed out to cheaper regions in the late 1990s. Having already closed six of its US factories by 2003, the group announced that the remaining four in North America would also be shuttered by early 2004. The group supplies its products to around 60,000 retail outlets worldwide. It owns and operates around 200 of its own Levis or Dockers branded stores, and franchises around another 1,300. More than half of these stores are located in the Asia Pacific region. Otherwise sales are through department stores and national chains. There are three regional business units: Levi Strauss North America operates local subsidiaries in the US, Canada and Mexico, and accounts for almost 60% of revenues, or $2.5bn in 2007 (compared to a peak of $4.8bn in 1996). Levi Strauss EMEA is the second biggest market, but performance there took longer to recover than in other markets. Sales rose in 2007 for the first time in several years, finally returning above the $1.0bn barrier. Asia Pacific remains the smallest market for now, but has been the companys strongest performing region for several years. Sales rose by a further 6% in 2007 to $805m, with Japan contributing a little under half of all sales. Question 4) As a strategic marketing consultant, advise Levi about what now it should now do ? It is every businesss objective to maximize their profits and lessen their expenses. Levis has invested on one of the most important resource that a company could have its employees. Their corporate strategy has now been aligned with their human resource management which is valuing their employees due to high costs of recruiting and training new staff. It must be noted that losing an employee can be very expensive and high staff turnover can eventually ruin a business. The last thing that businesses need is for its competitors to benefit from the training, knowledge and experience that it has built within its workforce. It is suggested that employers give their people the opportunity to make their own benefits decisions. This way, employees will take a keener interest in their benefits. The traditional company benefits package often has a rigid one size fits all approach; it fails to consider the varying needs of individual employees. In addition, the traditional company benefits package may sometimes be complicated and difficult to manage. Thus, it is greatly recommended that companies like Levi Strauss and Co. implement a flexible benefits package to help reduce costs and provide a greater choice for their workforce. Furthermore, flexible benefits provide additional lifestyle choices along with traditional company benefits such as private healthcare and the company pension scheme which will allow employees to choose the benefits that they want which in turn will motivate them and make them more productive. It is also important that companies like Levi Strauss and Co. consider some of the following pointers: (1) the main goals of the companys employee benefits programme, the last time that the company last reviewed their benefits scheme, steps or initiatives undertaken to ensure that the companys benefits programme underpins their business strategy, knowledge of employees regarding the benefits that the company offers and how they benefits from it, issues like sickness and absence, healthcare and dental care, and (6) the extent of the relevance and significance of the recruitment and key staff in employers business and their industry.

Essay --

The term ‘market failure’ refers to the quantity of products required by consumers not being equal to the quantity supplied by the suppliers; this could mean that the quantity of products demanded are too high and there is a lack of supplies or that quantity of products demanded are too low and there is a surplus in supplies. The Government in this case plays a significant role in order to control the fluctuation of quantity demanded and supplied in many ways in relation to public goods, merit goods, externalities and imperfect competition. Public goods are provided by the Government, for example street lights. They are non-excludability goods because it cannot be provided to only those who pay for it through taxes so those who have no paid for this can still benefit from this good. If public goods like the street light were left for us to pay individually (like a private good that can only be used if paid for) there would be less public goods available. The Governments role in this department is to make sure a suitable level of public goods is provided. The government intervenes in this by taxing workers, organisations and consumers which result in public revenue. Public revenue can then be used on public goods to ensure enough of it is provided. Another example of a public good is public parks and the fire department that the government provide. Merit goods are different compared to Public goods; they are goods that the government need to interfere in as it would be under-consumed if they did not. They are provided both by public and private sectors. Education and the National Health Service (NHS) are Merit goods. If education was left for us to fully pay for it, then there would be less educated people due to the lack of fina... ... in supplies meets the demand. The increase in supplies was encouraged by offering high wages and salaries to farmers so this overall improved their income. This policy still present today works as agricultural workers being financed mainly through the CAP’s single farm payment which is given yearly to aid the farmer’s work. It now also includes care for environmental pollution, animal welfare and biodiversity. Farmers now being paid through the Single Payment Scheme have set rules they must achieve in order to receive the payment. Farmers gaining the payment have the option to produce any goods on their land however they must also keep their land in good condition and maintain this condition. If the farmer fails to do so, the payment they regularly gain will be lower. In relation to their condition of their land, animal welfare and the environment must be valued.

Hamlet Essay -- Literary Analysis, Shakespeare

Comedy lightens the mood, progresses the plot, and provides a necessary reprieve from the suspense of the play. Comedic relief commands a vital role in the William Shakespeare’s tragedy Hamlet. In order to maintain the audience’s interest, an author inserts puns and other comedic vices to enhance their work. Shakespeare constantly introduces characters to allay the strain on the audience from past events in the plot. This comedic relief usually contains a hidden meaning or message that augments the plot. In the play Hamlet Osric, Polonius, and the Gravedigger are used as these conduits of humor. The character Osric relieves much of the tension built from the proceeding acts. His interjection in this tragedy culminates with Hamlet and Laertes’ fighting sequences. Hamlet manipulates this character by exploiting his obedience to royalty when he states, â€Å"Put your bonnet to his right use, ‘tis for the head† (V.ii.101). Osric replies, â€Å"I thank your lordship, it is very hot† (V.ii.102). Hamlet then responds â€Å"No, believe me, ‘tis very cold; the wind is north- / erly† (V.ii.103). Hamlet persists with this ruse, constantly pressuring Osric to remove and replace his hat. This scene mitigates the stress from the graveyard scuffle and leads into Hamlet and Laertes’ duel. Shakespeare further uses Osric to express his personal opinion on the class structure of the present society. William Shakespeare criticizes the new wealthy merchant class, prevalent in the Elizabethan era, through Hamlet and Osric’s dialogue. Hamlet ridicules Osric and his social standing in an aside to Horatio, â€Å"Let a beast be lord of beasts, and his crib shall / Stand at the King’s men† (V.ii.95-96). Hamlet implies that any fool with money can gain entran... ...nteractions with the Gravedigger. Although this character has a relatively small role, he has an enormous impact on the course of the play. Comedic relief plays a vital role in any tragedy or suspenseful play: It serves as a stark contrast to the harsh reality being presented throughout the story. In the tragedy Hamlet by William Shakespeare, comedy is utilized to distract the audience from the dramatic course of events. The theatrical plot also progresses with the comedic relief inserted in the play. Shakespeare brilliantly develops his characters in a comedic way that continues the plot and eases his spectators. If writers chose not to offset tragedy with comedy, the story would simply be too depressing to entertain the vast audiences. Therefore, it is fair to surmise that without comedic relief, Hamlet may not have been the iconic story it has become. Hamlet Essay -- Literary Analysis, Shakespeare Comedy lightens the mood, progresses the plot, and provides a necessary reprieve from the suspense of the play. Comedic relief commands a vital role in the William Shakespeare’s tragedy Hamlet. In order to maintain the audience’s interest, an author inserts puns and other comedic vices to enhance their work. Shakespeare constantly introduces characters to allay the strain on the audience from past events in the plot. This comedic relief usually contains a hidden meaning or message that augments the plot. In the play Hamlet Osric, Polonius, and the Gravedigger are used as these conduits of humor. The character Osric relieves much of the tension built from the proceeding acts. His interjection in this tragedy culminates with Hamlet and Laertes’ fighting sequences. Hamlet manipulates this character by exploiting his obedience to royalty when he states, â€Å"Put your bonnet to his right use, ‘tis for the head† (V.ii.101). Osric replies, â€Å"I thank your lordship, it is very hot† (V.ii.102). Hamlet then responds â€Å"No, believe me, ‘tis very cold; the wind is north- / erly† (V.ii.103). Hamlet persists with this ruse, constantly pressuring Osric to remove and replace his hat. This scene mitigates the stress from the graveyard scuffle and leads into Hamlet and Laertes’ duel. Shakespeare further uses Osric to express his personal opinion on the class structure of the present society. William Shakespeare criticizes the new wealthy merchant class, prevalent in the Elizabethan era, through Hamlet and Osric’s dialogue. Hamlet ridicules Osric and his social standing in an aside to Horatio, â€Å"Let a beast be lord of beasts, and his crib shall / Stand at the King’s men† (V.ii.95-96). Hamlet implies that any fool with money can gain entran... ...nteractions with the Gravedigger. Although this character has a relatively small role, he has an enormous impact on the course of the play. Comedic relief plays a vital role in any tragedy or suspenseful play: It serves as a stark contrast to the harsh reality being presented throughout the story. In the tragedy Hamlet by William Shakespeare, comedy is utilized to distract the audience from the dramatic course of events. The theatrical plot also progresses with the comedic relief inserted in the play. Shakespeare brilliantly develops his characters in a comedic way that continues the plot and eases his spectators. If writers chose not to offset tragedy with comedy, the story would simply be too depressing to entertain the vast audiences. Therefore, it is fair to surmise that without comedic relief, Hamlet may not have been the iconic story it has become.

The Destruction of Willy Loman in Arthur Millers Death of a Salesman :: Death Salesman essays

The Destruction of Willy Loman in Arthur Miller's Death of a Salesman  Ã‚  Ã‚  Ã‚  Ã‚   Willy Loman is a travelling salesman who has worked for the Wagner firm for 34 years. He is now 61 years old and his job has been taken off salary and put on commission. He has a family and he boasts to them that he is "vital in New England," but in fact he isn’t vital anywhere. Willy has many strong beliefs that he strives to achieve. He wants to own his own business and he wants to be "bigger than Uncle Charley" and especially he wants to be a great success and he tries to emulate Dave Singleman. He wishes to die the "Death of a Salesman" and have many buyers and salesmen mourn for him. He also tries to be a good father, and husband. However Willy’s aims in life have been useless as he hasn’t really achieved anything. He got fired by Howard, his sons are both failures and they abandoned him in a restaurant toilet. His relationship with his wife is plagued by his guilt for committing adultery. He has to borrow $50 a week from Charley. He can’t even keep his mind on one thing for a long time. He can’t drive a car. Willy gets so fed up with all of these things that he want’s to commit suicide and eventually, he does. This topic suggests that Willy’s deterioration occurs because the principals he believes in. To a large extent this is true. After 34 years of Willy’s life, he loses his job. To a normal person under normal circumstances, being retrenched is a time when you feel useless. But for Willy, since everything else is going wrong at the same time, he feels like a useless old man. Willy thought that just because he named his boss, that he would have a secure future with the company but as Charley said "them things don’t mean anything? You named him Howard, but you can’t sell that." Even though Willy wasn’t even getting paid a salary, Howard didn’t want him to even represent the company in case Willy "cracked up" again. Although Willy is mostly destroyed by his own ideals there are other things that destroy him as well, like Howard, Happy and Biff. Willy is emotionally destroyed when Howard fires him. Then, both of his sons disown and abandon him in Frank’s Chop House.

Archaisms and historisms Essay

Introduction We often hear about words being added to dictionaries as they become part of everyday vernacular, but have you ever heard about any words that get removed? Some people argue that if a word has existed at some point in time then it merits a place in the dictionary. After all, who knows when someone may come across it in an old text and need to look up the definition? Others say that dictionaries should reflect the language that we use here and now, and so those words which have become obsolete in everyday language should no longer have a place in the dictionary. Language and culture are constantly changing, so how do we keep up with these changes without losing our past? The article is intended to go back in time and to disclose archaisms in the English language. Different groups of archaisms, the difference between archaisms and historisms, periods of their development, stylistic features, semantic groups and other problems got their reflection in the article. Different viewpoints of scientists, the aim of using archaisms in belles-lettres and their classification are presented and illustrated by the examples in Russian and English. 1. How do words in everyday language become obsolete? The vocabulary of a language never remains stable. There are constant changes in the semantic structure of any language. Words appear, undergo a number of phonetic and semantic changes and finally pass completely out of use. The disappearance of various things, phenomena, etc. causes either com ­plete disappearance of their names or turns them into  «representatives » of a previous epoch. Many words become obsolete in ordinary language, but remain in poetry, in books conforming to a definite style, in oratory, etc. A great many archa ­isms survive in English dialects. Thus the fate of obsolete words may be different. We distinguish two groups of obsolete words: archaisms proper and historical terms (historisms). Before turning to them it is of primary importance to distinguish the terms †archaic† and †obsolete†. The terms â€Å"archaic† and â€Å"obsolete† are used more or less indiscriminately by some authors. The meaning of these temporal labels, however, can be somewhat different among dictionaries. The label archaic is  used for words that were once common but are now rare. Archaic implies having the character or characteristics of a much earlier time. Obsolete indicates that a term is no longer in active use, except, for example, in literary quotation. Obsolete may apply to a word regarded as no longer acceptable or useful even though it is still in existence. In the American Heritage Dictionary of the English Language, (Boston: Houghton Mifflin [4th ed.], 2004) the archaic label is described this way: â€Å"This label is applied to words and senses that were once common but are now rare, though they may be familiar because of their occurrence in certain contexts, such as the literature of an earlier time. Specifically, this label is attached to entry words and senses for which there is only sporadic evidence in print after 1755.† The AHD describes the obsolete label thus: â€Å"The label obsolete is used with entry words and senses no longer in active use, except, for example, in literary quotations. Specifically, this label is attached to entry words and senses for which there is little or no printed evidence since 1755.† In Merriam-Webster’s Collegiate Dictionary, 11th Edition (Springfield, MA: Merriam-Webster, 2003), the Explanatory Notes say, â€Å"The temporal label obs for obsolete means that there is no evidence of use since 1755. The label obs is a comment on the word being defined. When a thing, as distinguished from the word used to designate it, is obsolete, appropriate orientation is usually given in the definition. The temporal label archaic means that a word or sense once in common use is found today only sporadically or in special contexts.† Random House Dictionary defines an obsolete word as one â€Å"no longer in use, esp. out of use for at least a century†, whereas an archaism is referred to as â€Å"current in an earlier time but rare in present usage†. However, it should be pointed out that the borderline between â€Å"obsolete† and â€Å"archaic† is vague and uncertain, and in many cases it is difficult to decide to which of the groups this or that word belongs. 2. Archaisms proper: etymology, main features and usage. In language, an archaism (from the Ancient Greek: á ¼â‚¬Ã Ãâ€¡ÃŽ ±ÃÅ ÃŽ ºÃÅ'Ï‚, archaà ¯kà ³s, ‘old-fashioned, antiquated’, ultimately á ¼â‚¬Ã Ãâ€¡ÃŽ ±Ã¡ ¿â€"ÃŽ ¿Ãâ€š, archaà ®os, ‘from the beginning, ancient’) is the use of a form of speech or writing that is no  longer current. This can either be done deliberately (to achieve a specific effect) or as part of a specific jargon (for example in law) or formula (for example in religious contexts). Many nursery rhymes contain archaisms. Archaic elements that occur only in certain fixed expressions (for example ‘be that as it may’) are not considered to be archaisms. Archaisms proper are obsolete words denoting real things and phenom ­ena, but the words themselves are no longer found in ordinary English: they were substituted by others, obsolete words becoming their stylistic synonyms. These words are moribund, already partly or fully out of circulation, rejected by the living l anguage. There are three stages in the aging processes of words: they become rarely used; they are in the stage of gradually passing out from use; these are the morphological forms belonging to the earlier stage of the development of the language [thee, thou], corresponding verbal endings [thou makest], many French borrowings [palfreu] they have already gone completely out of use and are still recognized by the English-speaking people. [me thinks = it seems to me, nay = no]. archaic words proper is no longer recognizable in modern English; such words were in use during the Old English period, are earlier dropped out of the language or have changed in the appearance so much that they have become unrecognizable [losso =lazy fellow]. While some words become obsolete from everyday language, others still exist but their meaning has changed over time. Words like fun fur have remained in use as their meanings have been adapted to current circumstances. Fun fur used to refer to cheap animal fur that had been dyed in several colors until the 1960s. Today it refers to synthetic fur. 3. Types of archaisms: lexical and grammatical archaisms and their peculiarities Generally we distinguish lexical and grammatical archaisms.  Grammatical archa ­isms are forms of words which went out of use with the development of the grammar system of the English language: -th – suffix of the 3rd person sing., Present Indef. Tense, e.g. hath, doth, speaketh; -st – 2nd person – dost, hast, speakest; art – 2nd person of the verb  «to be » pl.; thou, thee, thy, thine – pronouns; ye – plural, 2nd person. Lexical archaisms. Poetry is especially rich in archaisms. Words that are too well known and too often used do not call up such vivid images as words less familiar. This is one of the reasons which impel poets to use archaic words. They are  «new » just on account of their being old, and yet they are not utterly unknown to be unintelligible. The following are some of the most common lexical archaisms used in poetry: billow – Ð ²Ã ¾Ã ¹Ã ½Ã °; save – Ð ºÃ'€Ð ¾Ã ¼Ã µ; plain – Ð ¶Ã °Ã »Ã ¾Ã ²Ã °Ã'‚Ã'Å'Ã' Ã' ; behold – Ð ²Ã ¸Ã ´Ã µÃ'‚Ã'Å'; yon (yonder) – Ã'‚Ð ¾Ã'‚; eke – Ã'‚Ð ¾Ã ¶Ã µ; brow – Ã'‡Ð µÃ »Ã ¾; foe – Ð ²Ã'€Ð °Ã ³; ere – Ð ´Ã ¾; steed – Ð ºÃ ¾Ã ½Ã'Å'; morn – Ã'Æ'Ã'‚Ã'€Ð ¾; belike – Ð ²Ã µÃ'€Ð ¾Ã' Ã'‚Ð ½Ã ¾; damsel – Ð ´Ã µÃ ²Ã'Æ'Ã'ˆÐ ºÃ °; woe – rope; oft, oft-times – Ã'‡Ð °Ã' Ã'‚Ð ¾; mere â⠂¬â€œ Ð ¾Ã ·Ã µÃ'€Ð ¾, Ð ¿Ã'€Ã'Æ'Ð ´; hearken – Ã' Ã »Ã'Æ'Ã'ˆÐ °Ã'‚Ã'Å'; albeit – Ã'…Ð ¾Ã'‚Ã' , etc. Their last refuge is in historical novels (whose authors used them to create a particular period atmosphere) and, of course, in poetry which is rather conservative in its choice of words. So their main function is to sustain a special evaluated atmosphere of poetry. They form an insignificant layer of special literary vocabulary. On the whole they are detached from the common literary vocabulary. Thus, the use of archaic words is a stylistic device. In historical novels they create an atmosphere of the past. In the depiction of events of the present they assume the function of a stylistic device proper. The stylistic functions of the archaic words are based on the temporary perception of the event. Even when used in a terminological aspect they create a special atmosphere in the utterance. They form a rather insignificant layer of the special literary vocabulary. 1. They are used by authors to produce an elevated (Ð ²Ã ¾Ã ·Ã ²Ã'‹Ã'ˆ) effect. 2. They have a tendency to detach themselves from the common literary word-stock and assume the quality of terms denoting certain notions and calling forth poetic diction. Closely associated with archaisms are poetical words. The use of poetic words doesn’t as a rule create the atmosphere of poetry, but it substitutes its expressiveness. The common way of creating such words is compounding  [young-eyed, rosy-fingered]. Poetic words and expressions are understandable to a limited number of readers. In modern poetry words are often used in strange combinations [the sound of shame]. Poetic words in an ordinary environment may also have a satirical function. They can also be found in other styles, e.g. in journalistic style: proceed (go), the welkin (the sky), the vale (the valley), the devouring element (the fire). Archaic words – yclept (to call, name), quoth (to speak), eftsoons (again soon after) are good examples. They evoke emotive meaning. They color the utterance with the certain air of loftiness (elevation). But generally fail to produce a general feeling of delight. They are taken hacked, too outdate. These words are often used by modern ballet mangers (Ã' Ã ¾Ã'‡Ð ¸Ã ½Ã ¸Ã'‚Ð µÃ »Ã ¸ Ð ±Ã °Ã »Ã »Ã °Ã ´). Some poetical words and set expressions make the utterance understandable only to a limited number of readers. This poetical language is often called poetical jargon. â€Å"Alas! They had been friends in youth; But whispering tongues can poison truth And constancy lives in realms above; And life is thorny; and youth is vain; And to be wroth with one we love, Doth work like madness in the brain†¦Ã¢â‚¬  (Coleridge) Thou and thy, aye (â€Å"yes†) and nay (â€Å"no†) are certainly archaic and long since rejected by common usage, yet poets use them even today. (We also find the same four words and many other archaisms among dialectisms, which is quite natural, as dialects are also conservative and retain archaic words and structures). Numerous archaisms can be found in Shakespeare, but it should be taken into consideration that what appear to us today as archaisms in the works of Shakespeare, are in fact examples of everyday language of Shakespeare’s time. There are several such archaisms in Viola’s speech from Twelfth Night: â€Å"There is a fair behavior in thee, Captain, And though that nature with a beauteous wall Doth oft close in pollution, yet of thee I will believe thou hast a mind that suits With this thy fair and outward character. I prithee — and I’ll pay thee bounteously — Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent†¦Ã¢â‚¬  (Act 1, Sc. 2) 32 Further examples of archaisms are: morn (for morning), eve (for evening), moon (for month), damsel (for girl), errant (for wandering, e.g. errant knights), etc. Sometimes, an archaic word may undergo a sudden revival. So, the formerly archaic kin (for relatives; one’s family) is now current in American usage. Archaisms are also most frequently encountered in poetry, law, science, technology, geography and ritual writing and speech. Their deliberate use can be subdivided into literary archaisms, which seeks to evoke the style of older speech and writing; and lexical archaisms, the use of words no longer in common use. Archaisms are kept alive by these ritual and literary uses and by the study of older literature. Should they remain recognized, they can be revived, as the word anent was in this past century. Because they are things of continual discovery and re-invention, scie nce and technology have historically generated forms of speech and writing which have dated and fallen into disuse relatively quickly. However the emotional associations of certain words (for example: ‘Wireless’ rather than ‘Radio’ for a generation of British citizens who lived through the second world war) have kept them alive even though the older word is clearly an archaism. A similar desire to evoke a former age means that archaic place names are frequently used in circumstances where doing so conveys a political or emotional subtext, or when the official new name is not recognized by all (for example: ‘Persia’ rather than ‘Iran’, ‘Bombay’ rather than ‘Mumbai’, ‘Madras’ rather than ‘Chennai’). So, a restaurant seeking to conjure up historic associations might prefer to call itself Old Bombay or refer to Persian cuisine in preference to using the newer place name. A notable contemporary example is the name of the airline Cathay Pacific, which uses the archaic Cathay (â€Å"China†). Archaisms are frequently misunderstood, leading to changes in usage. One example is found in the phrase â€Å"the odd man out†, which originally came from the phrase â€Å"to find the odd man out†, where the verb â€Å"to find out† has been split by its object â€Å"the odd man†, meaning the item which does not fit. The compound adverbs and prepositions found in the writing of lawyers (e.g. heretofore, hereunto, thereof) are examples of archaisms as a form of jargon. Some phraseologies, especially in religious contexts, retain archaic elements that are not used in ordinary speech in any other context: â€Å"With this ring I thee wed.† Archaisms are also used in the dialogue of historical novels in order to evoke the flavour of the period. Some may count as inherently funny words and are used for humorous effect. 4. Historims: main features and classification Historisms are names of things and phenomena which passed out of use with the development of social, economical, cultural life of society but which retain historical importance. Unlike archaisms, historical terms have no syno ­nyms in Modern English: they are only names of things and notions which refer to the past of the English people. The sphere of these words is restricted with scientific literature or with books and novels dealing with certain historical periods. There are lots of his ­torisms in the historical novels of W.Scott and other English authors, e.g.: Historisms are very numerous as names for social relations, institutions and objects of material culture of the past. The names of ancient transport means, ancient clothes, weapons, musical instruments can offer many examples. Before the appearance of motor-cars many different types of horse-drawn carriages were in use. The names of some of them are: brougham, berlin, calash, diligence, fly, gig, hansom, landeau, phae ton, etc. It is interesting to mention specially the romantically metaphoric prairie schooner ‘a canvas-covered wagon used by pioneers crossing the North American prairies’. There are still many sailing ships in use, and schooner in the meaning of ‘a sea-going vessel’ is not an historism, but a prairie schooner is. Many types of sailing craft belong to the past as caravels or galleons, so their names are historisms too. The history of costume forms an interesting topic by itself. It is reflected in the history of corresponding terms. The corresponding glossaries may be very  long. Only very few examples can be mentioned here. In W. Shakespeare’s plays, for instance, doublets are often mentioned. A doublet is a close-fitting jacket with or without sleeves worn by men in the 15th-17th centuries. It is interesting to note that descriptions of ancient garments given in dictionaries often include their social functions in this or that period. Thus, a tabard of the 15th century was a short surcoat open at the sides and with short sleeves, worn by a knight over his armour and emblazoned on the front, back and sides with his armorial bearin gs. Not all historisms refer to such distant periods. Thus, bloomers — an outfit designed for women in mid-nineteenth century. It consisted of Turkish-style trousers gathered at the ankles and worn by women as â€Å"a rational dress†. It was introduced by Mrs Bloomer, editor and social reformer, as a contribution to woman rights movement. Somewhat later bloomers were worn by girls and women for games and cycling, but then they became shorter and reached only to the knee. A great many historisms denoting various types of weapons occur in historical novels, e. g. a battering ram ‘an ancient machine for breaking walls’; a blunderbuss ‘an old type of gun with a wide muzzle’; breastplate ‘a piece of metal armour worn by knights over the chest to protect it in battle’; a crossbow ‘a medieval weapon consisting of a bow fixed across a wooden stock’. Many words belonging to this semantic field remain in the vocabulary in some figurative meaning, e. g. arrow, shield, sword, vizor, etc. Thus we can distinguish the following types of historisms: 1. words of social position: yeomen – Ð ¹Ã ¾Ã ¼Ã µÃ ½, knight – Ã'€Ã'‹Ã'†Ð °Ã'€Ã'Å', scribe – Ð ¿Ã ¸Ã' Ã µÃ'†; 2. names of arms and words connected with war: battle ax – Ð ±Ã ¾Ã µÃ ²Ã ¾Ã ¹ Ã'‚Ð ¾Ã‚ ­ Ð ¿Ã ¾Ã'€Ð ¸Ã º, musket – Ð ¼Ã'Æ'Ã'ˆÐ ºÃ µÃ'‚, visor – Ð ·Ã °Ã ±Ã'€Ð °Ã »Ã ¾, warrior – Ð ²Ã ¾Ã ¸Ã ½, sword – Ð ¼Ã µÃ'‡, gauntlet – Ã'€Ã'‹Ã'†Ð °Ã'€Ã' Ã ºÃ °Ã'  Ð ¿Ã µÃ'€Ã'‡Ð °Ã'‚Ð ºÃ ° = Ð »Ã °Ã'‚Ð ½Ã °Ã'  Ã'€Ã'Æ'Ð ºÃ °Ã ²Ã ¸Ã'†Ð °, archer – Ã' Ã'‚Ã'€Ð µÃ »Ã ¾Ã º Ð ¸Ã · Ð »Ã'Æ'Ð ºÃ °, spear – Ð ºÃ ¾Ã ¿Ã'Å'Ð µ; 3. types of vessels: galley – Ð ³Ã °Ã »Ã µÃ'€Ð °, frigate – Ã'„Ã'€Ð µÃ ³Ã °Ã'‚, caravel – Ð ºÃ °Ã'€Ð °Ã ²Ã µÃ »Ã »Ã °; 4. types of carts which went out of use: brougham – Ð ¾Ã ´Ã ½Ã ¾Ã ¼Ã µÃ' Ã'‚Ð ½Ã °Ã'  Ð ºÃ °Ã'€Ð µÃ'‚Ð °, chaise – Ã'„Ð °Ã' Ã'‚Ð ¾Ã ½, Ð »Ã µÃ ³Ã ºÃ °Ã'  Ð ¿Ã ¾Ã ²Ã ¾Ã ·Ã ºÃ ° Ã'  Ð ¾Ã'‚Ð ºÃ'€Ã'‹Ã'‚Ã'‹Ð ¼ Ð ²Ã µÃ'€Ã'…Ð ¾Ã ¼, hansom – Ð ´Ã ²Ã'Æ'Ã'…Ð ¼Ã µÃ' Ã'‚Ð ½Ã'‹Ð ¹ Ã' Ã ºÃ ¸Ã ¿Ã °Ã ¶, Ð ³Ã ´Ã µ Ã' Ã ¸Ã ´Ã µÃ ½Ã ¸Ã µ Ð ºÃ'Æ'Ã'‡Ð µÃ'€Ð ° Ã'€Ð °Ã' Ã ¿Ã ¾Ã »Ã ¾Ã ¶Ã µÃ ½Ã ¾ Ð ¿Ã ¾Ã ·Ã °Ã ´Ã ¸ Ð ¸ Ð ½Ã µÃ' Ã ºÃ ¾Ã »Ã'Å' ­ Ð ºÃ ¾ Ð ²Ã'‹Ã'ˆÐ µ Ð ¼Ã µÃ' Ã'‚ Ð ´Ã »Ã'  Ã' Ã µÃ ´Ã ¾Ã ºÃ ¾Ã ², coach – Ð ºÃ °Ã'€Ð µÃ'‚Ð ° (Ð ¿Ã ¾Ã'‡Ã'‚Ð ¾Ã ²Ã °Ã' ); 5. names of old musical instruments: lute – Ð »Ã'ŽÃ'‚Ð ½Ã' , lyre – Ð »Ã ¸Ã'€Ð °. So the number of  historisms which reflect the social life and culture of the past is very great. Conclusion Though many of the words discussed above are rather old-fashioned, outdate and are rarely used in modern society, they still have a unique place in the depositary of English word-stock. Thus they can be found in bigger dictionaries as they might be relevant to specific fields. Words and their meanings are always bound to specific contexts and times in which their meaning makes sense. Anyone learning a language needs to be aware of how words are used today and historically in order to correctly interpret and understand their meaning. So one should always keep up with the constant changes in language to make sure that their skills are the most appropriate for today’s modern world. Methodical literature 1. Ð Ã'‚Ã'€Ã'Æ'Ã'ˆÐ ¸Ã ½Ã ° Г. Б., Ð Ã'„Ð °Ã ½Ã °Ã' Ã'Å'Ð µÃ ²Ã ° О. Ð’., ÐÅ"Ð ¾Ã'€Ð ¾Ã ·Ã ¾Ã ²Ã ° Ð . Ð . ЛÐ µÃ ºÃ' Ã ¸Ã ºÃ ¾Ã »Ã ¾Ã ³Ã ¸Ã'  Ð °Ã ½Ã ³Ã »Ã ¸Ã ¹Ã' Ã ºÃ ¾Ã ³Ã ¾ Ã' Ã ·Ã'‹Ð ºÃ °: Ð £Ã'‡Ð µÃ ±. Ð ¿Ã ¾Ã' Ã ¾Ã ±Ã ¸Ã µ Ð ´Ã »Ã'  Ã' Ã'‚Ã'Æ'Ð ´Ã µÃ ½Ã'‚Ð ¾Ã ². ДÃ'€Ð ¾Ã'„Ð °, 1999 2. ГÐ ¸Ã ½Ã ·Ã ±Ã'Æ'Ã'€Ð ³, Ð ¡. Ð ¡. Ð ¥Ã ¸Ã ´Ã µÃ ºÃ µÃ »Ã'Å', Г. Ð ®. КÐ ½Ã' Ã ·Ã µÃ ²Ã ° Ð ¸ Ð . Ð . Ð ¡Ã °Ã ½Ã ºÃ ¸Ã ½. ЛÐ µÃ ºÃ' Ã ¸Ã ºÃ ¾Ã »Ã ¾Ã ³Ã ¸Ã'  Ð °Ã ½Ã ³Ã »Ã ¸Ã ¹Ã' Ã ºÃ ¾Ã ³Ã ¾ Ã' Ã ·Ã'‹Ð ºÃ °: Ð £Ã'‡Ð µÃ ±Ã ½Ã ¸Ã º Ð ´Ã »Ã'  Ð ¸Ã ½-Ã'‚Ð ¾Ã ² Ð ¸ Ã'„Ð °Ã º. Ð ¸Ã ½Ã ¾Ã' Ã'‚Ã'€. Ã' Ã ·. Ð’Ã'‹Ã' Ã'ˆ. Ã'ˆÐ ºÃ ¾Ã »Ã °, 1979. 3. Ð Ã'€Ð ½Ã ¾Ã »Ã'Å'Ð ´ И. Ð’. ЛÐ µÃ ºÃ' Ã ¸Ã ºÃ ¾Ã »Ã ¾Ã ³Ã ¸Ã'  Ã' Ã ¾Ã ²Ã'€Ð µÃ ¼Ã µÃ ½Ã ½Ã ¾Ã ³Ã ¾ Ð °Ã ½Ã ³Ã »Ã ¸Ã ¹Ã' Ã ºÃ ¾Ã ³Ã ¾ Ã' Ã ·Ã'‹Ð ºÃ °: Ð £Ã'‡Ð µÃ ±. Ð ´Ã »Ã'  Ð ¸Ã ½-Ã'‚Ð ¾Ã ² Ð ¸ Ã'„Ð °Ã º. Ð ¸Ã ½Ã ¾Ã' Ã'‚Ã'€. Ã' Ã ·. ÐÅ".: Ð’Ã'‹Ã' Ã'ˆ. Ã'ˆÐ º., 1986. — 295 Ã' ., Ð ¸Ã ». — Ð Ã ° Ð °Ã ½Ã ³Ã ». Ã' Ã ·. 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